TVD Live Shots: Cruel World Festival at the Rose Bowl, 5/11

The Cruel World Festival, held at Brookside at the Rose Bowl on May 11th, was a time machine back to the golden era of ’80s goth and new wave, encapsulating the essence of a musical revolution that has remained influential to this very day.

From the moment the gates opened, it was clear that this wasn’t just a festival; it was a pilgrimage for the devotees of a sound that defined a generation. My generation. A crowd estimated at 50,000+ brought with them an infectious energy, creating a festival atmosphere that was nothing short of magical in the shadow of America’s stadium. But at the end of the day, it was Al Jourgensen and his band Ministry that stole the Cruel World spotlight on Saturday. Their performance was one for the ages featuring a rare setlist that most likely won’t be repeated on any stage ever again.

The 2024 lineup was a dream come true for fans, with performances by iconic acts such as Duran Duran, Blondie, Soft Cell, and Interpol. Each band brought their unique flavor to the stage and wowed fans traveling from all parts of the country and beyond. Duran Duran’s electrifying performance had fans dancing to hits that have become anthems, while Blondie’s timeless cool and Interpol’s brooding melodies ensured the festival’s energy never waned. Then sprinkle in a touch of Marc Almond and Soft Cell, creating a Non-Stop Erotic Cabaret at Cruel World and a party not to be missed.

However, the festival’s highlights didn’t stop with the headliners—quite to the contrary. Ministry’s throwback setlist, featuring tracks from With Sympathy and Twitch, was a rare treat for fans as most of these gems had not been played live since the early ’80s. From “Work for Love” to “Effigy (I’m Not An)” to “Revenge,” most were in pure darkwave heaven the entire set. We even got to hear “(Everyday Is) Halloween” which was one of my favorite dance tracks as a teenager (and I song I NEVER thought I’d hear (or photograph) live. Wow. Pound for pound, Uncle Al and Company put on what I believe was the best overall performance of the Cruel World festival, bar none.

Adding to the nostalgia, Gary Numan’s 1979 classic, The Pleasure Principle, was played in its entirety. This one was truly a masterclass in performance, transporting the fans back in time to place where all that mattered was the music. I’m a huge Numan fan, and really dig his harder stuff, but this set hit differently (and in all the right places). My only gripe was that his set took place during daylight hours which (in my opinion), took away from the amazing lighting one gets at a Gary Numan show. This was another act that could have easily been top bill at Cruel World 2024 and it wasn’t even close.

Supergroup Dreamcar was another standout on a beautiful Saturday afternoon at Brookside. They offered a performance that was, quite simply, out of this world. This wasn’t No Doubt or AFI. Instead, a truly unique band made up of incredible artists that love playing with one another. Their stage presence bled out throughout their set during songs like “We Rats” and “Kill for Candy,” and it was overall straight fire. And really, a cover of “Love & Pride” by King? Perfection. And I’ll be honest, I am not sure what rock I was under when this band first released their self-titled Dreamcar in 2017, but I really missed out on one hell of an album. In spite of that miss, I’m glad I witnessed their incredible performance on Saturday, as it was a monster set.

Finally, Simple Minds, no strangers to massive festivals like this, delivered a set that was both fantastic and unsurprising, given their storied career and ability to connect with audiences of all ages. They should have been on the big stage as they crushed their limited 9-song set in front of a crowd that rivaled the headliners on Saturday’s lineup. Favorites included “Sanctify Yourself,” “Don’t You (Forget About Me),” and my all-time favorite, “Alive and Kicking.” One call out on lead vocalist James Kerr. This guy is legitimately one of the best front men I have ever seen live, and he owned that stage from start to finish. Simply incredible.

And I’d be remiss not to mention one of my all-time favorite artists, the legendary Adam Ant. This guy has been killing it since 1977, and from all accounts shows no signs of slowing down any time soon. He whipped the packed house into a frenzy with a 12-song set that covered his storied career including his solo work as well as his time with Adam and the Ants. “Friend or Foe,” “Prince Charming,” and “Stand and Deliver” were seared to perfection as the sun set in glorious Pasadena. And a special shoutout to guitarist extraordinaire, Will Crewdson. His vibe and incredible stage presence brought out the very best in their Cruel World set, and his contributions did not go unnoticed.

As I wandered back and forth between the Outsiders, Sad Girls, and the Lost Boys stages, I reminisced about a period in my life that was unrivaled in musical history. Attending the Cruel World Festival felt like stepping into a vibrant, living museum of music history (and one that I have revisited many times before). Despite the considerable amount of walking (and the unrelenting sun beating down on my head throughout the day), the energy of the crowd and the non-stop parade of hits made every step worth it. It was a day of musical nostalgia that not only paid homage to the sounds of my past but also celebrated the enduring legacy of these genres. For many, it was the soundtrack of their lives.

For me (as well as the tens of thousands of fans in attendance), the Cruel World Festival was more than just a collection of performances; it was a communal experience that celebrated an era of music that continues to inspire and captivate. The amazing lineup, combined with an enthusiastic audience and a near perfect setting, made for an unforgettable day in Pasadena. It was a reminder of the power of music to bring people together, to create moments that resonate long after the last note has been played. For those of us lucky enough to have been there, the Cruel World Festival wasn’t just an event; it was a moment in time, a glorious nod to the past, and a beacon for the future of live music.

ADAM ANT