{"id":44534,"date":"2025-11-08T20:53:20","date_gmt":"2025-11-08T20:53:20","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/44534\/"},"modified":"2025-11-08T20:53:20","modified_gmt":"2025-11-08T20:53:20","slug":"the-cult-rocks-astbury-roils-as-tour-wraps-up-in-del-mar","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/44534\/","title":{"rendered":"The Cult rocks, Astbury roils as tour wraps up in Del Mar"},"content":{"rendered":"

\"The<\/a>Ian Astbury and The Cult perform in Del Mar. (Photo by Donovan Roche\/Times of San Diego)<\/p>\n

Ian Astbury wasn\u2019t feeling the love.<\/p>\n

Or so it seemed on Oct. 29 when the alt-rock icon performed as the frontman of The Cult<\/a> and its earlier incarnation, Death Cult, at The Sound<\/a> in Del Mar.<\/p>\n

Throughout the night, Astbury repeatedly questioned the audience\u2019s energy. \u201cAre you guys in this?\u201d he asked twice early in the set, later chiding fans for not showing enough enthusiasm for the songs or the band\u2019s performance.<\/p>\n

The singer\u2019s frustration may have been influenced by the previous week\u2019s announcement that the band is taking a hiatus from touring for the foreseeable future. With San Diego the penultimate stop on their North American Paradise Now 8525 tour, perhaps he expected a more electric send-off.<\/p>\n

\"Ian<\/a>Ian Astbury at The Sound. (Photo by Donovan Roche\/Times of San Diego)<\/p>\n

Celebrating more than four decades of music, the set list spotlighted both eras of the band\u2019s evolution \u2014 as the post-punk\/gothic rock outfit Death Cult (from 1983 to 1984) and, thereafter, as the English hard rock powerhouse The Cult. Instead of blending old and new, Astbury, longtime guitarist Billy Duffy, bassist Charlie Jones, and drummer John Tempesta split the show into two distinct sets.<\/p>\n

The night began with the foursome shrouded behind a thin white scrim as the tribal pulse of \u201cGhost Dance\u201d filled the room. Silhouetted and spinning, tambourine in hand, Astbury danced through the song inspired by the teachings of Paiute spiritual leader Wovoka.<\/p>\n

When the curtain dropped, Death Cult tore through eight songs in a half hour. Astbury\u2019s voice was commanding and resolute, particularly on \u201cGods Zoo\u201d and \u201cHorse Nation,\u201d both from their 1983 debut EP. The set also included four tracks from their next album, Dreamtime, recorded under the new name The Cult, including \u201c83rd Dream,\u201d \u201cButterflies\u201d and the rousing closer \u201cSpiritwalker.\u201d\u00a0<\/p>\n

Though Astbury never explicitly referenced the break from touring, he alluded to it several times. At the end of the first set, for instance, he invited everyone to the following night\u2019s show at Shrine Auditorium, saying, \u201cThe last time to see Death Cult is tomorrow in L.A.\u201d<\/p>\n

Following a brief intermission, The Cult reemerged with \u201cWildflower,\u201d from the Rick Rubin-produced Electric. Propelled by Duffy\u2019s searing riffs, the opener drew a collective roar from the crowd. The ensuing 12-song set featured deep cuts like \u201cThe Witch\u201d and \u201cLucifer\u201d alongside concert staples including \u201cRain\u201d and \u201cEdie (Ciao Baby).\u201d While the former charged the audience with its full-throttle attack, the latter, known for its slow build, sounded slightly off in timing.<\/p>\n

After \u201cEdie,\u201d Astbury stood at the front of the stage and gave the audience a blank stare. \u201cI\u2019m waiting for you guys,\u201d he said. As people began clapping more, he added, \u201cPlease\u2026!\u201d and waved them on for more applause.<\/p>\n

Wearing a wide headband, black kimono-style jacket, and Hakama pants, Astbury looked part rock shaman, part martial arts master. He moved with ritualistic precision, assuming\u00a0 ready stances, waving his arms, and shuffling his feet. At times, he\u2019d spin his tambourine into the air, catching it or kicking backward, and occasionally he\u2019d form prayer hands in appreciation of applause.<\/p>\n

But more often than not, he called out the crowd\u2019s lack of response. At one point, he scolded, \u201cYou guys need to get into this\u2026come on!\u201d And during \u201cFire Woman\u201d \u2014 when Astbury was perhaps his most animated, swinging the mic around, hopping atop the stage monitor, and interjecting \u201cOle, Ole, Ole!\u201d \u2014 he halted mid-song to solicit a stronger reaction: \u201cWell, that\u2019s pathetic. Try again.\u201d<\/p>\n

To a certain degree, Astbury\u2019s constant reproach marred an otherwise tight and dynamic 90-minute show. Duffy, one of rock\u2019s most underrated guitarists, unleashed blazing licks throughout, while Astbury\u2019s muscular baritone fueled each song forward.<\/p>\n

The night ended on a high note, though, with \u201cLove Removal Machine\u201d and the encore \u201cShe Sells Sanctuary,\u201d arguably one of the greatest hard rock songs of all time. Across both sets, the material effectively honored the band\u2019s legacy with a mix of mysticism and swagger (though \u201cSweet Soul Sister,\u201d a fan favorite from the platinum Sonic Temple, was conspicuously absent).<\/p>\n

Following introductions, each band member exited one by one, leaving just Astbury. Kneeling before the crowd, he offered a solemn prayer, but one couldn\u2019t help but wonder if it also carried a silent plea for tomorrow\u2019s finale to really go off.<\/p>\n

Donovan Roche is a regular music and culture contributor to Times of San Diego.<\/p>\n

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