This is The Cure - Festival Summer 2026, The Studio Versions (A Hervé Guilleminot Special Presentation) + Rock En Seine 30.08.2026 + Movie |

 This is The Cure - Festival Summer 2026, The Studio Versions (A Hervé Guilleminot Special Presentation) + Rock En Seine 30.08.2026 + Movie

This is The Cure - Festival Summer 2026, The Studio Versions (A Hervé Guilleminot Special Presentation) 

THE CURE -  FROM BEDROOMS TO STADIUMS

Few bands bring people together quite like The Cure. Their audiences span several generations: fans who discovered them in the early 1980s stand alongside younger listeners who have found the same comfort, excitement and sense of belonging in their songs. Music once played alone in teenage bedrooms now fills arenas, stadiums and festival fields. That journey makes The Cure one of the most remarkable bands to emerge from the closing decades of the twentieth century. Even in front of tens of thousands of people, their songs can still feel intensely personal.

One of their greatest strengths is their extraordinary range. The Cure move from the stark landscapes of cold wave and post-punk to bright pop melodies, restless psychedelia and long, slowly unfolding pieces with something of the scale of progressive rock. “A Forest”, “Just Like Heaven” and “Disintegration” express very different moods, yet all belong unmistakably to the same musical world. Their darkness has never excluded pleasure, humour or joy. They can make an audience dance, then draw it into a song about loneliness, love or loss, with equal conviction.

As one of the last great British new wave and post-punk bands still performing on this scale, The Cure carry an enormous history. Much of their enduring appeal comes from Robert Smith. Behind the wild hair and familiar make-up is a singer whose vulnerability, dry humour and independence have made him an unusually endearing public figure. His voice remains immediately recognisable, while the musicians around him give the songs their depth and physical force. Together, they have built a relationship with listeners that reaches far beyond fashion or nostalgia.

Their generosity is especially clear on stage. Full-length Cure concerts often exceed two and a half hours, allowing room for familiar favourites, less obvious songs and extended passages that need time to reveal their power. These performances offer more than a succession of hits: they invite the audience to inhabit the music. The same emotional openness helps explain why The Cure continue to inspire musicians, writers, filmmakers and countless listeners for whom their songs have become part of everyday life.

Trent Reznor expressed this connection memorably when he inducted the band into the Rock and Roll Hall of Fame in 2019. His deeply sincere tribute recalled discovering music that seemed to understand his own feelings and made him feel less alone. It captured something essential about The Cure: their ability to turn private uncertainty into a shared experience.

They also continue to create music worthy of that attachment. Songs of a Lost World demonstrated that their themes could grow older with them, giving grief and passing time a powerful musical form. Robert Smith has spoken of a possible ending around 2029, but their continuing commitment gives these later years a sense of purpose.

The triumphant summer of 2026 provides the starting point for this collection. Bringing together 50 studio recordings, this imagined complete concert brings together every song played across the tour, making it easier to hear which periods the band chose to favour. Alongside it, I have included the closing Paris-area performance from Rock en Seine on 30 August 2026 in FLAC audio and video. I was there... it felt like a genuine musical firework display, and a moving reminder that songs first loved in solitude can become an extraordinary collective celebration. (Hervé Guilleminot)

Include are the following:

This is The Cure - Festival Summer 2026, The Studio Versions (A Hervé Guilleminot Special Presentation) 50 tracks (320 Kbps) + Rock En Seine 30.08.2026 31 tracks (flac)

+MOVIE 

The Cure - Rock En Seine 30.08.2026 

TRACK LIST

1 - Plainsong - 1989

2 - Alone - 2024

3 - Pictures of You - 1989

4 - High - 1992

5 - Lovesong - 1989

6 - Catch - 1987

7 - Burn - 1994

8 - 2 Late - 1989

9 - Fascination Street - 1989

10 - Never Enough - 1990

11 - alt.end - 2004

12 - A Fragile Thing - 2024

13 - Push - 1985

14 - In Between Days - 1985

15 - Just Like Heaven - 1987

16 - Treasure - 1996

17 - The Last Day of Summer - 2000

18 - Trust - 1992

19 - Three Imaginary Boys - 1979

20 - Charlotte Sometimes - 1981

21 - Want - 1996

22 - A Night Like This - 1985

23 - Secrets - 1980

24 - A Strange Day - 1982

25 - Cold - 1982

26 - Play for Today - 1980

27 - In Your House - 1980

28 - A Forest - 1980

29 - Shake Dog Shake - 1984

30 - Primary - 1981

31 - From the Edge of the Deep Green Sea - 1992

32 - One Hundred Years - 1982

33 - Endsong - 2024

34 - Prayers for Rain - 1989

35 - M - 1980

36 - It Can Never Be the Same - 2016

37 - Faith - 1981

38 - A Letter to Elise - 1992

39 - Disintegration - 1989

40 - Lullaby - 1989

41 - Hot Hot Hot!!! - 1987

42 - Wrong Number - 1997

43 - The Walk - 1983

44 - Mint Car - 1996

45 - The Lovecats - 1983

46 - Let's Go to Bed - 1983

47 - Friday I'm in Love - 1992

48 - Close to Me - 1985

49 - Why Can't I Be You? - 1987

50 - Boys Don't Cry - 1979

Total running time: 4 hours, 12 minutes.

The Cure "Boys Don't Cry" Live | Rock Hall 2019 Induction

The Decemberists - Capitol Theatre, Port Chester, NY, 26th Sept 2015 | Albums That Should Exist

 

The Decemberists - Capitol Theatre, Port Chester, NY, 9-26-2015

Paul said: Here's another concert from the great Capitol Theatre in Port Chester soundboard leak. Except to see a LOT more of these from me in the next couple of months! I'd love to post all of the 85 or so I have yet to post by the end of 2026, so I could start with a relatively clean slate in 2027. Out of all the musical acts I've heard from these shows so far that I wasn't familiar with yet, I think I was most impressed by the Decemberists. 

Their Wikipedia entry has this to say about the band: "The Decemberists are an American indie rock band from Portland, Oregon, formed in 2000. ... As of 2024, the band has released nine studio albums with their lyrics often focusing on historical incidents and folklore. Audience participation is a part of their live performances, typically during encores. The band stages whimsical reenactments of sea battles and other centuries-old events, typically of regional interest, or acts out songs with members of the crowd."

Here's the link to their full Wikipedia entry:

https://en.wikipedia.org/wiki/The_Decemberists

In January 2015, the band released the studio album "What a Terrible World, What a Beautiful World," and they were touring to support that at the time of this concert. Previously, the band generally released concept albums about some pretty esoteric concept. For instance, this concert ends with a bunch of songs from the band's 2009 album "The Hazards of Love," which is a concept album about a woman who falls in love with a shape-shifting boreal forest dweller, only to be opposed by the forest queen. But the band's 2015 album was more straight-forward, by their standards. A New York Times review said the album "strikes a note of pop concision and maturity, building on what worked on [their previous album] 'The King Is Dead.' Lyrically, there are fewer thistles and minarets and palanquins - and, musically, less digressive excess - than once made up the Decemberists' trademark style."

Like most albums I'm posting from the Capitol Theatre leak, I started with a single audio file consisting of a mono soundboard of the whole concert. Then I broke it into individual mp3s. That was tricky here, especially for their suite of songs from "The Hazards of Love," but hopefully I got the song breaks right. 

This album is an hour and 49 minutes long. 

01 talk (Decemberists)
02 The Crane Wife 3 [Instrumental] (Decemberists)
03 Leslie Anne Levine (Decemberists)
04 talk (Decemberists)
05 Down by the Water (Decemberists)
06 talk (Decemberists)
07 Rox in the Box (Decemberists)
08 talk (Decemberists)
09 Philomena (Decemberists)
10 The Wrong Year (Decemberists)
11 talk (Decemberists)
12 On the Bus Mall (Decemberists)
13 talk (Decemberists)
14 Why Would I Now (Decemberists)
15 Make You Better (Decemberists)
16 talk (Decemberists)
17 Carolina Low (Decemberists)
18 talk (Decemberists)
19 July, July (Decemberists)
20 talk (Decemberists)
21 O Valencia (Decemberists)
22 talk (Decemberists)
23 The Chimbley Sweep (Decemberists)
24 talk (Decemberists)
25 Fits and Starts (Decemberists)
26 talk (Decemberists)
27 Prelude - The Hazards of Love 1 [The Prettiest Whistles Won't Wrestle the Thistles Undone] (Decemberists)
28 A Bower Scene - Won't Want for Love [Margaret in the Taiga] (Decemberists)
29 The Rake's Song (Decemberists)
30 The Hazards of Love 4 [The Drowned] (Decemberists)
31 talk (Decemberists)
32 Of Angels and Angles (Decemberists)
33 talk (Decemberists)
34 Dear Avery (Decemberists)

Think all this Decemberists attention is because of the new animation (from the team that brought you Coraline (superb 7 year stop motion animation masterpiece!)

 

Step into the world of Wildwood with the original motion picture soundtrack by Academy Award–winning composer Dario Marianelli, featuring new music by The Decemberists.

WILDWOOD

Talking Heads - Found A Job (alt.version) [More Songs About Buildings and Food] | jt1674

 

https://jt1674.tumblr.com/post/831717020464742400/talking-heads-found-a-job-alt-version

Glen Hansard remembered | The Irish Abroad

 

This incredible piece of art was sent to us by Karin Larosa. Check out her work at larosartk 

"Almost three months to the day since we lost Glen Hansard, and it’s still hard to believe he’s gone.

These past few months, we’ve seen just how much Glen meant to people, not only as an extraordinary musician, songwriter and performer, but as a true son of Dublin. From the streets of Ballymun to Grafton Street, his story was woven into the fabric of the city. His music carried the heart, soul and spirit of Dublin far beyond its streets, touching lives all over the world.

His legacy has only grown stronger in the months since his passing. Through the songs, the stories, the memories and the tributes, it has become even clearer that Glen was so much more than a musician. He was part of Dublin’s identity, part of its history, and part of the lives of so many who found comfort, hope and connection in his music.

It’s still difficult to believe that a voice so full of life has fallen silent, but the music remains. And so does everything he gave to this city and to the world.

Some artists leave behind songs. Others leave behind a piece of themselves in the places they called home. Glen did both.

Rest easy, Glen. Dublin will never forget you, and your songs will continue to echo through its streets for generations to come."

The Irish Abroad

Glen Hansard & Friends - Rainy Night in Soho Live | Shane MacGowan Tribute | The Late Late Show

Miriam Makeba "Pata Pata” 1967 (live in the studio)

 

Miriam Makeba "Pata Pata" 1967

Coffee Time!

 You fer cawfee?

Luke Kelly of The Dubliners: The Night Visiting Song [ Remembering Luke Kelly today on the anniversary of his passing. ]

 Almost unbearably sad but this features as Luke Kelly’s last public performance and by then the ravages of the drink and post a related brain tumour operation meant he was not always aware of where he was or indeed the lyrics but heck the strength when it was a song he knew as in here in The Night Visiting Song is amongst his very best “Good man, Luke!"

Remembering Luke Kelly today on the anniversary of his passing. 

This was Luke Kelly's last performance. His voice and memory had deteriorated but he belted out this song with as much heart as possible. 

The opening & closing verse: "I must away now, I can no longer tarry, This morning's tempest I have to cross, I must be guided without a stumble, Into the arms I love the most".. 

If you listen carefully as the last note dies out, you'll hear Ronnie Drew softly say..."Good man Luke”

Rare Irish Stuff

not a dry eye in the house . . . 💚

Luke Kelly (and The Dubliners) Scorn Not His Simplicity & Dirty Ole Town

 On the anniversary of his passing I found this by Luke Kelly and the boys and again a rare find as Luke often shied away often from singing such a personal heartfelt song in what shall we say the ‘rowdier’ of occasions (this is the beating heart of The Dubliners remember) so that video film of his singing this memorable Phil Coulter song about the plea from a father of a disabled child to feel empathy and not to judge is positively heart rending. Here he is gently encouraged to recall it . . . . .enjoy! If that is the right word

Scorn Not His Simplicity - Luke Kelly & John Sheahan

The Dubliners - Dirty Ole Town (Ewan MacColl) about Salford, Greater Manchester

In his prime!

‘Ello Beatles . . . . . Morecombe and Wise meet the lads . . . . . .

It’s The Kaye sisters!

The Beatles during a appearance on the British comedy series The Morecambe And Wise Show. It was a meeting of two teams at the top, as Eric Morecambe, the joker, and Ernie Wise, his straight man, were recognized as the favorite British comedy act, which established a reputation that lasted beyond Morecambe's death in 1984, a death that saddened the English nation.

This Boy and I Want To Hold Your Hand —the faces B and A of the fifth single by The Beatles, a huge hit in 45 RPM format released at the end of November— were first performed, before The Beatles joined Morecambe and Wise for a comedy sketch. Eric confused The Beatles with the Kaye Sisters (a popular British vocal trio in the late 1950s), called "Bongo" Ringo, and George Harrison described The Beatles as "the big hairy and fat heads," a parody of Morecambe's perennial joke that Wise had "short, fat, and hairy legs." The comedians then agreed to join forces for a musical number. Ernie and The Beatles dressed in straw hats (boaters) and striped jackets to perform Moonlight Bay (sung by Alice Faye in the 1940 film Tin Pan Alley and by Doris Day in the 1951 film On Moonlight Bay), with the accompaniment of piano by Kenny Powell. Eric, who had hurried to get dressed for the performance, returned with a "Beatle" wig and a sleeveless jacket, shouting "yeah yeah yeah," "twist and shout" and (in the style of the hit by Gerry and the Pacemakers) "I like it." The collaboration ended with The Beatles' characteristic "ooohhh," which emphasized the group's willingness to laugh at themselves, a trait that the British public always appreciated.

When in 1994 Paul McCartney was asked to name his favorite TV show among the many that The Beatles had appeared on, he barely hesitated to answer that The Morecambe And Wise Show.

Beatles España Club de Fans

Alright Bongo!? 

.

Alice Cooper asked Dick Van Dyke to help him in recovery!

Tales of Recovery 

Extraordinary - who’d a thunk it?

surreal connection but hey whatever gets you there I reckon . . . . . .sober now for years Vince had to start somewhere when you realise it is all going RAPIDLY down the pan!