Photos and review by ALYSON CAMUS
LOS ANGELES – Cruel World Fest’s weather was rainy, and for several hours everyone tried to shelter from the rain with plastic ponchos and improvised raincoats. Last week, Just Like Heaven’s attendees suffered from heat stroke… but what a difference a week makes!
It was not pouring but it was enough to soak the ground after a few hours. However, this didn’t stop anyone. A few performers even commented on the gloomy meteorology. ‘Til Tuesday’s Aimee Mann felt sorry for us for standing in the rain, Alison Moyet told us they “had brought British weather with us,” Garbage’s Shirley Manson said her hit “Only Happy When It Rains” felt particularly fitting, She Wants Revenge’s Justin Warfield declared it was perfect weather for Cruel World, and New Order’s Bernard Sumner joked to be happy in “sunny California,” only to apologize for bringing Manchester’s typical atmospheric conditions with him.
It’s no surprise—the goth scene is dominated by English and Scottish bands (Midge Ure, Alison Moyet, Blancmange, Stereo MC’s, Garbage, Buzzcocks, Madness, OMD, Death Cult, New Order…) and they felt right at home in otherwise sunny California. As for the audience, wearing black leather had never felt so comfy.
With four stages and a total of 36 acts performing in one long afternoon and evening, Cruel World was both massive and triumphant, rain or shine. By late afternoon, the crowd had clearly split into two camps: the Nick Cave and the Bad Seeds/New Order crowd at the Outsiders Stage, and the Devo/The Go-Go’s crowd at the Sad Girls Stage.
But before the headliners, there were plenty of bands to keep anyone busy for a week. From punk to new wave to goth, Saturday’s lineup fully represented the rich musical landscape of the ’80s. Fans could catch legends and upcoming acts alike, proving these genres are far from fading away.
At the Outsiders Stage, I started my day with a mix of young and veteran bands. The darkwave/post-punk band Social Order from Las Vegas opened the festival early with their moody synthpop. Vancouver’s ACTORS, led by Jason Corbett, continued the post-punk atmosphere with an ’80s pop-influenced set and a bold announcement: “This is a song about anal sex,” which made some people around me laugh.
Swedish synth-pop duo Kite, consisting of Nicklas Stenemo and Christian Berg, energized the crowd with a dynamic electronic set—flanked by two bodybuilders pedaling on stationary bikes.
Renowned Scottish musician Midge Ure, known for his work with Ultravox and Visage, delivered a memorable performance showcasing his powerful voice, performing classics like “Dear God,” “If I Was,” “Fade to Grey,” and “Vienna.” Nostalgia was high as he blended guitars, synthesizers, loops, and samples to recreate the rich textures of his classic tracks, joined by longtime collaborator Charlie Round-Turner.
She Past Away proved once again that music transcends borders. The Turkish duo’s darkwave set resonated deeply with fans of gothic rock and post-punk.
On the poppier side, Neil Arthur of British duo Blancmange seemed to genuinely enjoy playing in front of such a large crowd. Fans embraced favorites like “Living on the Ceiling,” “Blind Vision,” and “Don’t Tell Me,” alongside tracks from their more recent albums.
With their dark, atmospheric soundscapes, Los Angeles-based darkwave Mareux kept the atmospheric mood alive, while including a cover of the Cure’s “The Perfect Girl.”
Alison Moyet electrified the crowd with a stellar set of solo material and plenty of Yazoo hits, including “Nobody’s Diary,” “Only You,” “Situation,” and, of course, the infectious “Don’t Go.”
The legendary British punk rock band Buzzcocks (now without Pete Shelley and Howard Devoto) was fronted by original guitarist Steve Diggle on vocals. Despite the rain falling again during their set, Diggle fired up the crowd and everyone sang along during “What Do I Get?” “Ever Fallen in Love (With Someone You Shouldn’t’ve),” “Harmony in My Head.”
Cruel World also marked the reunion of Aimee Mann’s band ‘Til Tuesday, who effortlessly performed their first gig in 35 years. Their appearance was the biggest surprise of the festival, considering Aimee Mann had left the band around 1990 to pursue her solo career. With Aimee on bass and vocals, and original members Robert Holmes on guitar, Joey Pesce on keyboards, and Michael Hausman on drums, their melodic tunes, which have clear roots in ’80s new wave, provided a contrast to the darker soundscapes earlier in the day.
Their set included “Love in a Vacuum,” “What About Love,” “Looking Over My Shoulder,” and “Coming Up Close.” They also paid tribute to fellow ’80s legends by covering The Cars’ “Drive”—a band that, sadly, will never play Cruel World—before ending with their unforgettable hit “Voices Carry.”
Orchestral Manoeuvres in the Dark, aka OMD, transformed the Outsiders stage into a giant dancefloor, while playing a very triumphant set including their most famous tracks like “Electricity,” If You Leave,” “Enola Gay.” Their catchy synth-pop engaged the ecstatic crowd thanks to frontman Andy McCluskey’s energetic stage presence, complete with spirited dance moves. It was a perfect example of how nostalgia, when matched with music that still resonates, creates pure magic. The brilliant set reinforced OMD’s legacy as pioneers of synth-pop genre-defining.
I hadn’t heard anything from She Wants Revenge in years – though they seemed to be everywhere in the mid-2000s – and their appearance at Cruel World was their only scheduled show for 2025; their set was on many people’s schedule for that very reason. Frontman Justin Warfield, with his distinctive look and commanding presence, was right at home on the Cruel World stage. Using his signature deadpan, monotone delivery, he performed fan favorites like “Red Flags and Long Nights,” “Sister,” “Out of Control,” “These Things,” and “Tear You Apart.” They also surprised the crowd with a Psychedelic Furs cover, “Sister Europe,” featuring Hunter Burgan of AFI on saxophone. As I rushed to the other stage, I couldn’t stop thinking how some of their songs carried that same brooding tone and film noir aesthetics as Interpol.
Despite the post-punk, new wave, and goth theme of the lineup, Cruel World offered a wide range of genres, and Madness brought an entirely different vibe – a joyful and fun one – launching right into their Prince Buster cover “One Step Beyond.” Their signature blend of ska and pop turned their performance into a fun, vibrant party. Hits like “Our House,” “House of Fun,” “It Must Be Love,” and “Night Boat to Cairo” had the crowd dancing in the rain. There were a lot of musicians on stage, radiating camaraderie, and saxophonist Lee Thompson danced enthusiastically in a transparent poncho and, at one point, reportedly stripped down and threw his shoes into the crowd.
I only had a few minutes to catch the always-entertaining Devo before Garbage’s performance on the Outsiders Stage. Festivals are often about delivering the hits, and Devo didn’t disappoint. They performed “Don’t Shoot (I’m a Man),” “Girl U Want,” “Whip It,” “Uncontrollable Urge,” “Mongoloid,” and “Gates of Steel,” all enhanced by their trademark humor, costume changes, and bizarre visuals. Unsurprisingly, I spotted plenty of fans in the crowd wearing Devo’s signature red “energy dome” hats.
Garbage has always been a genre-defying band, blending rock, electronic, and pop elements into a sound that feels uniquely theirs. Shirley Manson, with her magnetic stage presence, anchored a powerful performance. Wearing a mostly green but multicolored grungy dress made of layered materials, she commanded the stage during hits like “#1 Crush,” “I Think I’m Paranoid,” “When I Grow Up,” “Stupid Girl,” “Only Happy When It Rains,” “Cherry Lips (Go Baby Go!),” and “Push It,” along with their freshly released song “There’s No Future in Optimism.” With her unmistakable charisma and glamorous grit, Shirley graciously paid homage to her musical heroes during her set, while talking about her early days in Scotland in the ‘70s when there were few Scottish rock icons to look up to: She mentioned Devo, who were playing at the same time on the Sad Girls stage – ironically, a perfectly fitting name for her – New Order, Madness and especially Nick Cave, who was scheduled right after them.
I don’t think I am biased when I say that Nick Cave and the Bad Seeds should have been the true headliners. Playing second to last, they were essentially co-headliners with New Order, but, as much as New Order brought dancefloor anthems, the level of engagement Cave had with the audience was unmatched. He is such a unique performer, and he brought an emotional fire. Nick Cave only conceived a show when he has physically and emotionally touched everyone in the crowd while creating his own tempest. He never stays still, barely touches the ground, leaping from behind his piano to the catwalk above the barricades, and reaching into the crowd to touch hands, as he always does. He spent more time straddling the edge than standing on the stage. The stage was filled with a powerhouse ensemble of musicians including the ever-explosive Warren Ellis, several spel-influenced backing vocalists in silver sequined gowns, and Radiohead’s Colin Greenwood, filling in for longtime bassist Martyn Casey during the Wild God tour.
Since Cruel World marked the final stop of the North American “Wild God” tour, it was frustrating that their set lasted only 70 minutes – far shorter than the three-hour sets performed in other cities. Still, Cave made the most of it, opening with “Frogs” and “Wild God” before diving into classics like “Tupelo,” “Jubilee Street,” “Red Right Hand,” “From Her to Eternity,” and “The Weeping Song.” The show was a spiritual tempest, a series of sing-alongs, and full crowd participation following each one of Nick’s impressive and stormy moves.
For the entire set, he walked at the edge of the stage like a mad man, grabbed as many hands as he could, paused his own hand on one happy fan’s head as if he was a prophet while a forest of arms was constantly raised toward their savior. A Nick Cave and the Bad Seeds show is a transformative experience, an addictive habit that people cannot get rid of – I was standing next to people who had just attended shows in Seattle and San Francisco and were still there in the middle of a large crowd, ignoring The Go-Go’s set. The show also had its part of quietude and contemplation during “Joy,” (which he jokingly said was “written to really bum you out”) and especially “Hollywood,” a “very long” one as he said. It was the first time he had ever played the closing track of the “Ghosteen” album with his full band. The rendition of the song suspended time – personal grief, catharsis, redemption, transcendence, emotional devastation and ethereal instrumentation wrapped into one sprawling epic and deeply emotional piece. The woman in the front row stretching her hand with a red glove toward him was not alone in her adoration.
Nick Cave and the Bad Seeds’ full setlist: Frogs, Wild God, Tupelo, Jubilee Street, Joy, Red Right Hand, From Her to Eternity, The Weeping Song, Hollywood
I would have loved to catch The Go-Go’s but it was too late to catch a good portion of their set. New Order closed the festival with twelve songs, including three Joy Division covers. In full contrast with the preceding performers, their stage presence was subdued, with minimal crowd interaction—just a passing mention of Manchester’s rainy weather matching the present moment. But that melancholic detachment worked in its own way. Behind the deadpan delivery and the cool detachment of the lyrics, their soaring synths and infectious beats turned the main lawn into a euphoric dancefloor. Green and purple lasers lit up the night as they played everyone’s favorites – “Age of Consent,” “Blue Monday,” “Bizarre Love Triangle” and ”Temptation.” As expected, they closed their set with Joy Division’s most famous tune, “Love Will Tear Us Apart,” giving a final and well-suited touch to Cruel World.
New Order’s full setlist: Transmission, Age of Consent, Isolation, Regret, State of the Nation, Sub-Culture, Bizarre Love Triangle, Plastic, True Faith, Blue Monday, Temptation, Encore: Love Will Tear Us Apart
