The new wave fest returned to Pasadena with deadly sets from Garbage, Nick Cave, New Order & more
If there was ever a festival that could be enhanced by rain, well, Cruel World was most definitely it.
Goldenvoice’s phenomenal goth and new wave fest returned to the Rose Bowl’s Brookside venue for its fourth year, and it just might’ve been it’s best edition yet. With soft rain falling throughout the afternoon, the goths were truly out living their best lives, taking in dazzling sets from the likes of New Order, Nick Cave & The Bad Seeds, Garbage, Clan of Xymox, and many more. Again, if anything, the consistent, light drizzle only added to the atmosphere. Little details also added to it; stages named The Outsiders, Sad Girls, and Lost Boys, a craft beer stand called Tears For Beers, and the indoor Club Doom featuring DJs spinning industrial and darkwave tracks on vinyl.
But of course, the musical lineup delivered on the festival’s promise of sonic cruelty, and we were front row capturing as much of it as we could. Here’s how Cruel World 2025 unfolded – through our lens.
All Photos by Jeff Cubbison
At the top of my must-see list was Garbage, the Shirley Manson and Butch Vig-led band whose ’90s alt rock roots might’ve made them an outlier on the more ’80s new wave-skewed bill, but they wound up fitting the vibe like a glove. What immediately stuck out about Garbage was Shirley herself, who has over the years cemented herself as one of the great frontwomen in music history. Dressed in a poofy, eye-popping green dress that looked a little like a Christmas Tree, Manson delivered an absolutely galvanizing display of stage presence and vocal prowess. She also took time to shout out other acts on the lineup (her “musical heroes”): Til Tuesday, Alison Moyet, New Order, Nick Cave, and Devo (who cruelly happened to be playing at the same time as them over on the Sad Girls stage).
Garbage may not be the best rock band ever, but they might be the most produced – and I mean that in a good way. The legendary Butch Vig has produced some of the most iconic albums ever made, and Garbage were always his vehicle to do whatever he wanted in the studio. That means, nailing the art of riding the line between sleek, whistle clean harmony and noisy, blown-out, bombast. Onstage, their sound absolutely ripped. The electronica-tinged breakbeats on “I Think I’m Paranoid” punctured and popped, while the wall of fuzzy guitar riffs on “When I Grow Up” glistened and soared. Shirley’s powerhouse voice and charisma steered the ship, culminating in the final one-two punch of “Only Happy When It Rains” and “Push It.” Considering the rainfall, the former – one of my favorite alt rock tracks – wound up being the anthem of the day, while the latter sent us out on a pummeling, adrenaline-fueled high. At the Outsiders stage, Garbage were that perfect blend of noise, propulsion, and deeply-felt emotion – encapsulating Cruel World with one simple line: pour your misery down on me.
Earlier in the day at the Lost Boys stage, things kicked into high gear with a very entertaining performance from Stereo MCs, who proved to be way more than just their big hit “Connected.” The group’s blend of hip-hop and electronica – a novelty for the ’80s, but one that proved to be surprisingly influential – came to life for a very large crowd who braved the heaviest rain of the day. Vocalist/MC Rob Birch’s rhymes were crisp and effusive, floating with ease over the DJ Nick Hallam’s buoyant beats. Although there was a slight crowd exodus after they played “Connected,” they still kept the energy going at a max until the end.
When I was a kid, I was gifted a Rhino Records box set featuring 100 tracks by bands from the ’70s punk era, and Buzzcocks were one of my favorite discoveries from it. The nostalgia had me giddy as I shot their set from the photo pit, one of the highlights of my day. The pioneering pop-punk outfit, celebrating nearly 50 years as a band – although frontman Steve Diggle is the only remaining original member – tore through a greatest hits setlist at Lost Girls that even had some fans moshing in the rain and mud. Tracks like “What Do I Get?” and “I Don’t Mind” still hit the same after all these years, while their biggest hit “Ever Fallen In Love?” had the moshpits flowing at their rowdiest and grimiest. Of course, the biggest surprise was Diggle, who well in his 70s, still maintains the energy, chops, and punk spirit of his more youthful days. Truly inspiring stuff.
Shortly after Buzzcocks ended, we escaped the rain for a bit and took refuge in the tented Club Doom, where the founders of iconic darkwave label and record store Wax Trax! Records were spinning their filthiest, most industrial-sounding dance offerings from their deep vinyl collection. Life partners Jim Nash and Dannie Flesher opened Wax Trax! back in the late ’70s before establishing the label and relocating to Chicago – becoming influential tastemakers in goth, punk, new wave, darkwave, and industrial; The KLF, Meat Beat Manifesto, Ministry, VNV Nation, Front 242 and so many more artists from those scenes have released stuff on Wax Trax! throughout the years. Nash and Flesher were spinning tracks by those names and more from start-to-finish, reminding us all of the important role they’ve played in the saga of post-punk. Long Live Wax Trax!!
Although She Wants Revenge have been around for over 20 years, you might as well consider them one of the younger faces on the Cruel World lineup, and that kind of inclusion goes a long way towards underscoring the many eras of goth. The duo of Justin Warfield and Adam Bravin, along with a backing band, delivered their biggest hits “These Things” and “Tear You Apart” while also playing a new track and teasing a new album – their first in over 12 years. The group was as tight as they’ve always been, and Warfield delivered the gothic vibes with his haunting vocals, monolithic presence, and dapper attire. I mean, just check out the belt he had on! Spooky!
Of all the Cruel World bands, Clan of Xymox might be the most Cruel World of them all. Their drab, spellbinding aura was simply unmatched. Longtime Xymox frontman Ronny Moorings is one of the most photogenic musicians I’ve ever shot, and his entire mystique only made their music sound more ominous. Typically, over time, the cream rises to the top, and while Xymox might not be the most well-known veterans of the darkwave explosion, they are one of the its most important pioneers. There’s a reason they’re still out here crushing it after all these years. After all this time, their music holds ups, and their live show is breathtaking. It’s any easy formula for sustained success. Better to be underrated and going strong than to ride too high, burn out, and fade away.
After Garbage ended, Nick Cave & The Bad Scenes delivered one of the best shows in recent memory, period. Although I didn’t have permission to shoot their set, it will be one that lives in my head rent free for the rest of my life. Breathtaking musicianship. Skeletal, bone-chilling art punk sounds – like the soundtrack to a theme park in hell. Flashing strobe lights and silhouettes galore. A cadre of backing singers belting ghostly harmonies. Warren Ellis wailing on the violin. A setlist that included iconic anthem “Red Right Hand” (off Let Love In), a rare performance of “Tupelo” (off The Firstborn is Dead), and ending with the first ever performance of “Hollywood” (off Ghosteen). And of course, Nick Cave himself standing on the front rail from start-to-finish, hovering over the crowd and belting his scary baritone with gangly, ghoulish energy. It was a set that cut deep, and by far the best of an already stacked night. After all was said and done, Nick Cave reminded us why he’s one of the all-time greats. A mesmerizing spectacle through and through.
Finally, the night ended on a super solid, reliable set from New Order, who opened with Joy Division’s monumental track “Transmission” before diving into a nonstop hit parade: “Age of Consent,” “Regret,” Bizarre Love Triangle,” “True Faith,” “Blue Monday,” and many more. Bernard Sumner’s voice is still as pure as ever, and the rest of the band sounded tight and un-rushed. As the years progress, New Order continue to be a reliable staple for goth-tinged festivals like this – anchoring the headlining slot in the same vein as acts like Morrissey, Duran Duran, and Tears For Fears (might it be their turn to headline next?). For their encore, they wrapped things nicely with a beautiful rendition of Joy Division’s “Love Will Tear Us Apart,” bringing it all back to where it began.
Like so many acts on this lineup, Cruel World continues to age like fine wine. We hope to make it out for as many years as we’re able. Until then, black skies the limit. Pour your misery down on me.
