Cure is hit or miss on diverse bill

MANSFIELD -- The sun battling against a gray sky provided an ideal setting for the Curiosa Festival at the Tweeter Center on Saturday. In the midst of a dismal summer concert season, this ambitious outing of eight bands proved an impressive success, even if the headlining set by the Cure was clouded at times by a determination to introduce material from their latest release, simply titled "The Cure."

The goth heavyweights played for an audience that was easily the biggest of the day, though not near the venue's capacity, with many fans arriving only for their headlining set and blowing off what was a wonderfully diverse bill.

For longtime fans, the Cure's set was a mixed bag. "Lovesong," driven by a prominent bass line, was followed quickly by the terrifically dour "In Between Days." The show reached its first peak when the band continued with "Just Like Heaven" as iconic frontman Robert Smith, in signature lipstick, eye shadow, and teased hair, gave the tune an extended ending on acoustic guitar.

Unfortunately this threesome was sandwiched by new, lesser-known material, and many in attendance grew impatient. The club beats and ringing guitars of "A Forest" proved an impressive remedy, but ultimately the set was plagued by the hits' being left behind in lieu of new songs.

For those who had arrived early, however, there was an abundance of vibrant new music by bands -- all selected by Smith -- who have embraced the Cure's alter-ethos. An expansive second stage set in the Tweeter's parking lot flowed seamlessly with the main stage, and a crowd that ranged from old-time goth rockers to parents chaperoning children moved with ease between the two performance spaces.

The earliest of these arrivals were greeted by sheets of guitar rock from Scotland's Mogwai, following an introductory second-stage set by Head Automatica. Mogwai's main-stage set showed a beauty in noise that at points recalled My Bloody Valentine. The proceedings then moved back to the lot, where the Cooper Temple Clause managed to showcase an ambient mood, albeit a loud ambience, that was at times driven by four guitars and at others by synthesizer and keyboards.

The Rapture was the first band to benefit from the removal of seats by the stage, as a dancing "pit area" embraced its punchy beats. The action then moved back outside as Auf der Maur, the latest project from onetime Smashing Pumpkins and Hole member Melissa Auf der Maur, showcased a guitar-driven sound that paid homage to her earlier work but grew monotonous.

This was followed by Interpol's main-stage performance. The debonair rockers introduced new songs that draw from the same winning Joy Division-influenced sound that fueled their debut, "Turn on the Bright Lights."

The Muse was the final act to play on the second stage and the only to benefit from darkness. The British threesome put the lack of daylight to good use, punctuating their energetic set with a brilliant light show that was only marred by attendees' quick exits in anticipation of the Cure's headlining set.