REVIEW: NICK CAVE, DEVO, OMD ROCK A RAINY GOTH DANCE PARTY - CRUEL WORLD 2025
REVIEW
REVIEW
☆ BY KYLEE WIENS ☆
Goldenvoice’s Cruel World returned to the Pasadena Rose Bowl last weekend for its 5th annual New Wave dance party. Popular 80s acts such as Nick Cave and the Bad Seeds, New Order and OMD were set to grace the day’s stages as dark, looming clouds and a steady rain set the backdrop for the festivities. Still, goths, punks and everything in between came out in droves - with ages spanning from young children to veterans of the alternative rock scene.
I arrived at the festival around 2:00 pm and (literally) hit the ground running. I had a set to catch at the Main Stage, which was conveniently located on the opposite end of the festival grounds from where I had parked my car. Midge Ure was set to play at 2:05, and as a somewhat recent fan, I didn’t want to miss it. After stopping a couple (okay, maybe a few) times to catch my breath, I made it to the stage just as he was finishing up his breakout solo single “If I Was”. Despite charting for the first time in 1985, the track holds its strength - shimmering synth sounds and bright pop sensibilities pack perfectly equal parts nostalgia and intrigue. Ure went on to honor Ultravox’s legacy, the 80’s New Romantic band of which he was formerly frontman. The band hasn’t performed as a group since 2013, but their elegant and emotional grandeur live on through Ure’s exceptional performances. He ended the set in gratitude for “...91x, college radio stations and independent media that took a chance on us and put out our work”.
While I would’ve loved to bask in the glory of that set for a few more minutes, I had to quickly make my way to the Sad Boys stage to catch the legendary English punks Buzzcocks. The rain had picked up at this point, and temperatures started to drop. My very cute outfit was unfortunately not nearly warm enough for the weather; nevertheless, I persisted. Current lead vocalist Steve Diggle was tearing through “Destination Zero” by the time I arrived, a thrashy punk tune released after the passing of former frontman Pete Shelley. While the sound seemed to be a little off, Buzzcocks themselves were not at fault and still delivered a high-octane set.
After waiting about an hour in the merch line and dropping a questionable amount of cash on a couple t-shirts, I was ready to head back to the Main Stage for one of my favorite bands of all time. Orchestral Maneuvers in the Dark (OMD) was up next, and I had been looking forward to their set for months. They aptly introduced the impressive performance with “Electricity”, the band’s first ever single released on Factory Records. Between oscillating synth explosions and lyrics critiquing the wasteful use of energy resources, original members Paul Humphreys and Andy McCluskey harnessed the same sense of urgency as when the song was written over four decades ago. Their performance charged on through the light drizzle, speeding through classics like Pretty in Pink’s “If You Leave” and 1981’s “Joan of Arc”. Vocalist Andy McCluskey’s dazzling stage presence and impressive dance moves energized the crowd. Paul Humphrey’s command and creativity on keys provided just the right mix of reminiscence and renaissance. The set concluded with the seminal and near-perfect “Enola Gay”, a glittery electronic exploration of post-Hiroshima guilt. In contrast to their effervescent and jovial instrumentation, the band's impactful political messages still resonate in 2025’s turbulent political climate. OMD masterfully exuded both a respect for the past and an optimistic view of the future. Needless to say, they were an instant highlight of the day.
I then hustled back to the Sad Boys stage to catch the rest of She Wants Revenge. The darkwave revival act of the early 2000’s put on a moody noir performance - complete with the cold monotone lyrical delivery by Justin Warfield and Adam Bravin’s prominent, driving basslines. The gloomy weather paired with the band’s signature monochrome aesthetics were a match made in heaven.
After dodging the rain for a few minutes in the CLUB DOOM DJ Tent, it was time to head back to Sad Girls for the inimitable Devo. Red energy dome hats lined the crowd, and a friend and I managed to secure spots at dead-center stage. Despite being some of the founding fathers of the New Wave movement, the Ohio band didn’t leave an ounce of energy unaccounted for. Complete with colorful collaged visuals and several costume changes, their set was as much a dance party as it was an immersive experience. Mark Mothersbaugh and company powered through hits like “Don’t Shoot (I’m a Man)”, “Whip It” and “Girl U Want” with formidable stage presence. Devo has little to prove - they’ve etched themselves into the cornerstone of alternative music history since the late seventies - yet still delivered one of the most exciting acts of the day. I trekked back to the Main Stage after their set with “Are We Not Men? We are Devo!” still cycling over and over again in my mind.
At this point the sun had fallen, and I succumbed to the cold weather by purchasing an entirely overpriced hoodie to throw on over my damp clothes. Nick Cave and his Bad Seeds took the main stage shortly after, and what followed was electric. Cave delivered his performance like a sermon, carefully devoting himself to every syllable. His signature vocal style - ranging from whispery spoken word to impassioned howls- married beautifully with the band’s dynamic interplay between quiet introspection and loud catharsis. The septet spanned their vast discography, including the poignant ballad “From Her to Eternity” and the slow-burning, hypnotic “Jubilee Street”. Cave took the crowd by surprise by concluding his set with a fourteen-minute ballad. “Hollywood” is an exploration of grief, widely considered to be about the passing of Cave’s son. This is the first time the Bad Seeds have ever performed the song live, and the refrain “Everybody’s losing somebody” was a haunting conclusion to the vividly emotional performance. The crowd exploded in cheers as the band took their bows, and it became clear that Cave could have easily held the headliner spot.
New Order rounded out the day’s festivities with a sound that was, well, a little polarizing. Veteran goths and diehard fans reveled in the group's reimagining of Joy Division's “Isolation” and “Transmission”. Others around me loudly complained about the seeming lack of energy in Bernard Sumner’s vocal performance, especially in classic tracks “Blue Monday” and “Bizarre Love Triangle”. Still, New Order’s visual elements were engaging and intriguing; flashing lights and pointed lasers accompanied hits like “True Faith” and “Temptation”. As a somewhat seasoned fan of the band, I was still happy with the performance despite its technical hiccups. It’s not every day you get to live out 80s nostalgia in real-time while dancing with fellow creatures of the night. I understood the frustration of my fellow attendees, though.
Still, Cruel World 2025 exceeded my expectations. While the weather could’ve easily ruined the day, festival staff and attendees remained upbeat. The artists left their all on the stages, and I got to check many heroes off my concert bucket list. Most importantly, maybe, was the range of human emotion I got to experience. From joy and euphoria to grief and longing, and every nuanced human experience in between, the music spoke to both the past and future of what it means to be alive. That in itself is a feat to be celebrated, and I can only hope for slightly sunnier skies next year.
