The Twilight Sad, No Lawn Chairs
Wed, June 22, 2016
Doors: 5:30 pm / Show: 7:00 pm
Merriweather Post Pavilion
$40.00 - $80.00
This event is all ages
Please note, there is six ticket limit for pavilion tickets OR an eight ticket limit for lawn tickets per customer, household, phone number, or email address for this show. Patrons who exceed this ticket limit will have their orders cancelled automatically and without notice.
There are no refunds or exchanges.http://www.merriweathermusic.com/event/1003191/
In May 1979 their debut album Three Imaginary Boys was released to great acclaim, and as the band toured extensively around the UK, the singles "Boys Don't Cry" and "Jumping Someone Else's Train" were released. Michael left the band at the end of the year, and Simon Gallup (bass) and Matthieu Hartley (keyboards) joined. In early 1980 the Cure quartet embarked on an exploration of the darker side of Robert's song-writing, and emerged with the minimalist classic album Seventeen Seconds, along with their first bona-fide 'hit single' "A Forest."
After an intense world tour Matthieu left the group, and in early 1981 the trio recorded an album of mournful atmospheric soundscapes entitled Faith, which included another successful single in "Primary." The band then set out on a second global trek, named 'The Picture Tour', during which they released the non-album single "Charlotte Sometimes." In 1982 The Cure went back into the studio, and their increasingly ugly fascination with despair and decay culminated in the unrelenting sonic attack of the Pornography album. An intensely volatile tour ensued, and the single "The Hanging Garden" was released just as Simon left the band.
After pushing the limits of excess, Robert felt he had to change things, and did so by 'going pop' again. Rejuvenated, the Cure duo released their first real dance single, the cheesy "Let's Go To Bed," and during the making of the accompanying video forged a colourful and lasting relationship with director Tim Pope. The band continued into 1983 with the groovy electronic dance of "The Walk," followed by the demented cartoon jazz of "The Lovecats." All 3 singles and accompanying B-sides were then compiled and re-released as the Japanese Whispers album. In 1984 The Top album was released, a strange hallucinogenic mix, which contained the infectiously psychedelic single "The Caterpillar." The world Top Tour saw the band expand to a quintet, with the addition of Andy Anderson (drums) and Phil Thornalley (bass), and the return of Porl Thompson (guitar).
The new Cure sound was captured live for the album Concert. Andy and Phil left soon after the end of the tour, and were replaced by Boris Williams (drums) and further returnee Simon Gallup (bass). This new incarnation started work on 1985's The Head On The Door album with a very real sense of 'something happening'... The vibrant hit single "Inbetween Days" was followed up by "Close To Me," and the ensuing world tour paved the way for the massive success of the singles collection album Standing On A Beach in 1986. That summer saw the band headline the Glastonbury Festival for the first time, and a year of extensive gigs and festivals was crowned by Tim Pope's live concert cinema film The Cure In Orange.
In 1987 The Cure brought out Kiss Me Kiss Me Kiss Me, an immense double album of extreme and extraordinary stylistic range, and with the arrival of Roger O'Donnell on keyboards the Cure sextet traveled the world with 'The Kissing Tour', enjoying 4 more hit singles along the way. The wonderfully atmospheric Disintegration album was demoed in 1988 and released in 1989, and despite being a work of powerful brooding grandeur, it too gave rise to 4 hit singles. The awesome 'Prayer Tour' that followed, with the band back down to a quintet following the departure of Lol Tolhurst, included some of The Cure's best performances to date, and was captured live for the album Entreat.
In early 1990 Roger O'Donnell left the group, and was replaced by long-time band friend Perry Bamonte, just in time for a series of headlining European festival shows that included the band's second Glastonbury. The album Mixed Up was released, supported by the re-mixed singles "Never Enough," "Close To Me" and "A Forest," and in 1991 The Cure at last won some long overdue 'home recognition' with a Brit Award for 'Best British Group'.
In 1992 they produced Wish, a richly diverse multi-faceted guitar driven album hailed by some as their best work to date. It spawned 3 fabulous hit singles, and the glorious 'Wish Tour' that followed was a worldwide sell-out. The sheer power of the shows inspired the release of two live works in 1993, the album and concert cinema film Show and the more fan oriented Paris album. Immediately after the tour ended, guitarist Porl Thompson left the band again (this time with a smile!), and The Cure headlined the XFM 'Great Xpectations' Show in London's Finsbury Park as a quartet. The band also contributed "Burn" to the film 'The Crow' and covered "Purple Haze" for the Hendrix tribute album 'Stone Free'.
In 1994 Boris Williams decided to move on, and in early 1995 Jason Cooper took up residency behind the drum kit, with Roger O'Donnell rejoining once more on keyboards. Work on the next album was interspersed with recording "Dredd Song" for the film 'Judge Dredd', a cover of Bowie's "Young Americans" for an XFM album, and headlining several major European festivals, including the 25th Glastonbury. The Wild Mood Swings album was released in 1996, and went straight into almost every top ten around the world. The Cure hit the road once more with 'The Swing Tour', their longest to date, releasing 4 singles along the way.
Galore, the follow up singles and video compilation to Standing On A Beach, which included the new single "Wrong Number", a full on dance epic made in collaboration with Bowie's guitarist Reeves Gabrels, was released in 1997, after which work took place in 1998 on a variety of projects, including "More than This" for the 'X Files' album, and a memorable appearance by Robert in the TV cartoon show 'South Park'! In 1999 the band completed the recording and mixing of what many regarded as their best studio album so far, the 'Grammy Nominated' Bloodflowers. With it's release in 2000 the band set off on the massive world-wide 'Dream Tour' - playing to more than a million people in 9 months.
2001 saw the long awaited release of the Cure's Greatest Hits album, which featured all the band's biggest selling singles along with 2 new songs, the elegiac "Cut Here" and the ebullient "Just Say Yes," a duet with Saffron. This year also saw the end of the group's relationship with Fiction Records, the label they had been instrumental in starting 23 years before.
In 2002 the band spent the summer headlining a number of European Festivals before going into rehearsals for two very special nights in November at the Tempodrom Berlin, where they performed all the songs from Pornography, Disintegration and Bloodflowers - plus encores! Both performances were shot in Hi-Def video on 12 cameras, and released on DVD as Trilogy.
In 2003 another chapter of The Cure story opened, the band signing a global album deal with the Geffen label. 2004 saw the Fiction release of Join the Dots, a 4cd Box set compiled by Robert of all the B-sides and Rarities, followed by the widely acclaimed new album The Cure, co-produced with the renowned Ross Robinson. 3 singles, "The End Of The World", "alt.end" and "Taking Off" all hit big, and another hugely successful world tour ensued, with the 23 date North American 'Curiosa Festival' leg especially notable for seeing the band supported by a number of hand picked younger bands including Interpol, Mogwai, The Rapture and Muse. The year ended with an MTV Icon Award presented at a special televised London show.
In 2005 Perry Bamonte and Roger O'Donnell left the band and Porl Thompson joined for a third time. The quartet's debut show was headlining Live 8 Paris, followed by a number of other summer European Festivals. The first four Cure albums (Three Imaginary Boys, Seventeen Seconds, Faith and Pornography) were re-released, with Robert providing 'rarities' for Deluxe Edition extras CD's, as part of an ongoing campaign to re-master and re-issue all the Cure albums. Immediately after closing a week of Teenage Cancer Trust Shows at the Royal Albert Hall in April 2006, the band started recording their 13th studio album, breaking off in June to allow Robert to work on a live DVD. In August the second set of re-releases (The Top, The Head On The Door, Kiss Me Kiss Me Kiss Me, along with 1983's Glove album Blue Sunshine) was released, each album a 2CD Deluxe Edition. In November Festival 2005, a 155 minute 5.1 DVD comprising a 30 song selection of live performances captured the previous summer by a mix of fans, crew and 'on-the-night-big-screen cameras', was put out.
Spring 2007 saw The Cure headline the Miami Ultra Music Festival before heading back into the studio to continue work on new songs. The 11 show Australasian leg of 'The 4Tour' kicked off in July with a headline slot at the Fuji Rock Festival (the band's first performance in Japan since 1984!), before moving on through Hong Kong, Singapore, Australia and New Zealand. In October the band headlined the San Francisco Download Festival, before playing 3 wild nights in Mexico City at the Palacio de los Deportes, followed by an outstanding performance at the MTV Latin America Awards.
In February 2008 The Cure ran the European leg of 'The 4Tour', and in May released "The Only One", the first of 4 singles to be released every 13th of the month for 4 months. "Freakshow", "Sleep When I'm Dead" and "The Perfect Boy" followed, and as the band continued 'The 4Tour' with a sell-out North American leg, all 4 singles reached #1 on the Billboard chart. Indeed, for one remarkable week in August, 4 Cure singles were in the USA Top 20 at the same time! In September the "Hypnagogic States" EP was released, featuring remixes of the first 4 singles by acclaimed younger artists. In October, 2 weeks prior to release, the new album 4:13 Dream was performed in its 13 song entirety at a live broadcast MTV event in the Piazza San Giovanni in Rome before an estimated crowd of 75,000 and a TV audience of 10 million! The reaction to the event was awesome, with many critics and fans acclaiming the band's 13th studio album as a bona fide classic. The Cure finished the year in LA, playing a legendary 'Myspace Secret Show' at the Troubadour, followed by a memorable closing set at KROQ's 'Almost Acoustic Christmas'.
February 2009 saw the band celebrating their NME 'Godlike Genius' Award with two rousing shows performed at the Brixton Academy and the O2 Arena, followed in March by yet another visit to the west coast of America for an intimate performance at the Las Vegas Pearl Theatre, and a stirringly defiant broken-handed headline slot at the Coachella Valley Music and Arts Festival! Porl Thompson left the band for the last time, and the rest of the year was taken up with a number of unusual collaborations, personal projects and work on restoring, transferring and digitizing the entire back catalogue. In May 2010 a re-mastered Disintegration was re-released, Robert once again providing 'rarities' for a Deluxe Edition extras CD, as well as new mixes of the whole album played live in London 1989, released as Entreat Plus. More unusual collaborations, personal projects and continuing work on restoring, transferring and digitizing the entire back catalogue filled the remainder of the year...
May 2011 saw the band fly to Australia to play two nights at the Sydney Opera House as part of the Vivid Festival. Initially planned to mark the 30th anniversary of the Faith album, the Reflections show did far more. First a Cure trio of Robert, Simon and Jason performed the Three Imaginary Boys album, then Roger O'Donnell rejoined the band and The Cure quartet played the Seventeen Seconds album, and finally Lol Tolhurst stepped back onstage with the band for the first time in 23 years to perform Faith and assorted B-sides and singles. Both extraordinary nights were filmed with a future DVD release in mind... In September The Cure quartet headlined Bestival, a unique 150 minute performance filmed and broadcast live in 3D, and released as a charity CD Bestival Live 2011, and in November the band, once again abetted by Lol, played 7 more sold-out Reflections shows - 1 in the Royal Albert Hall, 3 in the Pantages Theatre LA and 3 in the Beacon Theatre NYC.
In May 2012 renowned guitarist Reeves Gabrels joined The Cure in time for 'Summercure 2012', a run of 19 major European summer festival headline spots, starting at Pinkpop and ending at Eire's Electric Picnic, including epic sets at Roskilde, Werchter, Hurricane, the bands first ever show in Russia at the Maxidrom Festival, Les Eurockeenes, Vieilles Charrues, Paleo and Reading & Leeds along the way. All the shows were filmed in various formats... "with a future DVD release in mind"!
April 2013 saw The Cure flying out to Rio de Janeiro for the first show of a stadium tour of Latin America, with debut performances in Paraguay, Chile, Peru and Colombia, a return to Buenos Aires for the first time in 26 years and a truly monumental final 50 song 257 minute Mexican concert to celebrate Robert's birthday, as a 5.9 magnitude earthquake rocked the Foro Sol around them! All 9 shows were filmed by Tim Pope... In July the band set off on a 13 day trip around the world billed as 'The Great Circle Tour', headlining South Korea's Ansan Rock, Japan's Fuji Rock, Chicago's Lollapalooza and Canada's Osheaga festivals, via another inaugural show in Honolulu, Hawaii! In October the band returned to the USA to close out two consecutive Saturday nights at the Austin City Limits festival, playing in Monterrey and El Paso in between days... In November The Cure played their final concert of the year, a stirring final appearance at New Orleans infamous Voodoo festival...
In March 2014 The Cure played two colossal nights at the Royal Albert Hall in aid of Teenage Cancer Trust, and in May they travelled back to the USA to headline the Bottlerock Napa Valley Festival. In September they headlined the North American Riot Festivals in Toronto, Chicago and Denver, and in December the band made surprise appearances at both nights of Brian Cox and Robin Inces 'Christmas Compendium of Reason' shows at the Eventim London Apollo, before playing three magical 'Top heavy' concerts of their own in the same venue...
...to be continued!
Scots, as a rule, are not noted for their emotional communication; straying rarely from a sort of safe - albeit repressed - stoicism. So when James Graham stood before a sold out London venue earlier this year, awed by the level of support for his band, it was really quite a spectacle to see the Twilight Sad frontman fighting back the tears as he thanked the crowd from the bottom of his heart. A decade after the band first started playing together and seven years after the release of their debut album, the band had decided to tour Fourteen Autumns & Fifteen Winters in its entirety across the UK to coincide with its vinyl re-release. The shows saw fans flying in from countries as far flung as the USA, Israel and all across Europe to catch them.
"If I'm honest I didn't realise how special the gigs would be and just how much that album means to people," Graham says. "We'd had a pretty rough year as a band in 2013 and that was the first time we'd toured this year, so to see so many people come out and support the band at those gigs was a really big thing for us. We're very lucky that the people who like our band travelled far and wide to see us and we want to make sure that it's worth it every time we play."
Fourteen Autumns is something of a paradox. Such is its status as a classic amongst long-time followers of the band that it feels much older than its seven years, while each listen carries with it something new and thrilling. Indeed, Pitchfork noted the band's instant familiarity coupled with their ability to take this in "unexpected and exciting directions". Its wildly dynamic production sees cascading walls of sound give way to quiet moments of sombre reflection, Graham's thick Glaswegian accent and evocative storytelling a powerful display of anger, sadness and despair. The themes of childhood angst and suffering suggest a confessional folk record, but transposed onto Andy MacFarlane's shoegaze-influenced guitars and Mark Devine's powerhouse drumming Fourteen Autumns is something else entirely. While the band didn't become an overnight chart-topping sensation, the vast level of critical acclaim and constant calls from fans hungry for vinyl (eventually spurring its re-release) highlighted how important a part of their career the record has become.
Forget The Night Ahead was released in 2009, a discordant and gloriously unsettling followup to the band's debut. Graham wrote at the time: "One thing that I can promise is that the lyrics are very dark, but you might have to look into them a bit to realise. They are mainly based around things that have happened to me over the past two years, revolving around losing people and being none too proud or happy with myself about my antics and situations I've found myself in. So if you're looking for a record with a lot of hope and happy songs then fuck off, cause you won't find it here with us!" Once more, it drew praise from across the press, NME lauding its "much darker ambience, with big melodies and vast romantic landscapes", while The AV Club wrote that it showed "a band capable of muscling up without losing a fascination with fragile, fleeting moments".
In February 2012, the band brought out their third studio album No One Can Ever Know. It marked a significant shift in direction, eschewing the previously dominant wall of sound production in favour of what MacFarlane called a "colder, slightly militant feel". Its more electronic arrangements took influence from the likes of Public Image Ltd, Liars and krautrock pioneers Can, with electronic producer Andrew Weatherall (Primal Scream, Fuck Buttons) acting as a consultant during the album's studio inception.
MacFarlane says: "We initially got Weatherall on board to produce the record as we were trying to push ourselves out of our comfort zone to go for a more sparse approach the sound. He would send over mix tapes of early Factory Records releases and other songs from that era, to show the direction he thought we should go, and would come in the studio so we could bounce ideas off him. We ended up producing it ourselves, but it was useful having someone with his experience to be there to reassure us that we were doing the right thing."
"Purer than innocence and richer than gold, No One Can Ever Know confirms that the Twilight Sad are simply too good to remain a-little-less-than-well-known," Drowned in Sound wrote, while BBC Music described the songs as "more than ostentatious angst; they're doors onto shadowy, eerie scenes". A limited edition tour EP as well as No One Can Ever Know: The Remixes followed in November, seeing tracks from the album reworked by the likes of the Horrors, Com Truise, Breton and Liars.
The same year, the band found an unlikely partner in the Royal Scottish National Orchestra, performing a series of intricate arrangements of their songs as part of The Spree festival at Paisley Abbey in October. For a group whose noise-laden live shows are synonymous with the tight unity afforded by a small stage, adding 89 members to the band and playing to a former monastery seemed unprecedented, even risky; but in the sweeping strings, brass flares and tuned percussion of the RSNO the Twilight Sad took on a cinematic quality. The live recording of the show which surfaced last Christmas was an indicator of a band willing to venture into unchartered territories and coming out the other side stronger than ever before. Where NOCEK demonstrated their comfort in minimalism, the RSNO collaboration showed a band able to succeed at the opposite end of the spectrum. For now, it's all eyes ahead as the band ready their fourth album, Nobody Wants To Be Here And Nobody Wants To Leave.
"We spent a lot of time at home when writing this new record, we got to hang out with old friends and get back to some sort of normality, which I think really helped me clear my mind and focus in on writing these new songs," Graham says. "I had a lot I wanted to get off my chest and I've done that with this new record."
Where each album prior to NWTBHANWTL saw the Twilight Sad tackling new sounds and ways of writing, their latest work draws from their entire career. MacFarlane says: "Over the 8 years we've been touring, our live sound has taken on different forms, from full on noise/feedback, to a sparse, synth led sound, to a stripped back set up with just keys, drum machine and guitar, to playing with an orchestra, and to just an acoustic with vocal. We wanted to try and capture all of those elements and develop them in some way to make the new record." Opting to stay in Glasgow, the album was produced at Mogwai's Castle Of Doom studio, engineered by live soundman Andrew Bush, mixed by Peter Katis (also responsible for Fourteen Autumns), with touring member Johnny Docherty playing bass.
Despite critical acclaim accompanying all of the band's releases to date - not to mention their exhilarating live shows - mainstream popularity has largely evaded the Twilight Sad, while the scene from which they hail has become more of a force on the international circuit. As their fellow Fat Cat brothers Frightened Rabbit parted ways in favour of a major label deal, former TTS bandmate Martin Doherty found fame as one third of Chvrches. Both have remained firm friends of the band, the latter inviting Graham to join them onstage at their recent T in the Park appearance, and there's certainly no bitterness or envy on the Twilight Sad's part - but it does seem like an injustice has been served for a group so talented.
"Do I want our songs to played on the radio? Yes I do. Do I want our band to have features in magazines and websites? Yes I do. The only reason I want that is so that more people can learn of and discover our music," Graham says. "We would never write music just to get those things, if people like our music enough to make those things happen then that's great, if not we're not going change our music so it fits into certain boxes to make that happen. I love being in this band, it's everything to me. I want to play big gigs, small gigs. I just want to write and play music for as long as I can. We don't write pop songs (p.s. I love pop songs) so I don't think we'll ever really break into the mainstream but if we can keep progressing musically and people are still coming to our gigs then I'll be happy. If something crazy happened and we did break through to mainstream we'd embrace it with both hands while still staying true to ourselves."
A first listen to the album confirms everything the band has said - noisy, densely layered, and deeply melodic, it wouldn't be out of line to say this may be their best yet. One thing's for sure - the Twilight Sad have still got a lot of life left in them.
"I think it's a testament to the music we've written and the people who support our band that we've got this far," Graham says. "Everyone always says their new album is their best, I'm not going to say that. I love all of our albums as they document that time in our lives be it good or bad. All I'll say is that I am extremely proud of the record and I hope everyone loves it as much as I do."
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, Maryland, 21044