The Cure Plays the Hits — and Robert Smith Tears Up at ‘Just Like Heaven’ — in Nostalgic, Whimsical Øyafestivalen Set: Concert Review

by | Aug 13, 2026 | Entertainment

The Cure Plays the Hits — and Robert Smith Tears Up at ‘Just Like Heaven’ — in Nostalgic, Whimsical Øyafestivalen Set: Concert Review

The Cure performed as headliners at Øyafestivalen in Oslo, Norway, presenting a concert that balanced material from across their extensive catalog with newly released songs. The band opened with “Alone” from their 2024 album “Songs of a Lost World,” establishing an atmospheric start to the evening. Frontman Robert Smith displayed a notably positive demeanor throughout the performance, contrasting with a previous tour appearance that carried undertones of reflection on mortality and the passage of time.

The set spanned two and a half hours and featured a substantial number of the band’s most recognized tracks. Early selections included “Pictures of You,” “High,” and “Lovesong,” representing the Cure’s characteristic blend of upbeat musical arrangements paired with introspective lyrical content. The performance incorporated material from various eras of the band’s career, including songs from the early 1980s and selections from the 2000s such as “Alt. End” and “The Last Day of Summer.” Smith’s vocal performance maintained the qualities that defined earlier recordings, demonstrating technical consistency and emotional range.

An emotional moment occurred during the back-to-back performances of “In Between Days” and “Just Like Heaven,” when Smith visibly became tearful as the latter concluded. He briefly addressed the crowd about the song’s emotional resonance before regaining his composure. The supporting band members—bassist Simon Gallup, keyboardist Roger O’Donnell, drummer Jason Cooper, and guitarist Reeves Gabrels—maintained tight instrumental coordination throughout.

The concert concluded with an extended encore section comprising ten additional tracks. During this portion, Smith engaged in theatrical stage presence, including physical interpretations of song narratives and movement-based performances. The set closed with “Boys Don’t Cry,” which Smith humorously introduced as a newly composed piece. The performance demonstrated thematic coherence between the recently released material and the band’s extensive back catalog spanning nearly five decades of recording history.

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