Cruel World Festival, now in its fourth iteration, returned triumphantly to the lush grounds of Pasadena’s Brookside Golf Course at the Rose Bowl this past Saturday. Settling comfortably into its stride, the festival has matured into an annual pilgrimage for over 50,000 passionate followers of post-punk, new wave, goth, and darkwave. Attending Cruel World feels less like attending a mere event and more like joining a warm, extended Addams Family reunion—rich in shadowy nostalgia, cutting-edge alternative, and vibrant echoes of 80s music culture.
In all my decades of attending music festivals across the US and several continents, few have managed to capture such genuine affection and communal warmth as Cruel World. Channeling the pioneering alternative music spirit of early Lollapaloozas yet carefully curated for those who cherish darker sonic textures and the buoyant spirit of 80s new wave, this festival is clearly a labor of love. Each booking, promotion, and thoughtful detail underscores genuine respect for both artists and attendees, fostering an authentic atmosphere rooted deeply in a shared love of music.
The day’s weather initially gave me mild anxiety (I forgot to bring an umbrella), but ultimately enhanced the festival’s aesthetic: grey, overcast skies reminiscent of London’s moody charm and a Goth album cover drew playful banter from UK performers jokingly asking which of them brought the weather with them. Thankfully, though, fears of lightning-induced delays (infamously experienced in 2023 before Siouxsie’s set) proved unfounded, allowing the festival to unfold seamlessly.
Exploring the grounds, I found myself smiling ear to ear, fully immersed in this thoughtfully curated, gloom-laden oasis of music fans and misfits. And I was able to keep myself energized as my step counter headed north of 20,000, crisis crossing from stage to stage all day with the festival’s culinary offerings, now delightfully more expansive and inclusive, but still featuring stellar vegan fare from LA’s beloved staple Monty’s Good Burger. Good food at a music festival? Who’d of thunk!?
After spending all day at the festival, Cruel World Festival 2025 reaffirmed itself as an indispensable cultural event—a lovingly crafted celebration of post-punk, goth, new wave, and darkwave music, deeply cherished by its ever-growing community.
Here are some of the standout performances that made this year’s festival truly unforgettable.
Kite
Swedish synth pop act Kite, one of the first few bands on the lineup, opened the festival strong with a powerful set featuring two buff muscular men wearing black and berets, riding stationary bikes.
Deceits
Playing at the same time as Kite, Decets, a newer post-punk band from Los Angeles, known for their romantic melodies, just released the brilliant new single “All We Are (Are Memories).”
Actors
Canadian New Wave outfit Actors are always great. They performed their signature tight anthems and brooding synth-laden cinematics, which set the tone for the rest of the festival.
N8NOFACE
LA Synth-Punk artist, N8NOFACE, fresh off of releasing a more indie post-punk driven single, “Waiting To Wait For You,” also performed a killer set, revving up the crowd for an all-day onslaught of great acts.
Light Asylum
Taking the stage at 1:30 to an impressively dense crowd, Light Asylum ignited Cruel World 2025 with a majestic performance. Shannon Funchess was commanding as ever, closing her set with a fierce rendition of her signature anthem, “Dark Allies.” Her vocals—raw, intense, and unmatched—reverberated through the grounds, sending a ripple of energy that transformed the swelling audience into a rhythmic mass of dancing bodies. It was an unforgettable spectacle to see so many festival-goers rally so early, turning the afternoon into a de facto Goth party.
Provoker
It was also crowded at Provoker’s set, which was at the same time as Light Asylum’s. Frontman Christian Crow Petty delivered a powerful set, crowd surfing during the performance to celebrate the band’s brand new album, Mausoleum.
Midge Ure
Midge Ure kicked things off early in the day at Cruel World, immediately taking the audience on a vibrant journey through synth-pop’s golden age. With just one bandmate backing him on synthesizers, the former Ultravox frontman shredded impressively on guitar, filling the festival grounds with beloved tracks from across his iconic career. Fans enthusiastically cheered for solo hits like “If I Was” and passionately sang along to Visage’s seminal new-wave classic “Fade to Grey,” which Ure brilliantly paired back-to-back with Ultravox’s stirring anthem “Vienna.” His voice remained powerful and crystal clear, effortlessly reaching every soaring note before bringing the emotionally charged set to a triumphant close with “Dancing With Tears in My Eyes,” immersing the crowd in pure nostalgic reverie.
She Past Away
Turkish goth duo She Past Away delivered a short but hypnotic set, living up to their reputation as torchbearers of modern goth rock. Their cinematic grooves and ghostly Turkish vocals effortlessly entranced the crowd, many of whom were experiencing the band live for the first time. Despite the language barrier, the music conjured vivid imagery, compelling fans to sway in the drizzle to darkwave classics such as “Durdu Dünya,” “Kasvetli Kutlama,” and “Ritüel.” Their impactful performance solidified their role as pioneers of the genre’s resurgence and fulfilled a dream for countless goths gathered at the Sad Girls stage.
Blancmange
Blancmange delivered a nostalgic thrill for synth-pop devotees at Cruel World, led by Neil Arthur’s commanding vocal presence. Fans were treated to spirited renditions of beloved hits like “Living on the Ceiling” and “Blind Vision,” seamlessly supported by LA’s own electronic virtuoso Tara Busch of I Speak Machine. Busch (who recently released the collaborative single “Guts of Love,” with Gary Numan) masterfully stepped into the sonic shoes once filled by Stephen Luscombe.
Mareux
Los Angeles darkwave sensation Mareux found the gloomy weather a perfect ally, providing an atmospheric backdrop for his sultry, synth-laden set. The viral cover of The Cure’s “The Perfect Girl” entranced the early-day throng, alongside hypnotic tracks from his acclaimed album Lovers from the Past. Mareux also offered a tantalizing preview of his forthcoming release, Non Stop Romance, through the sleek new single “Laugh Now, Cry Later.” Proving his rising stature in the international darkwave scene, Mareux effortlessly commanded an impressively sizable crowd for such an early performance slot.
Alison Moyet
Alison Moyet also drew a massive crowd, excited to see her set, and undaunted by the steadily increasing rain. Her voice, more powerful and resonant than ever, soared effortlessly as she dove straight into Yazoo classics. She opened her performance boldly with “Nobody’s Diary,” followed by an especially poignant rendition of “Only You.” Energetic hits like “Situation” and “Don’t Go” transformed the field into a dancefloor, despite—or perhaps because of—the soaking conditions.
Admittedly, when she launched into “Situation,” the rain intensified, leaving many (myself included) wishing we’d dressed for that very situation with proper rain gear. Moyet, on the other hand, was perfectly prepared, clad elegantly in striking black attire, her copper-brown hair gleaming beneath the waning grey light, effortlessly exuding the essence of a synth-pop legend.
Til Tuesday
As it continued to rain, excitement buzzed for the return of ‘Til Tuesday—a reunion 33 years in the making, featuring the original lineup of Aimee Mann, Robert Holmes, Michael Hausman, and Joey Pesce for the first time in nearly 35 years. I ducked under a canopy along with other fans, unfazed by the weather, as Mann greeted us warmly, clearly appreciative of our endurance in the rainy weather, saying, “I am so sorry you have to stand in the rain, damn it.”
The reunion carried significant emotional weight, marking not only their first performance together in decades but also reviving memories of their influential 1985 debut album, Voices Carry, considered a cornerstone of new wave music. Fans, many of whom had waited years for this moment, were visibly moved by the historic nature of the event.
Kicking off an energetic 11-song set, the Boston new wave favorites quickly proved this wasn’t just another nostalgia act. Mann commanded attention effortlessly, demonstrating her musical skill by playing slap bass while delivering spot-on vocals for “Love in a Vacuum.” The band smoothly navigated their catalog, balancing moody ballads with upbeat pop-rock tracks. Highlights like “What About Love” and “Coming Up Close” resonated strongly, while deeper cuts such as the melodramatic “No More Crying” and “Don’t Watch Me Bleed” came with Mann’s playful introduction: “In the ’80s, you had to write the most dramatic songs possible!”
Their cover of fellow Bostonians The Cars’ iconic “Drive” was especially touching, especially when paired with Mann’s nostalgic anecdote about once selling records to Ric Ocasek as an introduction to the classic song, written by Ocasek, and sung by Cars bassist Benjamin Orr.
Predictably, the biggest cheer came for “Voices Carry.” Mann’s vocals soared beautifully, resonating deeply with the crowd, many of whom sang along passionately to every word. The song’s powerful narrative of emotional turmoil and the struggle for self-expression felt as poignant and relevant as ever, capturing a raw intensity that elevated the entire set. (And for the record, the song isn’t about Al Jourgensen, who played the festival last year!)
The performance of “Voices Carry” climaxed dramatically with the repetition of—“he said, shut up!” — just as the platform began rotating for the next act, leading seamlessly into the final, haunting refrain of “Voices Carry” from behind the stage. This caused the crowd to erupt into applause, appreciating the perfectly timed, if unplanned, dramatic exit.
Chelsea Wolfe
Chelsea Wolfe’s late-afternoon performance transformed the Brookside field into a dark, immersive soundscape fitting with the gloomy weather.. Standing under gray skies, many in the audience found themselves unexpectedly transfixed by Wolfe’s genre-blending mix of doom-folk and gothic metal.
A standout moment occurred when HEALTH’s Jake Duzsik joined Wolfe onstage for the live debut of their collaborative track “MEAN.” The surprise appearance electrified the crowd, blending Wolfe’s ethereal vocals with Duzsik’s industrial edge to create a powerful, moody atmosphere.
OMD
Orchestral Manoeuvres in the Dark brought pure synth-pop delight to the early evening, hitting the stage just as the rain finally subsided. Frontman Andy McCluskey instantly took command, effortlessly captivating the crowd with his exuberant dancing and razor-sharp wit. “What the fuck is up with this British weather?!” he joked, drawing big laughs froom the crowd.
OMD’s set was packed with fan favorites, bookended by opening energetically with their bouncy early ’80s hit “Electricity” and closing with the infectious, melodic flourish of “Enola Gay.” Between these two classics, the audience was treated to a spirited selection, including the beloved John Hughes soundtrack staple “If You Leave” and later singles like “So In Love.”
A highlight was the rendition of the festival-set rarity “Joan of Arc (Maid of Orleans),” immediately evoking thoughts of Jane Wiedlin from The Go-Go’s as Joan of Arc in Bill and Ted’s Excellent Adventure—though put a pin in that thought for later.
Throughout the set, McCluskey playfully engaged with co-founder Paul Humphreys and the enthusiastic crowd, never shy about injecting a dash of political humor. “Everybody put two hands up,” he instructed before “Talking Loud and Clear,” adding wryly, “You have to do it with two hands; otherwise, you’ll look like Elon Musk!”
McCluskey’s distinctive, jerky, new wave dancing further energized the performance, becoming the delightful icing on an already vibrant cake.
By the end of their show, OMD had transformed a dreary afternoon into a nostalgic dance party, proving once again that their timeless melodies and optimistic energy remain just as irresistible in 2025 as they were back in 1985.
Madness
Ska-pop legends Madness injected a welcome dose of levity and infectious energy into the Cruel World lineup. Taking the stage in the early evening, the British icons swiftly transformed the goth-centric festival into a jubilant ska dance party, opening their set with the explosive anthem “One Step Beyond.” Hits like “House of Fun,” “Baggy Trousers,” and the timeless classic “Our House” further fueled the crowd’s exuberance.
Clan of Xymox
Festival-goers faced a tough choice between ska and goth as Madness overlapped with Clan of Xymox. It was amusing—and even surreal—to spot members of Bauhaus grooving to Suggs and company’s upbeat rhythms. Yet, across the field, Clan of Xymox delivered one of their most compelling performances to date, captivating their devoted audience, who, led by 4AD veteran and original darkwave pioneer Ronny Moorings, enthusiastically sang and clapped along to beloved goth anthems like “Louise” and “A Day.”
Devo
DEVO’s triumphant return to Cruel World—marking their second appearance after their unforgettable debut at the festival’s inaugural 2022 edition—was nothing short of dazzling. It was a manic masterclass in satirical subversion from one of the greatest post-punk and new wave acts ever to hit the stage. True to their oddball origins, Mark Mothersbaugh and crew delivered a delirious display of quirky theatrics, sharp wit, and high-voltage energy. During a mid-set costume change, the audience was treated to a whimsical, Cosmos-inspired video, evoking Carl Sagan’s iconic series. Moments later, the band reemerged sporting their legendary red energy domes and yellow jumpsuits, instantly transporting everyone back to 1980. Goths, indie kids, darkwave devotees, and new wavers alike immediately de-evolved into a collective frenzy, dancing and belting every lyric to classics like “Whip It,” “Uncontrollable Urge,” and “Girl U Want,” before DEVO capped off their electrifying set with a galvanizing rendition of “Gates of Steel.”
Clearly, DEVO still revels in every quirky note and sardonic lyric. Here’s hoping Cruel World brings them back for a third triumphant performance—and fingers crossed for a “60 Years of DEVOlution” tour in the future. I’ll certainly never lose the uncontrollable urge to catch them again, and again!
Garbage
Garbage conquered the Cruel World main stage with cheeky charm and alt-rock ferocity. Frontwoman Shirley Manson—arguably the festival’s biggest fan, having attended in past years, notably in 2023 to see her hero Siouxsie—finally took the spotlight herself. Decked out in a mermaid-green tulle ensemble (likened by Lyndsey Parker to “a piñata at a Björk-themed birthday party”), Shirley instantly captivated the crowd. Parker also noted Shirley’s candid confession about being “gutted” to share a time slot with DEVO, worrying no one would turn up—a fear quickly dispelled by the massive audience.
The band charged through ’90s classics like “Stupid Girl,” “Push It,” and the aptly timed “Only Happy When It Rains,” which—though fellow Scots The Jesus and Mary Chain had performed “Happy When It Rains” at Cruel World the previous year—left this year’s rain-soaked audience genuinely grateful for the downpour. Garbage also debuted a potent new track, “There’s No Future in Optimism.” Manson’s emotional banter, dedicating “When I Grow Up” to her younger self and her bandmates and admitting she was “on the cusp of tears” performing alongside childhood heroes like Madness, is enough to dispel any music festival cynicism.
Death Cult
Performing under their early moniker Death Cult—a nod to their pre-fame days—The Cult delighted longtime fans with a rare throwback set at Cruel World, a standout even among seasoned enthusiasts. Having caught the previous Death Cult shows at downtown LA’s Ace Hotel and the El Rey Theatre the night before, I can confidently say the Cruel World performance surpassed both, capturing the potent essence of the band’s live presence.
Frontman Ian Astbury’s powerful, unparalleled voice seems only to have grown richer and more resonant with age, effortlessly commanding the audience through tribal post-punk deep cuts such as “Horse Nation,” “Ghost Dance,” “Christian,” and the seminal gothic-rock anthem “God’s Zoo,” tracks from the band’s 1983–84 era that seldom get played live. Witnessing these songs performed was a thrilling trip back in time, heightened by the band’s unbridled energy and snarling intensity—a true “pinch me, am I dreaming?” moment.
Guitarist Billy Duffy, unquestionably one of the greatest rock guitarists of all time, delivered his signature electrifying riffs, injecting raw vitality into every note. A curious highlight was the debut of a brand new song, “C.O.T.A.”
Five songs into the set, the transitional track “Spiritwalker,” marking the evolution from Death Cult into The Cult, resonated deeply. But it was the somber rendition of Southern Death Cult’s “Moya” that was the best part of the show. It perfectly set the stage for the next song: a rousing finale with “She Sells Sanctuary,” the iconic single from the seminal album Love.
Though I personally missed hearing “Rain,” beautifully performed at their Ace Hotel appearance in 2023, the audience had certainly received their fill of the real thing at this rainy Cruel World Festival.
Go-Go’s
The Go-Go’s brought pure joy and nostalgia, closing out the Sad Girls stage at Cruel World Festival, kicking off their reunion set with the infectious summer anthem, Vacation. The beloved Los Angeles new-wave icons delighted fans with a spirited romp through their groundbreaking debut album, Beauty and the Beat, pulling out both beloved hits and deeper cuts. Songs like How Much More, Skidmarks on My Heart, and Lust to Love showcased their enduring charm and vitality.
Following Head Over Heels, my friends and I eagerly awaited This Town. As if granting their wish on cue, the band immediately launched into it.
Closing their vibrant set with the timeless classics Our Lips Are Sealed and We Got the Beat, the band cheekily incorporated a playful snippet of Chappell Roan’s Hot to Go into the latter, seamlessly blending past and present with joyful irreverence.
As Lyndsey Parker pointed out in her review, the nostalgia peaked humorously during the performance, when Wiedlin enthusiastically declared in a Keanu-Reeves via Ted Theodore Logan-like intonation, “If you had told the Go-Go’s a year ago we’d be playing Cruel World, we would’ve said, ‘No way!’ But now we’re like, ‘Waaaaay!’” While watching OMD’s set earlier, I had already recalled Wiedlin’s memorable role as a time-traveling Joan of Arc who enthusiastically commandeered an aerobics class at a shopping mall in 1989’s Bill and Ted’s Excellent Adventure, making her remark during the set even funnier in the moment.
By the end of their exuberant hour-long performance, the Go-Gos had everyone, including this old goth, smiling, dancing, and singing along. Their unflagging energy, humor, and punk-infused spirit proved undeniably timeless, celebrating the infectious joy that made them legends.
Nick Cave & The Bad Seeds
I’ve seen Nick Cave several times—including a memorable gig in an old theatre in Berlin—but his performance at Cruel World Festival, marking the Wild God tour finale, was by far the most monumental. Commanding the largest audience I’ve ever seen him captivate, Cave resembled nothing short of a suit-wearing, slicked-back black-haired preacher at the pulpit, passionately pontificating to his frenzied congregation. His sermon reached a fever pitch with the poignant yet profane introduction of “The Weeping Song”: “a song in which to weep, motherfucker.”
Mid-performance, Cave led the massive crowd into synchronized clapping, punctuating the moment with characteristic wit: “You’re fucking incredible. Full of drugs and still able to clap,” a remark met with resounding laughter and, well more applause.
This gig also marked my first Nick Cave experience since binge-watching the whole of Peaky Blinders, which lent the performance of “Red Right Hand” to slap even harder.
The set seamlessly blended early classics like “From Her to Eternity” with more contemporary compositions, including stirring renditions of “Frogs” and “Joy” from Carnage and an emotionally charged “Jubilee Street” off Push the Sky Away. The evening reached a profound climax with the live debut of “Hollywood,” the epic 14-minute closer from 2019’s Ghosteen.
Introducing the ambitious track, Cave shared: “We’re gonna try this song—we’ve never played it before. It’s extremely long, and it’s written for… Hollywood.” The song’s haunting narrative echoed themes from Cave’s 2018 entry on The Red Hand Files, inspired by vivid imagery experienced during a car ride through Oslo, Texas. The prophetic lyricism—“The fires continued through the night”—poignantly resonated with recent memories of the devastating Los Angeles fires, bringing the festival audience into a shared moment of reflection and catharsis. It was an extraordinary moment in an unforgettable night.
New Order
New Order closed out Cruel World Festival with a euphoric yet bittersweet finale. As the clock neared 10 PM, the crowd swarmed en masse toward the main stage—forming the largest audience of the night, filling nearly a quarter of the festival grounds. The legendary Mancunian outfit took a moment to find their stride, experiencing some guitar-tuning hiccups as they opened with the first of three Joy Division tracks. But once the propulsive bassline of “Transmission” kicked in, the band’s momentum ignited, eliciting ecstatic cheers.
Following a spirited rendition of the Power, Corruption & Lies classic “Age of Consent,” the unmistakable synths of “Isolation” swept through the night, gripping the audience firmly within the band’s nostalgic grasp. From there, New Order unleashed a barrage of adored anthems, including a pulsating performance of “Blue Monday” and beloved fan favorites “Bizarre Love Triangle” and “Temptation.”
The set concluded triumphantly—yet poignantly—with the haunting Joy Division classic, “Love Will Tear Us Apart.” As the band played, the significance became clear: in the UK, the date had already turned to May 18th, marking exactly 45 years since the tragic passing of Joy Division’s iconic frontman, Ian Curtis. This profound tribute not only honored Curtis’s enduring legacy but also underscored a deeper irony inherent in the song itself: originally penned as a sardonic retort to Neil Sedaka’s upbeat anthem “Love Will Keep Us Together,” it ultimately serves as a bittersweet reminder that, rain or shine, it’s the shared joy, and love of music that continues to unite crowds each year at Brookside at the Rose Bowl.
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