On Saturday, May 17, the fourth annual Cruel World Festival took place in Pasadena, California. Just days earlier, the same venue hosted the Just Like Heaven Festival under record-breaking 100°F heat. For Cruel World, though, those sun-baked skies were replaced by a fittingly gloomy California “May Gray” morning. By afternoon, fog and drizzle had turned the grounds into a rain-soaked playground—yet neither damp conditions nor chill kept dedicated fans or performers from embracing every moment.
This year’s lineup was exceptionally strong, featuring European acts that seldom visit the U.S., plus a couple of special reunions. Early in the afternoon, Scottish legend Midge Ure took the Outsiders Stage. SiriusXM DJ Richard Blade—formerly of KROQ-FM—enthusiastically introduced Ure’s résumé (Ultravox, Visage, Band Aid, Thin Lizzy). Ure delivered dramatic, soaring vocals while alternating between electric guitar and synthesizer. At his side, Charlie Round-Turner provided keyboards and backing vocals, using loops, samples, and programmed drums in what Ure affectionately calls his “Band in a Box.”
Ure’s uplifting 1985 solo UK chart-topper “If I Was,” with its lush synths and nimble guitar solo, set the tone. Ultravox’s “Hymn” further energized the crowd, and the set closed with a spirited sing-along on “Dancing with Tears in My Eyes.”
One of the festival’s standout moments was Blancmange’s rare U.S. return after 39 years. Fronted by singer-songwriter Neil Arthur, the London synth-pop duo charmed fans with classics like “Living on the Ceiling” and “Don’t Tell Me.” Having disbanded in 1986 and reunited in 2011, Blancmange is currently touring behind Everything Is Connected, a compilation spanning 1979 to 2024. Supported by Tara Busch of I Speak Machine on keyboards and backing vocals, they introduced the adrenaline-charged new track “Again, I Wait for the World.” Arthur’s dry wit shone through when he asked, “Where have I been all your lives?” Later, during “What’s the Time,” he quipped, “What’s the worst president you ever had?” provoking cheers. A dramatic, Bowie-esque “Some Times These” featured Arthur’s bold gestures, underlining its edgy tone. They wrapped with Middle Eastern-tinged hits—“Living on the Ceiling,” “Blind Vision,” and “Don’t Tell Me”—all delivered with style and energy.
Next up was English singer Alison Moyet, backed by guitarist-synth player Brendan Cox and bassist-music director Sean McGhee. Moyet kicked off with the irresistible Yazoo classic “Nobody’s Diary,” then navigated styles from the funky electro beats of “Changeling” to the dark industrial undertones of “Beautiful Gun.” Highlights included the dramatic pop of “It Won’t Be Long” and “Love Resurrection,” plus Yazoo’s anthems “Situation” and “Don’t Go,” which added waves of nostalgia.
Goldenvoice then surprised everyone with the first ‘Til Tuesday reunion since 1992. Aimee Mann led the 45-minute set, joking about it being “the group’s first gig in almost 40 years.” After a brief false start—playing in different keys—Mann subtly lowered the pitch and powered through. Their mix of hits and deep cuts included a heartfelt cover of The Cars’ “Drive.” As they wrapped “Voices Carry,” the revolving stage began retracting a minute past their slot, pulling them off mid-coda. Mann delivered the iconic “He said, ‘shut up!’” just as they disappeared backstage, ending on a theatrical high.
As evening settled, OMD (Orchestral Manoeuvres in the Dark) hit the stage. They opened with the atmospheric “Electricity,” then delivered timeless favorites “Enola Gay” and “If You Leave,” introduced by Andy McCluskey as from “that movie” (Pretty in Pink). At 65, McCluskey still commanded the crowd, encouraging pogoing and joking that without proper arm movement “you look like Elon Musk.” Joined by Paul Humphreys on keyboards and two more musicians, they rounded out their breezy set with “So in Love,” “Dreaming,” and “(Forever) Live and Die.” Occasional live drums and saxophone added depth to their synth-pop canvas.
On the Sad Girls Stage, Madness offered a whimsical, unpredictable show. Dressed impeccably against a backdrop of London street maps, the ska/pop pioneers—together since 1976—proved their enduring appeal. Frontman Suggs wove jokes, storytelling, and nods to The Fall and Nick Lowe between hits like “Our House,” “It Must Be Love,” “House of Fun,” “Baggy Trousers,” and “The Prince.” A surprise guest appearance by producer Clive Langer on guitar during “Madness” ignited a skanking frenzy.
Garbage opened their set with “Laura Palmer’s Theme” from Twin Peaks, then unleashed a powerful rendition of “The Men Who Rule the World.” Lead singer Shirley Manson prowled the stage in a Mardi Gras-inspired outfit, warning that “There’s No Future in Optimism” wasn’t fully rehearsed. Still, the hypnotic melody previewed their upcoming album Let All That We Imagine Be the Light (out May 30). The crowd devoured “Only Happy When It Rains,” which began as a piano ballad before bursting into full tempo. Other highlights: ’60s girl-group vibes on “When I Grow Up,” enriched by bassist Nicole Fiorentino’s backing vocals; fierce takes on “I Think I’m Paranoid,” “Cherry Lips (Go Baby Go),” and the anthemic “Push It,” which Manson prefaced with a bold “Free Palestine!” rallying cry.
Back on the Sad Girls Stage, the Go-Go’s wrapped up their six-show reunion mini-tour. After a three-year hiatus, the original five members—led by Belinda Carlisle in a vintage gold lamé catsuit—brought sunny optimism to the damp afternoon. Bassist Kathy Valentine’s thunderous lines and drummer Gina Schock’s impromptu mic takeover (“I’m working my fucking ass off up here!”) kept the energy high. They closed with “Our Lips Are Sealed,” cleverly weaving in Chappell Roan’s “Hot to Go” for a triumphant finale.
Devo then proved they’ve long outgrown the “novelty band” label. Donning red energy dome hats, Mark Mothersbaugh and his band delivered mesmerizing kinetic videos, costume changes, and boundless energy, prompting the crowd to chant “We are DEVO” and toss hats onto the stage.
Nick Cave and the Bad Seeds commanded the early-evening slot on the Outsiders Stage. Stark black-and-white projections magnified their presence as they opened with two spiritually charged tracks from their Grammy-nominated 2024 album Wild God: “Frogs” and the title track. Cave’s soaring vocals and rich backing harmonies then gave way to a frenzied, seven-minute “Tupelo,” driven by a tumultuous crescendo featuring Radiohead’s Colin Greenwood on bass. Their set peaked with the 14-minute dirge “Hollywood,” written amid the Woolsey fire’s aftermath and resonant with renewed gravitas: “Everybody’s losing someone… and I’m just waiting now for my time to come.”
New Order’s closing set provided a cool, laid-back conclusion. Commemorating the 45th anniversary of Joy Division singer Ian Curtis’s passing, they included three selections from their former incarnation. Though Bernard Sumner’s delivery on “Transmission” and “Isolation” was subdued, live remixes of “State of the Nation,” “True Faith,” and “Bizarre Love Triangle” injected fresh energy. Classic dance-floor anthems “Blue Monday” and “Temptation” left the audience on a euphoric high.
Overall, the fourth Cruel World Festival married Goth and rock acts with a rain-soaked backdrop to evoke a moody European atmosphere. From rare reunions like ‘Til Tuesday and Blancmange’s U.S. return to powerful sets by Alison Moyet, OMD, Madness, Devo, Nick Cave and the Bad Seeds, and New Order, the event delivered a vivid, Gothic-tinged spectacle that thrived amid drizzle and fog.
