The Cult Shed the Years to Celebrate 40 Years at Edinburgh's Usher Hall

★★★★☆ (4/5)

THE CULT PERFORMING LIVE At EDINBURGH’S USHER HALL
PHOTOCREDIT: CALUM BUCHAN

The Cult - post-punk pioneers turned hard rock titans, delivered a masterclass with the packed venue hanging on every note.

First up, the audience was drawn into the unique sonic and artistic world of Jonathan Hultén. The one-time guitarist of Swedish death rockers Tribulation emerged to share his folk-rock music, beautifully arranged and delivered by Jonathan as a one man band. The ethereal tunes from his “Chants from Another Place” album went down well with the early crowd who gave Hultén a rousing reception. A weird but somehow perfect launch for the headliners.

From the moment Ian Astbury emerged, head-to-toe in black and wielding his shamanic tambourine, we were in for something special. Opening with "In The Clouds", the band immediately demonstrated why they've survived four decades in the business. Billy Duffy's aggressive guitar riffs cut through the venue like a knife. Astbury's voice showed remarkable preservation, soaring over the thunderous rhythm section.

The set traversed their extensive catalogue, but it was "Fire Woman" that ignited the crowd. The 1989 classic prompted a sea of raised fists and a mass singalong that threatened to drown out Astbury himself. Duffy's iconic riff reverberated off the Usher Hall's ornate ceiling, proving why this track remains a cornerstone of their live performances. Early tracks “Rain” and the stunning “Spirit Walker” saw huge levels of energy from the band. Astbury strutted and skipped around the stage, growling at the crowd, spinning his mic around his head as Duffy shredded his guitars - all power chords and riffs. The set culminated with a razor-sharp version of “Love Removal Machine” with Duffy’s riffs, part Angus Young aggression, part Jimmy Page precision souring over the thundering rhythm section of John Tempesta on drums and Charlie Jones on bass.

The sound deserves special mention. Even though the volume at times was set to 11, the mix allowed subtle nuances to shine through even during the heaviest moments. The venue's natural acoustics complemented the band's wall of sound, particularly during the quieter, more atmospheric passages such as “Edie (Ciao Baby).

Stage presence has always been The Cult's signature, and age hasn't diminished their command of the space. Astbury prowled the stage like a caged lion, while Duffy, positioned stage right with his Telecasters and signature Gretsch White Falcon, remained the stoic foil to Astbury's energy. Ian seemed very keen that the audience make the most of the night, challenging them to let go and free themselves to the experience.

The encore brought the evening to a magnificent climax. "Brother Wolf, Sister Moon" showcased the band's gothic rock roots, with Astbury's voice taking on an almost magical quality. But it was the final song, "She Sells Sanctuary," that nearly brought the house down. The opening riff alone caused an eruption of cheers, and the performance that followed was electrifying. The entire room pulsing and moving to one of alternative rock's most enduring anthems.

At a time when many of their contemporaries are content to simply go through the motions, The Cult continue to perform with the hunger of a band half their age. The performance wasn't just a nostalgia trip – it was a reminder that great rock 'n' roll is timeless, and in the right hands, it's still capable of delivering unique, visceral experiences.