the cult tour 2022 review

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The Cult kick off tour in Clearwater with sold-out show

Live review.

By Chyrisse Tabone, Rock At Night Tampa Correspondent

Venue: Mahaffey Theater, Saint Petersburg, Florida–April 21, 2022

The Cult kicked off their 2022 tour at the Mahaffey Theater, St. Petersburg, Florida on Thursday night. The last time Rock At Night reviewed The Cult was in 2016—and at the same venue. Oh, how the world changed in the last six years–but at least good rock music remains  the same. Based on the theater’s capacity, people are thirsty for live shows. The concert was sold-out, which does not surprise.

The Cult began their nostalgic journey to the 80s promptly at 8:30 p.m. There was no support band and the set was simple with a backdrop, lots of smoke, and mood lighting. The band consists of two original members, Ian Astbury (vocals) and Billy Duffy (guitar) , as well as John Tempesta (drums), Charlie Jones (bass), and Mike Mangan (keyboards).

Here is a play-by-play description:

The Brit “Lizard King” emerges singing the 80s classic “Sun King” with his famous locks pulled back into a bun and secured with a durag. People in the audience yell “Ian!” and he asks the crowd, “How’s it feeling, Florida?”  He explains the tour is going through Florida and up toward Mississippi, asking, “Wanna’ come along?’

Even though the Mahaffey Theater provides comfortable seats, the Generation X’ers stand the entire concert. Yes, it is a 90-minute ‘stand fest’ for those on the orchestra level. Fortunately, the people in the upper level are comfortably sitting and enjoying the show. A few women in the balconies wearing sequin nightclub dresses are shaking and shimmying the whole set. Yes, it is MTV and the 1980s all over again.

During the song “Lil’ Devil” people in the audience are jumping and throwing fists in the air. The band perform the rousing “Peace Dog” and many are holding their fingers in a peace sign. After the song ends, Asbury declares, “This is a work out!”

Asbury introduces Duffy, who is killing it on guitar all evening. The tone of his guitar and skillful performance is mesmerizing. After ending the song “Revolution” Astbury says, “That’s the way, uh huh, uh huh, I like it. This is Florida? All the old timers know what I’m talking about.”

The concert continues with a crowd favorite “She Sells Sanctuary”, which takes the evening to a whole new level. Astbury pauses, saying “Most would play that and walk away. We are masochists” as the band jumps into “Love Removal Machine.”

The show appears to be ending since the band are putting down their instruments. A few patrons leave their seats to exit the side doors when Astbury remarks, “Come back into the room! It’s not a party without you. This is fucking live music. C’mon, man!”

The band exits off stage and the crowd cheers for more until they return to play “Fire Woman.”  This is the song everyone was waiting for—and the band delivers. Astbury reminds the crowd, “It’s not a party without music.”

And that is what they delivered. A party of their vast hard rock hits that stand the test of time. Check out one of the concerts on their tour across North America—but don’t leave when the show until the lights come on. Wait for the cherry on top of the rock ‘n’ roll sundae.

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Rock 'n roll, drinking and sometimes both at the same time, review: the cult live in denver 5/06/22 – the mission ballroom – ian astbury shines during sluggish show.

*Photo taken by the Rock Chick

I spent today, Sunday, driving across the plains of Kansas on my way back from seeing my daughter in Denver… Well, seeing my daughter and the Cult in Denver. I can tell the pandemic is starting to thaw out a bit as my dance card in Denver was completely full. The last few times I’ve been in Denver we really didn’t go out and do much. It was quality family time. Not so this trip. I was doing something almost constantly. And there was the Cult concert slipped into the middle of the schedule Friday night at the Mission Ballroom for just the Rock Chick and me. I didn’t know much about the Mission Ballroom but it’s a fantastic venue. I’d go back to that place in a heartbeat. Plenty of bars, plenty of bathrooms and not a bad seat in the house. This is one of the few times I’ve seen the Cult and actually had a seat. I didn’t go for my usual General Admission floor tickets this time as typically some hulking mountain of a guy ends up standing in front of the Rock Chick who is considerably less… vertical than I am. There aren’t many people who can block my view. We were excited to be on guitarist Billy Duffy’s side of the stage.

Driving across the fruited plains all day – where there is literally nothing to see – gave me a chance to ponder the show I’d seen Friday while I killed the road time listening to the new Chili Peppers album , Rush’s 40th celebration of Moving Pictures and a few episodes of an old crime podcast… we do love our Murder & Mayhem stories here at B&V. The opening act for the Cult was a band I was unfamiliar with, King Woman (editor’s note: the opener was misidentified in an earlier version as Des Rocs). I’ve seen an interesting array of bands opening for the Cult as I’ve been to over half a dozen Cult shows since 2001. The most entertaining opener was probably Monster Magnet at that first Cult show I saw on the Beyond Good And Evil tour. I seem to recall leather clad dancers on stage. I can’t say King Woman was entertaining at all. I got there mid-set and they were performing without a spotlight on the singer. It was all backlit in red. I couldn’t see the face of the band members but especially the lead singer, a lady who seems pretty angry and she was rolling around on stage in the dark. They ended with a cover of the Stone Roses’ “I Want To Be Adored” that was frankly, unrecognizable.

By 9:40 the Cult came onto the stage. The current line up is Ian Astbury (vocals), Billy Duffy (guitar), John Tempesta (drums), Grant Fitzpatrick (bass) [ editor’s note: on bass it may have been Charlie Jones ] and inexplicably Damon Fox (keyboards/backing vocals). The Cult definitely don’t need a keyboard player. They used to tour with an extra guitar player which made a lot more sense to me. There are very few things I can count on in life – but the Cult live in concert are one of them. They are always MONEY on stage. The fact these guys always bring it live is one of the reasons I fell in love with the band. I had taken the liberty of glancing at the set list prior to the show and while I didn’t have it memorized – I couldn’t remember what they opened with – I was excited about it. It was front loaded with a bunch of songs from Sonic Temple, probably their most famous, commercially successful album. As I’ve said, I’m so into the Cult I like whatever they play but I missed the tour pre-Covid where they played Sonic Temple in it’s entirety. I was sidelined by a foot injury. I’d previously seen the “complete album shows” for Love and Electric so that was pretty disappointing. While I’d have been quite content if they’d come out and opened with 8 tracks from Hidden City I was glad I was making up for missing that last tour.

Thank god I couldn’t remember what the opener was because I was delighted and surprised when I heard the opening notes of “Sun King.” It’s one of my favorites. After two years of virtually no concerts save for a surprise trip to Starlight Theater to see Joan Jett/Cheap Trick I couldn’t help but think, “Finally!” Immediately the Rock Chick noticed that they sounded off. It took me a few riffs in to realize they sounded a little sluggish. Maybe they need to burn off some of that Covid rust? The Rock Chick also noticed that Ian Astbury’s vocals were a little off as well – he changed out his microphone midway through the main set so I’ll give her credit there. The list was heavily weighted to Sonic Temple. The entire show, save for “Rise” from Beyond Good And Evil was from Love, Electric or Sonic Temple or as some might say “their prime.” Maybe the fact that they aren’t touring behind a new album brought less enthusiasm from the group. Maybe it’s the new bass player and keyboard player. Chemistry in a band is important.

The main issue, upon reflection as I drove through golden fields of wheat spotted with green fields of beans and milo and the requisite rural frightful political signs, might have been as simple as one guy: Billy Duffy. I think Billy is one of those great, underrated guitar Gods out there. Although I have to say, he seemed bored. He wasn’t terribly engaged. Or maybe he’s just always sounded better with a second guitarist on stage with him. I was on his side of the stage and he almost seemed distracted. He kept looking up toward the balcony seats, just to our right. We were on his side, only 2 sections out from the stage. The Rock Chick says I’m crazy but at first I thought he was looking up at the giant stack of speakers floating above his head like he was afraid they were going to fall. His guitar was loud and he plays powerfully but he was just playing slower than usual. Tom Petty always called live albums “playing your greatest hits really fast.” This was the opposite of that.

As I said, they opened with a bunch of  Sonic Temple  tracks. The only track that the keyboard player really had an impact on – to my ears anyway – was “Sweet Soul Sister.” It was nice to have the organ. They had a little mellow breakdown in the middle where Ian addressed the crowd. He was referencing psychedelics, perhaps inspired by Colorado’s pot laws. He told a guy in the front row “Hey man, you can’t text from the front row… you’re in the front row that comes with certain responsibilities,” which I thought was funny. At one time he exhorted the crowd to “Smoke em if you got em.” He also said something about the people filming the show on their phones, calling them out as “Kurosawa, Spielberg and Coppola.” Hey man, if you’re not used to being filmed at this point, I’ve got bad news for you. I mean, I get it. I shake my head at people at a concert who experience it through their phones. I took maybe 3 pictures and put my phone on mute and into my pocket.

Despite that seemingly slightly hostile banter, I have to say Astbury was on fire that night. It’s like he sensed the rest of the band was sluggish and he was determined to put them on his shoulders and carry them through the night. He is one of the best front men and singers in the business. What a voice! He moved around the stage like a man half his age. He’s always active but I hadn’t seen him move that much on stage since the first few Cult shows I saw over 20 years ago. He looked lean and very into it. He gave out his sole tambourine to a kid near the stage who he called “Youngblood” because the kid had a Pink Floyd The Wall t-shirt on. “We’ve gotta teach these young-bloods right!”

As the band slogged through the Sonic Temple material and Astbury tried to pump them up, they hit a high point on “Edie (Ciao Baby).” That ballad soared. I will admit that when they shifted to some of the songs on Electric the band got better – in my opinion, this is disputed by the Rock Chick. “Li’l Devil” was a track where I felt everything clicked for the band. It was a real highlight. They followed that up with two more great tracks from Electric, “Peace Dog” and “Wildflower” which were also highlights. The Love material at the end of the set was also great and included a rocking version “Rain” and “Revolution,” a track Astbury described as “more relevant now than ever.” I love “She Sells Sanctuary” but it did miss that second guitarist.

The main set ended with “Love Removal Machine” another knock out moment of the night. The Electric stuff just sounded better but then as my friend Stormin’ said to me once, “I’m an Electric guy.” I was thrilled that “Rise,” one of their most underrated songs from the late career resurgence, made it into the encore. As I said, it’s the only non Love-Electric-Sonic Temple track they played. In retrospect I’d have liked to hear “Dirty Little Rock Star” or “For The Animals” just to break it up a bit. Maybe they could have thrown in Hidden City’s “ Hinterland .” But I’m probably splitting hairs. The faithful, myself included, still went nuts for the final track, a rousing “Fire Woman.” It was so good to be in a crowd, shoulder to shoulder with strangers, sharing that communal, ecstatic moment during a concert.

And with that the night was over. While it was a bit of a disappointing show, I’d still go see the Cult again. I’d like to see them on this tour again actually. I just think I caught Billy Duffy on a bad night. But it was still made special by Ian Astbury absolutely bringing his A game. As I am fond of saying, Life is short, buy the ticket, see the show.

Editor’s Note: You can find our thoughts on our second show on the tour, this time in Kansas City here: https://bourbonandvinyl.net/2022/09/28/review-the-cult-live-in-concert-at-the-venerable-uptown-theater-kansas-city-mo-september-27-2022-sensational-show/

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16 thoughts on “ review: the cult live in denver 5/06/22 – the mission ballroom – ian astbury shines during sluggish show ”.

Ah that’s bought back a few half memories… man I wish I’d still got my Electric tour shirt. I saw them early (March?) ‘87 at Birmingham Odeon. The difference between Love and Electric was like night and day thanks to Rick Rubin. I think Electric was his first proper rock album or was it Slayer… jeez talk about knockin it out the park. I’m sure someone was called haggis or kid chaos or something. These may or may not have been the same person.. 1987 was bang in the middle of the Jack & Coke years….

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Well, let me just say on behalf of everyone… we have all had a Jack and Coke phase and none of us fared well. Dangerous combo… Everybody talks about ‘Sonic Temple’ but my favorite always bounces between ‘Love’ and ‘Electric.’ The sonic leap they made – via Rick Rubin – between those two records is stunning. I will say, I’ve really dug what the Cult has done since ‘Beyond Good And Evil.’ Nobody rocks like this any more. I think they’ve got new music coming. I think this tour is just an attempt to get the band tight so they can go in the studio and finish up the album. But then again you never know. Glad to have brought back some half memories! Cheers!

I thought that Charlie Jones (Robert Plant) was the Bass player for this tour. I could be totally wrong but he was a few weeks ago according to his instagram. Sonic Temple is a great record but we need some new tunes. Too bad Duffy seemed off but thats how these guys roll at times…

Well, I know Charlie Jones, I’ve seen him with Plant. I’m pretty sure it was this Grant Fitzpatrick guy I’ve seen in pictures but I could be totally wrong as well. 100% agree with you that we need some new tunes from these guys. Hopefully this little mini tour headlining and opening for Alice Cooper will knock the rust off and inspire them to get back into the studio!! Been too long since we’ve heard anything new from the Cult. Cheers!!

Well, according to Instagram you are correct sir. He’s been with them. He didn’t post anything in Denver… but it looks like it was Charlie in Denver. I didn’t hear “Charlie Jones” during the intro’s but Ian tends to talk fast. Thanks for the heads up!

I always say things are very cyclical in my music world. Someone wrote something with somebody else who years later you find out played castanets on your favourite b’side. So joining the circle on a thread from a couple of weeks back. Charlie Jones was at one point Robert Plant’s son in law. He married his daughter carmen.. quite a catch back in the day. Last I heard she was a.. ahem… exotic dancer. Small world.. if you’re in it.

Small, exotic world if you’re in it 😉

man i’ve missed bourbon and vinyl… since I’m off the twitter (self imposed ban), i now realize there’s a micro world right here 🙂 thanks for the excellent write up.

RK, welcome back! I’m considering dropping off Twitter myself. It’s trending bad. Hope you are well my friend!

Text me your email address (if you’d like) and I’ll put you in my subscriber list so you get an email when we publish… helps avoid twitter…

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Q&A: The Cult are back to having fun on Under the Midnight Sun

"It's like moving from central heating to a barely stoked coal fire sometimes. You've made something and now you have to distil it down into something that at least captures the recording's most essential parts live." — Billy Duffy on making song fit into the concert set list

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The cult under the midnight sun tour, q&a: the cult are back to having fun on under the midnight sun back to video.

When : Sept. 15, 8 p.m. Where : The Show Theatre, Hard Rock Casino, 2080 United Blvd., Coquitlam Tickets/info : vtixonline.com

Hard rockers have a way with historical reckoning. Stick around long enough, and you may just find yourself surfing a wave of revival.

Such seems to be the case with the Cult.

The U.K. group boasted all the right credentials when it began in 1983 performing as Death Cult. The name was a play on singer Ian Astbury’s group Southern Death Cult which had enjoyed some level of attention, mostly due to the singer’s vampire mystic-meets-Jim Morrison vocal style. Guitarist Billy Duffy had handled axe chops in the equally popular Theatre of Hate. By the time the band dropped its 1984 debut Dreamtime, it was just plain the Cult.

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The quartet morphed from gothic-tinged post punk into back-to-basics riff rock enjoying massive success through the late eighties. It’s best-selling record, Sonic Temple, was recorded in Vancouver at the legendary Little Mountain Sound Studios with producer Bob Rock.

Albums such as Sonic Temple and singles such as the shimmering She Sells Sanctuary, the riff-ready Love Removal Machine and anthemic Fire Woman, became global hits and drove the brand into superstardom. The tensions of success lead to the Cult calling it quits in 1995. Aside from a poorly received attempted 1999 reboot with Beyond Good and Evil, it looked like the crew’s legacy was hit radio rotation.

But the band resurfaced in 2006 with Born Into This, a return to the power chords and psychedelic poetics that were its signature and has continued right up to the present day with the release of its eleventh album, Under the Midnight Sun, which dropped on July 7, 2022, after some COVID-19 holdups. The concise eight song set shows a band back in form and ready to embrace its reputation as classic rock heroes for aging Gen X’ers and adult millennials.

New singles such as A Cut Inside are finding a place in the band’s legacy.

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Guitarist Billy Duffy talked about making the new album, the live and studio balance and a return to form on record prior to its cross-Canada tour.

Q: Under the Midnight Sun sounds like a very solid band recording. What do you attribute that to?

A : Ian and I have different approaches to recording. I tend to appreciate the British history of residential studios where you just lock yourself away and only work. For most bands, the environment is nicer than their squalid London flats and the food is always far better. That makes it easy to focus in and get that group thing going. Producer Tom Dalgety did that for us this time at Rockfield Studios.

Q: Songs such as the opener Mirror, Give Me Mercy and others have a sound that hearkens back to the earliest records. Were you looking for something more ethereal and less grinding.

A : We did indeed feel like making a change from the Bob Rock-established style. Tom, who has credits with artists like Pixies and Ghost, kept on showing up at gigs and we grew to like him. He presented the right fit for the direction we were headed. Coincidentally, we recorded our debut Dreamtime at the same studio 35 years ago.

Q: The personality of the band has always seemed a mix between all-out rockers and often introspective balladry. Do you have a preference?

A : Oh, I’m a bit old-fashioned 70s sort who likes the poppy, hooky choruses and glam rock riffs. The more introspective stuff doesn’t have that same discernible pace and that sometimes makes me think it flounders a bit. The set list is always a battle to come up with.

Q: I suppose the challenge is how to make songs from the new record fit in the concert set list?

A : It’s like moving from central heating to a barely stoked coal fire sometimes. You’ve made something and now you have to distil it down into something that at least captures the recording’s most essential parts live. We’re working on the opening track Mirror, which is quite challenging. It has two very distinct guitar parts that are both essential in my way of thinking. I don’t know if it will be ready in time for Canada.

Q: Who is in the touring line up?

A: The live line up does change, but we’ve had the same drummer, John Tempesta, for about 16 years. The bassist is Charlie Jones who spent 20 years in Goldfrapp and worked with Page & Plant as well, so he knows his way around the job. Our old keyboardist had surgery over a heart issue that made touring impossible, so we picked up someone who has played with Glenn Hughes and others who is great.

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REVIEW: The Cult at PNC Pavilion

Tina sullivan  .

Having been a Cult fan since the early 80's, I remember when Love came out. This was back when MTV used to actually play music, and that's when I caught The Cult in concert for the first time. I knew then that I would never be the same again.    For me, there was Elvis Presley first and foremost (because I used to get to stay up late to watch his movies) but nothing ever rocked my world so hard again, until I saw Ian Astbury command a stage in my teen years around 1984 or 1985. He was otherworldly... Drawing on the neo-romanticism craze at the time, that was made wildly popular by such bands as Adam and The Ants and Duran Duran - The Cult were just as visually appealing as they were musically sonic.

Songs by The Cult such as "Nirvana," "She Sells Sanctuary" and "Rain," far exceeded the typical radio drivel at the time. They drew some of their influence from Native American culture which I found fascinating, and visually appealing. I would later dig deep and reach into the old Southern Death Cult stuff they did before just becoming The Cult. However none of that was like Love . Most people probably got hip or remember The Cult when they moved into the top 10, with 1989's Sonic Temple , which by all accounts had just as much swagger as any of the metal "cock rock" bands that were out at the time. But to me, The Cult just sounded better and were not cheesy and contrived like their contemporaries. The Cult were the definition of cool.   When you hear Billy Duffy play that White Falcon, it's a different sound. The tone is all its own, and makes you understand why so many guitar players are drawn to the Gretsch. I have seen The Cult play live only one other time, and it was nothing like the show at PNC Pavilion last night. They seemed to harken back to the early days before all of the fanfare happened. They played all the favorites from Electric and Sonic Temple , such as "Love Removal Machine," "Fire Woman," and "Sun King," which still hold their own.   Last night at PNC Pavilion is the best I have ever seen The Cult since the mid 1980's, and that's saying a lot because back then there was absolutely nothing better. So happy to see these guys back on their game. If you are an ardent Cult fan, or even just the casual listener, go see them, don't hesitate. You will be pleasantly surprised.

Tina Sullivan 

Tina Sullivan is a local musician and stylist/salon owner at Bang Bang Salon on Short Vine. She loves performing, doing road-trips and going to live shows or anything that has to do with supporting and promoting the local music scene. When she's not being a songbird, spell-caster, scene queen, she can be found working in the local antiquing world. She loves reading, gardening, cooking, and anything that has to do with being out under a full moon.

• Black Rebel Motorcycle Club
• PNC Pavilion
• Thursday, July 14, 2022

THE CULT Announces Summer 2022 North American Tour

THE CULT will embark on a North American tour this summer. The 16-date trek will kick off on July 8 in St. Paul, Minnesota and will conclude on July 30 in Ontario, Canada. Thirteen of the shows will include support from BLACK REBEL MOTORCYCLE CLUB and ZOLA JESUS . Tickets go on sale this Friday, May 13.

Tour dates:

July 08 - St Paul, MN - Palace Theatre * July 09 - Milwaukee, WI - US Cellular Stage At Summerfest July 10 - Chesterfield, MO - The Factory At The District * July 12 - Chicago, IL - Riviera Theatre * July 14 - Cincinatti, OH - PNC At Riverbend * July 15 - Dayton, OH - Rose Music Center At The Heights United States July 16 - Pittsburgh, PA - Stage AE * July 19 - Washington, DC - The Anthem * July 20 - New York, NY - The Rooftop At Pier 17 * July 22 - Philadelphia, PA - Metropolitan Opera House * July 23 - Boston, MA - Leader Bank Pavillion * July 24 - New Haven, CT - College Street Music Hall * July 26 - Syracuse, NY - Crouse Hinds Theater * July 27 - Detroit, MI - Meadowbrook Amphitheatre * July 29 - Leamington, ON - Hogs For Hospice Charity Event At Seacliff Park July 30 - Rama, ON - Casino Rama

* With BLACK REBEL MOTORCYCLE CLUB and ZOLA JESUS

In April 2021, THE CULT guitarist Billy Duffy spoke to Tone-Talk about the progress of the recording sessions for the band's new album. The follow-up to 2016's "Hidden City" is being helmed by producer Tom Dalgety , who has previously worked with GHOST and ROYAL BLOOD , among others.

"We've been digging away at that over the last year and a half," Billy said. "We're working with a great young English producer called Tom Dalgety . And, obviously, with the circumstances of the last year or so, it's been a little challenging. But we're making some progress.

"The philosophy in THE CULT camp, really, is about quality, not quantity," Duffy explained. "We don't just need to keep putting out records for the sake of it. Without being ridiculous, we wanna, within a certain realistic time frame, make sure that the records that we put out are as good as they can be. So sometimes that takes a bit longer. And that's kind of where we're at."

He reiterated: "We're well into the process of the new CULT album."

Speaking about THE CULT 's songwriting approach this time around, Billy said: "One of the things about THE CULT , I think, that may be worth mentioning is it's always been a collaborative creative effort between me and Ian [ Astbury , vocals]. And as you can imagine, like any kind of situation, there's pushing and pulling, and Ian wants to go a certain direction, and I might resist, or I might wanna go a certain direction. And that tension creates [ THE CULT sound]. It's not like Ian writes ' Ian songs' and Billy writes ' Billy songs,' and we record them as THE CULT . There are no ' Ian songs' or ' Billy songs' — there are Ian and Billy songs together. And over the time, there's a bit of a creative — it's not always tension; I don't mean that in a bad way. That's what makes it good. It's that blend. We sort of respect each other to the extent that I think there's a trust there, and I think that, after this many years together, and a few years apart, I think we trust each other and respect each other enough.

"I think it's healthy to have creative tension," he continued. "There's nothing worse than walking into a room where nobody's got any ideas. I'd rather have an argument about something creative than to have nothing, just the sound of crickets: 'All right. What are we gonna do now?'

"We see things very differently," Billy admitted. "In a lot of ways, we're very alike. Our birthdays are one year and two days apart. So we're both Taureans. Our birthdays are both coming up very soon. We're very alike in a lot of ways and very different in a lot of ways."

"Hidden City" was released in February 2016 via Cooking Vinyl . The follow-up to 2012's "Choice Of Weapon" was written by Astbury and Duffy and was produced by Bob Rock , who has previously worked with METALLICA and MÖTLEY CRÜE .

In May 2020, it was announced that THE CULT had inked a deal with Black Hill Records .

The aforementioned "Sonic Temple" album catapulted THE CULT into superstar status and remains their most commercially successful release. It has sold over 1.5 million copies in the U.S. alone and was certified platinum in 1990. It made it to No. 10 on the Billboard charts, and several of the album's songs remain rock-radio staples to this day.

+ JUST ANNOUNCED:: NEW NORTH AMERICAN DATES! + Tickets On Sale May 13th Posted by The Cult on  Monday, May 9, 2022

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Concert Review: The Cult at Stubb’s, Austin

Concert Review: The Cult at Stubb’s, Austin. UK alt-rock veterans return to Austin for blistering set.

There was a sense of legacy surrounding The Cult’s performance this past Sunday at Stubb’s Amphitheater. After a strong-set from doom metal outfit King Woman , the pre-show music was chock full of the post-punk acts The Cult  emerged with in the mid-80’s. It reminded the audience both of the band’s New Wave roots as well as the sonic mutations and transitions that would follow over the group’s now 39 years together.

Afterwards, the band hit the stage, guns blazing, with Rise off their 2001 nu-metal flirtation Beyond Good and Evil . The primal chug and blistering pace of the track proved the perfect set-opener, getting the crowd pumped and showing the band in fine form.

Much of the set pulled from their 1989 platinum smash album  Sonic Temple , from the majestic Sun King , the R&B shuffle Automatic Blues , the power ballad tribute Edie (Ciao Baby) and the anthemic Fire Woman .

The sound of the band was expansive, aided by keyboard player Damon Fox, who brought a synth-remix quality to another Sonic Temple staple, the stomping Sweet Soul Sister, and widescreen cinematic sheen to material like Love -era classics  Rain  (which also featured propulsive percussion from John Tempesta) and the iconic She Sell Sanctuary . Elsewhere he added rhythm guitar-sample stabs on Electric hits like Lil’ Devil and Wildflower .

Guitarist Billy Duffy was his reliable sturdy self, particularly shining on deep cuts like the primal Peace Dog and the Zeppelin-esque Aphrodisiac Jacket , unfurling his crunchy riffs and searing leads (ever the perfectionist, he sometimes scowled at the sound mix, an endearing trait familiar to longtime fans).

Vocalist Ian Astbury was in a feisty mood, asking for Austinites to send the “tech bros back  to California,” saying that the Texas capital is “the real Texas, waiting for the rest of the state to catch up.” As is his wont, he varied between sticking to his vocal script and offering variations on a theme, his bellowing baritone still soaring despite thickening with age.

But for a band with their original members in their 60’s, The Cult showed few signs of aging. They played one song off their upcoming album Under The Midnight Sun ( click here for my review ), the haunting, ethereal A Cut Inside , which the singer prefaced with “Don’t applaud, you haven’t heard it yet!”

After finishing the song (which was warmly received) Astbury revealed the single was written about the passing of his French Bulldog. “I’m a tiger, but I’m also a dog lover”, he said tenderly, adding “I love you Ra, and I’ll see you soon.”

The band encored with 90’s techno-hybrid The Witch , with Astbury switching from his trademark tambourine to a pair of maracas, before the group closed with their 80’s smash Love Removal Machine , their classic barnburner that whipped the crowd into a frenzy.

Astbury closed the set singing ‘Happy Birthday’ to Fox, while adding that The Cult have been playing at Stubb’s for nearly three decades. Then Duffy thanked the crowd for supporting the group all these years. Astbury then voiced his support for reproductive rights, begging for the audience to fight back after the Supreme Court’s strike down of Roe Vs. Wade. It was a sobering yet touching moment.

A Cult concert is always a communal, tribal experience, and the mutual admiration between band and audience was palpable. As Astbury said years ago, “We don’t have fans, we have addicts,” and everyone who attended emerged recharged having gotten their fix.

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Metallica Release Official Live Video of Their Longest Song “Inamorata”

The offspring announce new album, reveal lead single “make it all right”, halestorm and i prevail release joint single “can u see me in the dark”, falling in reverse reveal video for new song “all my life” with jelly roll, steven adler announces 2024 summer tour dates, bad omens, parkway drive, architects set for mayhem festival return, sepultura announce north american leg of farewell tour, babymetal announce 2024 u.s. tour with scene queen, review + photos: knocked loose are a force to be reckoned with, queens of the stone age add more 2024 tour dates with the kills, flat black announce 2024 u.s. headlining shows, duff mckagan announces 2024 solo u.s. tour dates, mayhem festival confirms comeback with one-day festival this fall, heart cancel upcoming european tour, ann wilson to have surgery, puscifer release new single “the algorithm”, w.a.s.p. announce 2024 tour, playing debut album in full, dead & company add new shows to sphere residency in las vegas, jane’s addiction announce 2024 north american tour with love & rockets, the rolling stones shake things up with “bitch,” “midnight rambler” in new jersey, watch: actor bradley cooper joins pearl jam on stage at bottlerock in california.

The Cult Announce 2022 Summer Tour With Black Rebel Motorcycle Club, Zola Jesus

The month-long North American trek begins in July

The Cult are hitting the road again in North America this July. The trek kicks off on July 8 in St. Paul, MN and wraps up on July 30 in Orilla, ON. Special guests for the tour will be Black Rebel Motorcycle Club and Zola Jesus. Tickets go on sale this Friday, May 13 HERE .

The Cult are currently working on a new album. Their last studio effort was 2016’s Hidden City (Cooking Vinyl).

In a recent interview with Tone-Talk , guitarist Billy Duffy gave an update on the band’s progress in the studio.

“We’ve been digging away at [new album] over the last year and a half,” Billy said. “We’re working with a great young English producer called Tom Dalgety. And, obviously, with the circumstances of the last year or so, it’s been a little challenging. But we’re making some progress.

The philosophy in The Cult camp, really, is about quality, not quantity,” Duffy continued. “We don’t just need to keep putting out records for the sake of it. Without being ridiculous, we wanna, within a certain realistic time frame, make sure that the records that we put out are as good as they can be. So sometimes that takes a bit longer. And that’s kind of where we’re at. We’re well into the process of the new Cult album.”

Black Rebel Motorcycle Club released their eighth studio album Wrong Creatures back in 2018. It featured the hit single “Little Thing Gone Wild.” In 2021, BRMC member Robert Levon Been scored the film The Card Counter .

Zola Jesus is releasing her sixth studio album Arkhon  on June 24 via Sacred Bones. It is her first studio outing in nearly five years. The lead single “Lost” is streaming now.

July 08 – St Paul, MN – Palace Theatre * July 09 – Milwaukee, WI – US Cellular Stage At Summerfest July 10 – Chesterfield, MO – The Factory At The District * July 12 – Chicago, IL – Riviera Theatre * July 14 – Cincinatti, OH – PNC At Riverbend * July 15 – Dayton, OH – Rose Music Center At The Heights United States July 16 – Pittsburgh, PA – Stage AE * July 19 – Washington, DC – The Anthem * July 20 – New York, NY – The Rooftop At Pier 17 * July 22 – Philadelphia, PA – Metropolitan Opera House * July 23 – Boston, MA – Leader Bank Pavillion * July 24 – New Haven, CT – College Street Music Hall * July 26 – Syracuse, NY – Crouse Hinds Theater * July 27 – Detroit, MI – Meadowbrook Amphitheatre * July 29 – Leamington, ON – Hogs For Hospice Charity Event At Seacliff Park July 30 – Rama, ON – Casino Rama

* with Black Rebel Motorcycle Club and Zola Jesus

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• July 10, 2022 Setlist

The Cult Setlist at The Factory, Chesterfield, MO, USA

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• Rise Play Video
• Sun King Play Video
• Automatic Blues Play Video
• Sweet Soul Sister Play Video
• Soul Asylum Play Video
• Edie (Ciao Baby) Play Video
• Give Me Mercy ( New song ) Play Video
• Wild Flower Play Video
• Fire Woman Play Video
• Revolution Play Video
• Rain Play Video
• She Sells Sanctuary Play Video
• Love Removal Machine Play Video

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5 activities (last edit by Concertgoer17 , 20 Jul 2022, 03:11 Etc/UTC )

Songs on Albums

• Automatic Blues
• Edie (Ciao Baby)
• Soul Asylum
• Sweet Soul Sister
• She Sells Sanctuary
• Love Removal Machine
• Wild Flower
• Give Me Mercy

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• The Cult This Setlist Start time: 9:50 PM 9:50 PM

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• Jul 08 2022 Palace Theatre St. Paul, MN, USA Start time: 9:45 PM 9:45 PM
• Jul 09 2022 Summerfest 2022 Milwaukee, WI, USA Add time Add time
• Jul 10 2022 The Factory This Setlist Chesterfield, MO, USA Start time: 9:50 PM 9:50 PM
• Jul 12 2022 Riviera Theatre Chicago, IL, USA Add time Add time
• Jul 14 2022 PNC Pavilion at Riverbend Cincinnati, OH, USA Start time: 9:50 PM 9:50 PM

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Review & Photography by Lindsay Smith for MPM

There are certain gigs that as a photographer are on your bucket list, Alice was on mine so the opportunity to see him plus one of the bands from my mid teams whose ‘Love” album I about wore out came along it was smiles all round.

The newly opened Swansea Arena lended itself well to such an auspicious occasion, the gig was sold out and the opening night of the UK tour, so the anticipation levels were high as was the number of Alice lookalikes leaning on the barrier.

Opening the proceedings was Creeper, the lights stayed low for the Southampton Goth Rock band as frontman Will Gould began an expressive and energetic set full of swagger to warm the party up. Cyanide from their second studio album ‘Sex, Death & the Infinite Void’ kicked the short but full on set off. Down Below from their second album stuck in my head but it was the closing track Annabelle from 2017’s Eternity, in your Arms’ that got the mood ready for “The Cult”. Definitely a band to check out.

After what seemed like forever, the lights went down and ‘ The Cult ’ with the distinctive sound of Billy Duffy’s guitar and the unique voice of Ian Astbury smashed their way though your ears with ‘Sun King’ before smoothly flowing into ‘Automatic Blues’. The band transported me back in time with ‘Sweet Soul Sister’ and I have to say, they sounded better than I thought possible.

The sound in Swansea Arena is great from the back and as there was no pit photography allowed for their set, it was nice to just enjoy the set if not a little frustrating as a long time fan.

Ian likes a chat and engaged with the crowd easily talking about his Celtic Roots and as the tambourines flew into the crowd, even the hardened Alice fans warmed to the charismatic Astbury.

It was however, Duffy’s riffs and licks that stole it for me though – phenomenal player and when the familiar opening of ‘Love Removal Machine’, ‘Revolution’,’ Rain’ and ‘She Sells Sanctuary’ hit my ears I felt transported in time back to my own days of oodles of black eyeliner and black lipstick bopping around the local disco Ian Astbury style!

Enough of the time travelling and it was time for the other headliner for tonight, Alice Cooper . The stage was set…castle turrets, chandeliers, skulls and bones, in total contrast to the straight gig sets of the two previous bands.

But of course, we know what to expect, a performance, a theatrical fest of catchy songs spanning Alice Coopers career, a production not a gig, supreme musicians, and the master of shock rock Alice Cooper himself who with a 50 year plus career seems as sprightly and magnificent as ever!

“Feed My Frankenstein’ kicked it all off, the crowd bouncing and singing along, we had the first 4 songs in the photo pit and it honestly felt like 2 minutes such was the power of the performance with the band swapping places, coming together to hit those lovely guitar heavy phrases, playing to the audience all the while Alice overseeing and commanding, wafting his cane, a sword, a knife, steady in his vocal and never breaking character. What a show!

“No More Mr Nice Guy’, ‘Bed of Nails’ and “Hey Stoopid’ never let the pace up for a second, a whirlwind of such classic tracks with costume changes, giant monsters and equally giant choruses. Swansea Arena holds 3000+ and I think everyone was singing along.

I won’t detail the full set list for those of you going to other shows but there was a live debut and loads of theatrics with huge ‘Billion Dollar Babies’ , the guillotine (of course) and tonnes more classics.

A 19-song set list in 1 hour 15ish minutes – fast and frantic but all in a good way. Yes ‘Poison was in there, and of course the one that every generation knows ‘School’s Out’.

Nita Strauss is the guitar queen of rock, a goddess with a guitar who can bend those strings with such dexterity all the time stamping her authority on the stage.

She has a confidence that is very well deserved. Ryan Roxie is on parr with Nita, performance perfection and fabulous to watch and listen too. Tommy Henriksen equally matches his colleagues for his turn at solos, seriously nippy in his riffage. The low end delivered impeccably by Chris Wyse. They play off each other but also with each other.

The band are unbelievably good, Glen Sobel smashing out the tempo and under-pinning each track, they all perform not just play but it is the playing that matters and it’s flawless! My only comment would be turn it up a bit Swansea Arena, these songs need to be played loud, hit you squarely in the stomach, 4 guitars on stage and at times I couldn’t feel that fuzz let alone the big tub thumping!!

The Godfather of Shock Rock is still amazing, the ultimate showman and you really shouldn’t miss this tour, buy the tickets, get yourself out for a night of pure music and theatrics. Total enjoyment.

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The Cult (formed in 1983) is an English post-punk and hard rock band, originally formed as a gothic, metal revivalist band with Native American influences, hailing from Bradford, Yorkshire, UK.

Prior to forming The Cult, vocalist Ian Astbury founded the gothic rock band the Southern Death Cult alongside guitarist David Burrows, bassist Barry Jepson, and drummer Haq Quereshi. In December 1982 the band issued their debut double A-sided single “Moya”/“Fatman” and were attracting audiences of up to 2,000 people by their fifth live gig. Following a slot opening for the band Bauhaus, Astbury disbanded the group after reading too many positive articles about them in music periodicals.

By 1983 Astbury had formed Death Cult with guitarist Billy Duffy, drummer Ray Mondo, and bassist Jamie Stewart and released a self-titled EP that summer. With fears of being associated as a gothic band, in 1984 Death Cult became The Cult, boasting their brand of hard rock with punk/psychedelic influences. The band’s debut full-length “Dreamtime” arrived later in 1984 peaking at No. 21 on the UK Albums Chart. The record was led by the single “Spiritwalker”, earned favourable reviews from the musical press, and introduced Astbury’s interest in Native American issues. Prior to touring in support of the release The Cult recorded five songs at Maida Vale 5 studio for Richard Skinner of BBC Radio.

The Cult’s fourth single “She Sells Sanctuary” was released in May 1985, peaking at No. 15 on the UK Singles Chart. By this point Mark Brzezicki had arrived as the group’s new drummer and the band were putting the final touches on their sophomore album. 1985’s ”Love” arrived in August strongly rooting their music away from punk towards 1960’s psychedelia. The album charted well peaking at No. 4 in the UK, and sold impressively throughout Europe, Australia, and the U.S. In support of the release The Cult embarked on a worldwide tour with new drummer Les Warner, during which time the band released the subsequent album singles “Rain” and “Revolution”.

Despite initial recordings not satisfying the Cults’ members, re-recordings in New York with producer Rick Bubin produced positive albeit much heavier results. The 1987 album “Electric” was led by the No. 18 single “Love Removal Machine”, cementing the Cult’s devoted following in the UK and augmenting one in the U.S. The Cult’s fourth full-length album “Sonic Temple” was recorded with Astbury and new drummer Matt Sorum, and represented the group’s most successful release to date. Earning gold certification in the UK and platinum in the U.S., the album’s Top 10 U.S. single “Fire Woman” led to the band touring with Aerosmith, Soundgarden, and Metallica.

With Mickey Curry added on drums and Charlie Dayton on bass, the Cult released their fifth full-length “Ceremony” in 1991. Despite the sales of its predecessor, the Cult project was splintering behind the scenes, and following the release the band took a three year hiatus. The compilation “Pure Cult” arrived in 1993, as did a new rhythm section featuring former Mission bassist Craig Adams and drummer Scott Garrett. Following a disappointing self-titled album in 1994 the band once again took a hiatus with Astbury forming the Holy Barbarians” in 1995.

Astbury, alongside Matt Sorum, Duffy and Martyn LeNoble appeared as The Cult in June 1999 at the Tibetan Freedom Festival. The group later crafted the album “Beyond Good and Evil” in 2001, “Born into This” in 2004, and “Choice of Weapon” in 2012.

Live reviews

The Cult will probably always be most closely associated with the eighties; back then, they came over like The Cure’s more brazen, no-bullshit cousin, with a take on gothic rock that was always more concerned with image and sound than any real thematic preoccupation. Frontman Ian Astbury, too, gave Robert Smith a run for his money in the make-up stakes, and continues to prove a considerably more energetic presence on stage. Outwith that decade, though, they began to struggle, and have been on-again, off-again ever since 1995, when they initially split. Their first reunion, in 1999, saw them drop a well-received new record, Beyond Good and Evil; ten years later, though, Astbury had taken to being altogether more cautious about their future, declaring that no further new material would stem from the reformation. He’s gone back on that promise, though, with Choice of Weapon released two years ago to a strong commercial showing in the United States and Canada, and another largely agreeable reception from rock critics. Whilst the Bradfordians prep another new LP, due later this year, they’re touring their classic 1987 album Electric in its entirety; expect them to flesh out the set with other classics, too, like ‘She Sells Sanctuary’ and ‘Revolution’, before they go out in support of their next album in 2015.

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The Cult is opening on this leg of the G 'n R tour. I was super stoked when I heard that. The show I saw was in the Cowboys' AT&T stadium, which is monstrous with less than stellar accoustics. The place was about half-full when The Cult started their set. You could tell Ian was not thrilled about the folks up front that were texting instead of trying to enjoy the music in front of them. He made several comments along those lines. But the band still sounded great. I would actually say it was easier to understand Ian's vocals with less amps behind him than it was to understand Axl with a wall of power behind him. As more people came in and the beer had been flowing, people were getting into the music. The last two songs She Sells Sactuary and Love Removal Machine had everybody engaged. Billy Duffy seemed to feed off that better energy, too, as he began windmilling ala Pete Townsend. They definitely did not disappoint but I think they are better suited for more intimate venue where they can connect more quickly. I would see them again in a heartbeat.

It seems rather fitting to have described British hard rock outfit The Cult as a cult phenomena following their incarnation in the early 80s. The group has now cemented its place on the circuit and despite infrequent breaks in their recording and touring schedules, as of late they are intent on performing to the devoted fanbase who continue to sell out their tours in force.

No longer described as cult, despite the band name, the venue is packed this evening with fans of the group's long discography. They are not disappointed as the quartet takes to their instruments looking energised and intent as they grapple with a first set made exclusively of the 'Electric' album. The second half is far more about showcasing the very best selections of their discography and features the new classics of 'She Sells Sanctuary' and 'Rain'. These are of course received well by the vocal crowds and simply spurs the group on to throw themselves further into the instrumentals. An encore of 'Horse Nation' and 'Sun King' is a fitting end to a rambunctious, nostalgic evening.

I am sorry to say, as a fan of the group since the 80s and watching them live several times I was very disappointed will the singer's Attitude, he seemed so much up his own Arse and arrogant. Spitting on stage. Someone has to clean up!! There was a lot of drinking and dangerous mooshing going on, several girls left there place at the front as they were fearful for there safety . I stayed at front till 2 songs from the end. I was getting badly hurt being pushed against the barrier. What I thought was a absolute disgrace was the singer told the crowd that in a crowd of Six thousand it's stupid putting yourself in danger( hinting at me) and if they don't like the rock way then they should not go to gigs!!? I pay the same as the drunk spaced out individuals who want to cause bother.why should not I expect to be safe? I'm not a fan of them now because of this attitude. music was great, cello and violin at one point with invited musicians. Such a shame the night was spoilt for me and other weaker folk.

The Cult is the reason for my becoming a dedicated musician in 1985. I finally saw them in 2003, it was a huge moment for me but I can admit being a little underwhelmed by the lack of energy on the stage. Sloppy and a bit boring. Fast forward to last night and the difference still has me singing Wild Flower, their opener. They were fantastic! As soon as they walked on-stage their confidence and sound took command and I realized that THIS was what I had been waiting for. The crowd was great, the setlist impeccable, and the chemistry of the Cult very solid. Even Billy Duffy took the mic at the end to express his appreciation for the audience, so I know that they had a blast, too. It really showed!

Right from the off, Astbury was stamping his war dance in a Jim Morrison style as Billy Duffy stood, legs spread as far as possible, firing out a howling solo on his iconic white Gretsch guitar. Rain's towering melody got the crowd jumping as they switched between songs from the new album and old classic’s. Tracks like Fire Woman and Li'l Devil kept up the momentum, with Astbury's voice sounding as primal and defiant as ever. It started off massive and just built from there to an amazing crescendo. Absolutely Brilliant

Saw them once at The Brixton Academy in the UK around Nov 1987. Being an American 15 year old at the time on holiday in the UK at the time, and it being my first real concert, it was an amazing experience. Great memories of them rocking out hard with Billy Duffy crushing the guitar solos. Somehow I remember the opening bands too: crazy pink revolver and Balem and the Angel. Great times. hope to make the wellmont show in NJ. Soundtrack of my youth.

A great show/performance, considering the venue. The River Cree Edmonton, really needs to look and evaluate their room to improve the sound and lessen the '60's/'70's issues of echo feedback, as voiced by Ian Astbury.

With that said, the group delivered a very, memorable rockin', enjoyable performance. I have been a fan from the beginning, well, since 1984 anyway. Still a great fan and deservedly so. ;-)

The entire show was cancelled 50min before the doors were supposed to be open.

The place was locked down and dead upon arrival at 6pm. Not a sole in sight. No

equipment out back..nothing. Total bust.

We were extremely skeptical from the start and it pretty much ended with a

fizzle as we expected.

No love for the NILE and it's related clubs.

Best gig I’ve been to in a while, really slick sound and loads of energy. Ian Astbury’s vocal was incredible had the audience jumping through a succession of crowd-pleasers. I didn’t catch the first act but Yonaka put in a great support-act shift but the Cult were in a different league to many bands I’ve seen this year and I’m looking forward to the next time

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with special guests Black Rebel Motorcycle Club and Zola Jesus

Black rebel motorcycle club, important health update, there are no health entry requirements for this event., concert information.

IMPORTANT INFORMATION FOR THE CULT CONCERT

ZOLA JESUS will begin at 7:30pm followed by BLACK REBEL MOTORCYCLE CLUB and THE CULT will close the show.

The entrance for General Admission Pit ticket holders will be located at the Admin Gate directly to the right of the Box Office.

Patrons will be allowed to bring in up to four 33.8 fl oz factory sealed bottles of water. Squeezable, soft plastic water bottles that are empty will also be allowed (please note that non-squeezable plastic water bottles will not be allowed). In addition, there will be free ICON Water Refill Stations on site, as well as multiple Carrier Misting Stations.

If you have Mobile ticket(s), make sure to download your ticket(s) prior to arriving at the venue. To download your mobile ticket(s) to your phone, go to "My Events" in the Ticketmaster App and select "Add To Wallet" (on iPhone) or "Save To Phone" (on Android).

There will be a Pre-Show Cookout from 6:00pm-7:15pm located at the Party Plaza on the west end of the property. Patrons will be treated to their choice of 2 Entrée Items (Brat, Mett, or Hot Dog) served with Coleslaw, Potato Salad and Chips (Beverages not included).

The Rideshare and Uber/Lyft Pickup location is located across the street from Gate 2 (Coney Island's Main Entrance). For directions and a map of the parking lot, CLICK HERE .

Download the Connect Cincinnati App for free WiFi at the show.

Please allow extra time for metal-detector screening, visual inspection, and bag inspection conducted by PNC Pavilion security personnel. Any bag/purse larger than 12"x12" will not be permitted. The purpose of the inspection is to detect prohibited items and is for the safety of our guests and our staff.

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While supplies last. Ticket prices include parking and are subject to price increase based on demand and applicable Ticketmaster fees. All events are rain or shine. Dates, times and artists subject to change without notice. Arby’s® is not responsible for the sale or provision of the tickets. Limit 8 tickets per person.

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‘Dancing for the Devil: The 7M TikTok Cult’ Director Explains Wild Netflix Doc and Nearly Interviewing Leader Robert Shinn

By Lexi Carson

Lexi Carson

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Netflix ‘s docuseries exposes a sexually abusive church pastor and a cult in perhaps the most unexpected place — TikTok.

“ Dancing for the Devil: The 7M TikTok Cult ” follows a group of TikTok dancers who believe they are in a talent management company called 7M. The doc focuses on Miranda Wilking, a member who’s estranged from her family that’s desperately trying to get her out.

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“[Milgram] was telling me about 7M and how it’s created a lot of buzz in the dance community, and that one of the families, the Wilkings, had gone live [on Instagram] doing a cry for help, and a call to action if there’s anyone else that was affected by it,” Acevedo told Variety . “Like everyone else, I watched the live and was like ‘What the heck is going on here?’ and then got on the phone with the Wilkings later that evening, and we ended up talking for quite a few hours.”

That conversation with the Wilkings prompted Acevedo to reach out to more people and establish relationships Shinn’s victims before she partnered with Netflix for the project. When Acevedo met with director Derek Doneen , they were “kindred spirits” sharing the same vision for the project and took it very seriously when victims were trusting them to tell their stories.

Shooting didn’t begin until the end of 2022 because they needed to build trust with the victims and gain access to information that was crucial for the story to unfold.

Acevedo adds that most of the time it was only Doneen in the room with victims while they were filming and sharing their experiences with 7M.

“We’re always reminding subjects at the beginning of each shoot, and throughout the shoot that if at any point you feel uncomfortable, we can stop at any time. If you want us to leave, we will leave at any time. You are in the driver’s seat,” Doneen says. “And when the production ends, the relationship will continue and we’re continuing to check in.”

Doneen says he tried numerous times to get ahold of Shinn and the 7M dancers for comment, but no one mentioned in the docuseries responded — except for Shinn, for a total of 10 seconds.

“As we got deeper into production, we tried again. We called all of them on the phone, left voicemails for those who didn’t pick up, texted all of them, and then sent emails as well,” Doneen says. “We did our best to give them every opportunity to participate and tell their side of the story and would have entered into those conversations with as open of a mind, that I think that we would have with any subject. We talked to Robert for all of 10 seconds, and as soon as he knew who we were, he said, ‘I have another call, I gotta go’ and hung up and never responded again.”

Doneen says he had a good conversation with Shinn’s son Isaiah Shinn, who nearly spoke to them for the series but then backed out.

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What is the true story behind ‘Dancing for the Devil: The 7M TikTok Cult’?

In videos, TikTok dancers associated with 7M Films, like Miranda Derrick, are bubbly and smiling. Is it possible that they are actually in a cult? 

According to a civil lawsuit filed March 2023, yes. Robert Shinn, the CEO of 7M, is also the pastor of Shekinah Church. Shinn, 7M Film and Shekinah Church are listed as defendants, among other entities, including Shinn’s wife Hannah Grace.

The lawsuit allege Shinn and other defendants subjected people “to brainwashing, physical abuse, sexual abuse, emotional abuse, manipulation, and exploitation.”

“Shekinah is a cult,” the lawsuit , filed in March 2023, read. “A cult that engages in egregious and despicable illegal behavior.” Later it calls Shekinah “a cult operating under the disguise of a religious institution.” 

Shinn, in 2021, when allegations against 7M Films first emerged, categorized them as “false” in a statement provided to the Daily Beast . 

The new Netflix docuseries, “ Dancing for the Devil: The 7M TikTok Cult ,” highlights former members of 7M Films and Shekinah Church, as well as the family members of current members, like Miranda Derrick. 

No criminal charges have been brought against Shinn. He has not spoken out about the 2023 lawsuit and did not participate in the documentary. 

“There is a man that started a management company, managing some really successful, famous TikTok dancers, and ultimately funneling — maybe (for) lack of better words — into his church,” executive producer Jessica Acevedo tells TODAY.com about the series. “And as we started to investigate it, we realized the story goes much deeper and darker than we could have ever imagined it.”

Are dancers on TikTok really in a cult?

In February 2022, the family of Miranda Derrick posted a video on Instagram speaking out about their concerns her Derrick, and sharing that Miranda Derrick was “not allowed to speak” to them.

Miranda Derrick’s sister, fellow dancer Melanie Wilking, said that she believed her sister and the other dancers in the group, including her husband James Derrick, were “not in control of their lives.” The civil lawsuit filed in 2023 by former Shekinah and 7M Films members describes an environment marked by “brainwashing” to a state of “economic and physical submission” and “abuse.” 

While living in Shekinah, people “worked on small allowance,” were “only allowed to eat food provided by Shekinah,” and “were only allowed to make purchases approved by Shekinah,” per the lawsuit. They were also encouraged to donate their income. 

Dancers Aubrey Fisher-Greene, Kylie Douglas and Kevin “Konkrete” Davis left 7M in 2022, then joined the 2023 lawsuit. They joined the documentary in real time, documentarians say.

“It’s pretty rare to find a story that’s unfolding in real time like this,” director Derek Doneen tells TODAY.com.

What is Shekinah Church?

Robert Shinn founded Shekinah Church, which predates 7M Fims. He is also tied to multiple other corporations and companies, all listed in the lawsuit, including Shekinah Church, Alpha Plus Realty, RCP Financial Inc. and Imaginating Pictures , the production company behind “Random Encounters,” a 2013 film that stars the former Meghan Markle and credits Shinn as an executive producer. 

The 2023 civil suit describes Shinn’s teachings at Shekinah Church, and why cross-complainants, whose confidence in themselves had been “undermined,” were vulnerable to manipulation. 

“Robert preached that Shekinah was a member’s last chance into heaven by rapture. During sermons, Robert would say that Shekinah members could leave the church any time, but that members who left, and their families, would not be protected and would instead be prone to ‘spiritual attacks’ or attacks by the devil.” 

“He told them they would experience poverty, sickness and death of their loved ones without full submission,” the suit says.

The filing was part of an ongoing lawsuit that began when Shinn sued two former members of his church and moderators of social media accounts that were posting about him and Shekinah Church in October 2022, according to documents reviewed by TODAY.com. All have denied allegations. 

Melanie Lee, a former member, described being “brainwashed” after joining the church in a lawsuit.

In 2022, Rolling Stone reported that a former member of the Shekinah Church named Lydia Chung sued Shinn and several other defendants in 2009 for forcing her to turn over $3.8 million in property and assets through “undue influence, mind control, coercive persuasion, oppression and other intimidating tactics … all in the name of God.” She also claimed she was forced to work six days a week without pay. The judge ultimately ruled against her.

"Shinn and the other defendants successfully rebuffed all of Chung’s claims. After a bench trial, the judge ruled in favor of Shinn and the other defendants on all counts,” the Rolling Stone article summarizes

What have 7M and Robert Shinn said about the allegations?

After Miranda Derrick's family spoke out in 2022, a representative for Miranda and James Derrick, 7M, and Robert Shinn denied the allegations that 7M was a cult and characterized the Wilkings’ claims as the result of a family disagreement.

“Miranda Derrick is a successful businesswoman and a loving wife and daughter who cares very much about her family,” the representative said in a statement provided to the Daily Beast in 2022, after their video went up. “While the recent portrayals of Dr. Robert Shinn and 7M Films have been wildly offensive and riddled with inaccuracies, those false claims will not deter 7M from supporting Miranda in whichever endeavors she chooses to pursue next.”

In a statement posted to Instagram in March 2022, a month after Derrick’s family went public with their concerns, 7M Films stated that although Shinn is the pastor of Shekinah Church, there is no business affiliation between the church and 7M.

“It is quite common for a person of faith to own and operate one or many secular for-profit businesses,” the statement read. “You do not have to be a member of the Shekinah Church to be represented by 7M, nor do you have to be represented by 7M to be a member of the Shekinah Church.”

Shinn did not go on the record in the documentary. “I would have given them the same time and respect that I would give anybody,” director Doneen says. That said, there’s a part of me that’s also happy that the attention is on the families and former members, because that is who we wanted to uplift.”

Per the Netflix documentary, the case is set to go to trial in 2025.

Esther Sun is an intern for TODAY.com. She loves café-hopping and watching cooking TikToks she knows she will never try.

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One of country music's best singers will play the twin cities' worst concert venue in september.

After working his way back from a vocal cord injury that sidelined him for three years, cult-loved country music hero Sturgill Simpson will now face a new challenge in his long-awaited Twin Cities comeback show: Roy Wilkins Auditorium .

The richly twangy, Grammy-winning Kentucky singer has scheduled a Sept. 25 date at St. Paul's notoriously echoey and uncomfortable 92-year-old exhibition hall, which has mostly been hosting high school graduations and RV and camping shows since finally being sidelined as a concert venue a half-decade ago.

Tickets for Sturgill's concert in St. Paul go on sale via Ticketmaster.com June 14, with presale options beginning June 12. Prices have not yet been publicized. The show is being billed as an "evening with" performance, meaning there will be a lengthy headlining set and no opening act.

Simpson, 45, will hit the road again with a new album to promote, "Passage Du Desir," which he is purportedly releasing under a new stage name, Johnny Blue Skies . Maybe he can get Chris Gaines to open some of the shows?

There's an easy explanation for why Simpson's tour — billed as the Why Not? Tour — is stopping at Wilkins Auditorium: The comparably sized Armory across town in Minneapolis is already booked that night with another performer, Gracie Abrams. Simpson was supposed to play the Armory in 2020 when his tour plans were canceled due to the pandemic, and then later due to his vocal issues. He has not performed in the Twin Cities since a 2016 date at First Avenue.

Twin Cities music lovers on social media gave tour promoter AEG Presents plenty of reasons why not to have booked the tour into Wilkins Auditorium.

"Please not Roy Wilkins," Brock Peterson posted to X (previously known as Twitter).

"Honestly, Myth would have been better for his fanbase," concert-scene fixture Kyle Matteson also posted, referring to the strip-mall megaclub in Maplewood.

Some fans said they will probably skip the Wilkins show and instead trek 3½ hours to Moorhead, where Simpson is scheduled to perform a night earlier at the scenic Bluestem Amphitheater .

The last major ticketed concert booked at Wilkins Auditorium was the boy band Why Don't We in 2022, which was canceled. Before that, the venue's last string of big shows included Lake Street Dive, Bruce Hornsby and LCD Soundsystem in 2017, the year before Minneapolis' Armory reopened as a refurbished concert hub.

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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