Parkbühne Wuhlheide, Berlin, Germany
10th July 2026
The Cure & Support: Just Mustard, The Twilight Sad
The first of three consecutive Berlin concerts brought THE CURE back to the Parkbühne Wuhlheide, one of the city’s most atmospheric open-air venues. Thousands of fans from several generations gathered beneath the trees to experience a band whose music has accompanied people through love, loss, youth and adulthood for almost five decades.
Unfortunately, work commitments and severe traffic problems prevented me from arriving in time for JUST MUSTARD, but I reached the venue for THE TWILIGHT SAD and was able to experience the remainder of an evening filled with warmth, melancholy and timeless music.
Just Mustard
JUST MUSTARD are an Irish band from Dundalk whose music moves between Shoegaze, Noise Rock, Dream Pop and experimental sound design. Their dense guitar textures, unusual rhythms and haunting vocals have earned them considerable attention beyond Ireland and made them a fitting choice for an evening built around atmosphere and emotional intensity.
Unfortunately, I was unable to witness JUST MUSTARD personally. Work commitments followed by traffic chaos delayed my journey considerably, and I reached the Wuhlheide only after their performance had ended. It would therefore be unfair to assess their sound, lighting or interaction with the audience. Nevertheless, their dark, immersive approach made them a well-chosen opening act for a line-up centred on texture, mood and emotional depth.
Setlist
01. Seven
02. I Am You
03. Endless Deathless
04. Pollyanna
05. Deaf
06. Dandelion
07. We Were Just Here
The Twilight Sad
Formed in Kilsyth, Scotland, THE TWILIGHT SAD have developed into one of the most respected names within contemporary Alternative Rock and Post-Punk. Their music combines emotionally charged vocals, dense guitar layers and dark, cinematic atmospheres. Robert Smith has long supported the band and repeatedly invited them to join THE CURE on tour, yet their sound remains distinctive rather than derivative.
Music & Performance
By the time THE TWILIGHT SAD took the stage, the Wuhlheide was steadily filling, and the band immediately created an atmosphere that felt surprisingly intimate despite the size of the venue. Their music did not rely on immediate hooks or exaggerated gestures. Instead, they built tension gradually through shimmering guitars, heavy rhythmic passages and an emotional intensity that drew the audience deeper into the performance.
The vocals carried a mixture of vulnerability and urgency, while the instrumental layers moved between restrained melancholy and powerful walls of sound. This dynamic made them an ideal bridge between the early part of the evening and the emotional weight of the headliner. The audience responded with genuine appreciation, and many visitors clearly knew the band from their previous appearances with THE CURE.
Their performance never felt like a conventional support slot. It had its own identity, its own emotional centre and enough depth to command attention on a large stage.
Setlist
01. DEAD FLOWERS
02. Designed to Lose
03. VTr
04. ATTEMPT A CRASH LANDING - THEME
05. Last January
06. There’s a Girl in the Corner
07. And She Would Darken the Memory
08. Waiting For the Phone Call
The Cure
THE CURE were formed in Crawley, England, in 1978 and have since become one of the most influential bands in Alternative Rock, Post-Punk and Gothic music. Led by Robert Smith, the group created an extraordinary catalogue that ranges from stark, introspective works such as ‘Pornography’ and ‘Disintegration’ to brighter, instantly recognisable Pop songs. Their latest album, ‘Songs of a Lost World’, once again demonstrated that melancholy, beauty and emotional honesty remain at the heart of their music.
Music & Performance
Long before THE CURE appeared, anticipation could already be felt throughout the sold-out Wuhlheide. Conversations became quieter, attention shifted towards the stage, and the large open-air venue suddenly felt connected by a shared sense of expectation. Then Robert Smith appeared. There was no overdramatic entrance and no need for grand gestures. His familiar silhouette, distinctive hair and warm smile were enough to create an immediate response.
Despite his status as one of the most recognisable figures in Alternative music, Smith appeared remarkably modest and approachable. There is something deeply sympathetic about the way he performs. He does not demand admiration or attempt to appear larger than the songs. Instead, he allows the music to speak and seems genuinely touched by the affection coming back from the audience.
From the first moments, the band sounded exceptionally precise. Simon Gallup had to miss out due to health reasons. He was replaced by his son Eden and his bass gave the songs still their unmistakable pulse, while the guitars moved between fragile beauty, bright melodies and vast, atmospheric layers. Roger O’Donnell’s keyboards added depth without becoming dominant, and the rhythm section provided both power and restraint. The sound remained clear even during the denser passages, allowing every element to retain its place.
What makes THE CURE so special is their ability to transport listeners back in time without becoming trapped in nostalgia. Familiar melodies seemed to unlock personal memories throughout the audience. Some visitors were visibly moved, others embraced, smiled or sang along, and many appeared to be briefly transported back to another period of their lives.
‘Pictures of You’ was one of those instantly recognisable moments. Its opening atmosphere alone seemed to change the mood across the venue, and the song unfolded with the emotional weight that has made it so enduring. Yet the evening was not simply a succession of famous titles. The performance moved through different shades of THE CURE’s catalogue, from introspective and spacious pieces to songs that encouraged the entire Wuhlheide to sing and dance.
Rather than relying on a straightforward greatest-hits approach, THE CURE carefully guided the audience through different chapters of their remarkable catalogue. Beloved classics such as ‘Pictures of You’, ‘Lovesong’, ‘High’ and ‘A Forest’ naturally drew some of the evening’s biggest reactions, while deeper cuts and more recent material blended seamlessly into the set. Instead of revealing every surprise from the first night, it is perhaps only fair to leave a few discoveries untouched for those still attending the remaining Berlin shows. Suffice it to say that the balance between nostalgia and artistic progression could hardly have been better.
The emotional range of the performance was remarkable. Some songs created an almost meditative stillness, while others released all the tension through bright melodies and powerful rhythms. THE CURE never rushed through the material. Each composition was given enough space to develop, allowing the audience to become fully immersed rather than simply waiting for the next familiar chorus.
The lighting supported the music with considerable sensitivity. Dark blues, deep reds and softer tones transformed the stage without overwhelming the musicians. As daylight faded and the trees around the Wuhlheide disappeared into darkness, the combination of location, light and sound became increasingly magical. Robert Smith’s voice remained unmistakable. It has naturally matured over the decades, but the fragile phrasing, warmth and emotional character are still there. More importantly, nothing felt artificial. He was not attempting to reproduce the past exactly as it once was. The songs were allowed to breathe in the present, carrying all the history attached to them while still sounding alive.
The audience itself added another important layer. Teenagers and young adults stood beside people who had followed THE CURE since the late 1970s and early 1980s, yet the music removed any obvious generational division. Some were discovering these songs live for the first time, while others seemed to know every word and every instrumental turn. That shared response showed how far the band’s influence continues to reach.
The encore brought a noticeable change in energy. The darker, more expansive mood gradually gave way to songs that transformed the Wuhlheide into a vast celebration. The audience danced, sang and responded with a joy that felt spontaneous rather than obligatory. After so much emotional depth, this release was both welcome and perfectly judged. THE CURE did not need excessive spectacle to make the night feel significant. Their strength came from sincerity, musical detail and the ability to make a huge venue feel personal. Robert Smith remained warm, humble and visibly appreciative throughout, while the band delivered a performance that honoured its history without merely repeating it.
The first of three Berlin nights therefore became far more than a nostalgic journey. It was a reminder that timeless music does not remain powerful because it belongs to the past, but because it continues to find new meaning in the present. THE CURE took thousands of people back to earlier moments in their lives while simultaneously creating a completely new memory beneath Berlin’s summer sky.
For those attending the remaining Berlin concerts, should not read any further since the full setlist is following - and a few surprises should remain untouched until all three evenings have taken place.
Setlist
01. Plainsong
02. Pictures of You
03. High
04. A Night Like This
05. Lovesong
06. Burn
07. Fascination Street
08. Never Enough
09. alt.end
10. Push
11. Play for Today
12. A Forest
13. Primary (Tour debut)
14. Shake Dog Shake
15. From the Edge of the Deep Green Sea
16. Prayers for Rain
17. One Hundred Years
18. Disintegration
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19. Lullaby (Robert Smith dedicated it to Simon Gallup)
20. The Walk
21. Friday I’m in Love
22. In Between Days
23. Just Like Heaven
24. Close to Me
25. Why Can’t I Be You?
26. Boys Don’t Cry
All Pictures by Dagmar Urlbauer
