From the handheld metal detector security checks at the entrance – a first at the Beacon – to a roadie wafting clouds of sage incense around the stage before the lights went down, The Cult were taking no chances.
The vigorous security checks were at the request of the band’s overly cautious American management apparently concerned about the increase in weapons in the UK. The incense was, according to the chap next to me wearing an official band tour laminate, to ward off any evil spirits.
And that’s not to mention the final moments of the 90-minute show when frontman Ian Astbury thanked the sweat-drenched crowd before kneeling at the front of the stage for a silent prayer. No, this wasn’t your average show by any means.
This was a rare UK show from The Cult on a world tour called The 8424 to celebrate their 40th anniversary. I saw them in 1984 at the now-gone Studio around the corner from the Beacon just as they were becoming one of the biggest bands around and I can still remember it – they were mesmerising.
Since then, they have split up and reformed a few times, released several albums of varying quality and Astbury spent time fronting The Doors as a quasi-Jim Morrison. But they’re back with a set that spans 40 years and the fact the gig was a near sell-out shows how loyal their fans have been.
Dressed all in black including a bandana, Astbury is a youthful 62 and certainly has more energy than men considerably younger. He spent much of the show prowling around the stage, throwing and kicking his tambourine around.
Fellow original member Billy Duffy is a more restrained performer these days. Gone are the flamboyant foot-on-the-monitor guitar solos of old but he’s a truly gifted guitarist and he was more concerned with cranking the Marshall amps up to 11 rather than anything too fancy.
The first half of the set was more of a scene setter with Wild Flower and Rise getting the best reaction although Astbury seemed a little frustrated the fans weren’t going as wild as perhaps he expected.
But the set ignited halfway through with a storming version of Resurrection Joe followed by an acoustic Edie (Ciao Baby) and a roof-raising Sweet Soul Sister. The band were now in full-on rock god mode and Fire Woman, Rain, Spiritwalker and Love Removal Machine were goosebump-creating blasts from the band’s heyday.
And, of course, they kept the best to last and it was worth the 90-minute wait. A show-closing version of their best known hit She Sells Sanctuary had fans of pensionable age diving into the moshpit as if it was 1984 all over again – a sight to behold and the end of a triumphant return by one of the post-punk’s truly great bands.