The Cult / Death Cult
The Shrine – Los Angeles, CA
Friday, October 30th, 2025
Review/Pics: Will
The Cult lit up L.A.’s Shrine Expo Hall with a double set — opening as Death Cult and closing as The Cult in one unforgettable night.
Tell me; when was the last time you saw a Headliner open for themselves?! Well, I’ve been to thousands of concerts and this may be a first for me.
This show was definitely an interesting one from the start. Outside of Ian, Billy, Charlie and John, pulling double duty, this show was moved at the very last minute from the Shrine Auditorium to the Shrine Expo. Hall (directly next door). The difference between the two venues is the Auditorium is a standard seated theater (orchestra and mezzanine). The Expo. Hall is just that: A large hall that resembles an airplane hangar.
In these days of staggered pricing for better seats, there were a LOT of (very audibly) angry people who saw their purchased seats reduced to GA standing. I had one person respond on facebook to my preview post stating that they were informed that the show had been scratched and their tickets had been canceled. So, I’m not sure what instituted the last minute change, but I do know that someone is going to be hearing from a lot of someones.
The photo situation was also altered at the very last moment as well (an email on the way to the show) due to the venue change, (which made things, again, interesting) but that was my problem to figure out.
But after all that, along with one of the opening act performers almost strangling herself with her mic cord, while in the process losing and breaking the actual microphone, we were ready for Death Cult.
Death Cult: Nostalgia and Transformation
In a matter of only a few years, the evolution from Ian Astbury’s, Southern Death Cult (1981) to Death Cult (1983) with Billy Duffy to The Cult (1984) was a relatively subtle and quick transformation. The band evolved from punk origins that melted into goth rock, ending in straight up rock. Death Cult would represent the chrysalis for this metamorphosis.
Death Cult songs are raw and obviously less nuanced than their successors, but for early fans, this was a dream. Their 35 minute set consisted of 4 songs from their only full release, Ghost Dance as well as 4 songs from The Cult’s debut album, Dreamtime.
The band appeared (or more so, didn’t appear) from behind a large white “sheet” that covered the entirety of the stage. Alternating stage lights projected the bands shadows and that is how the whole of set opener “Ghost Dance” was performed.
At last for “Resurrection Joe“, the sheet was dropped and we had our first view of Ian Astbury, Billy Duffy, John Tempesta (drums) and Charlie Jones (bass).
This was my 3rd time seeing the band (first time obviously as Death Cult), but my first observation was how great Ian sounded. He never strayed too far from center stage but commanded the hall with his powerful, soulful, and unmistakeable voice. Dressed in a flowing black hakama and his trademark headband, Astbury still looks every bit the rock shaman. And on this night, part samurai.
Beside him, Billy Duffy just exuded cool. Outfitted in all black, his signature White Falcon Gretsch gleamed under the lights as he unleashed those massive, razor sharp riffs that define The Cult’s sound.Through both sets he reminded the crowd why he possesses one of the most distinctive styles in rock.
Drummer John Tempesta and bassist Charlie Jones provided the muscular backbone of the band, both locked in with precision and and powerful, driving beat. With Ian and Billy the focal points, John and Charlie shine by providing chemistry, confidence, and groove.
After the very well received Death Cult set, I was made aware by the PR team that there would be a 10 minute video before the band, now The Cult, would start their set. What I found yet again…interesting, was that I had assumed that the video would be somewhat of a retrospective of their career, maybe some interviews, maybe snippets and pictures from their past…But no. Instead it was a screen that cycled through a few recurring images (a leopard, a soldier) with the words “Protect The Truth” and “Defend The Beauty”.
Interesting…
The Cult
The transition from the Black & White and Blue colored lighting for Death Cult transformed into blasts of color and a clearer visibility of THE CULT!. And for the majority of the crowd, based on their reaction to set opener, “Wild Flower“, this is the moment they had been waiting for. As soon as Duffy started cranking out the riff, the crowd immediately became full throated.
Ian stood center stage, shaking the tambourine like it was was frantically trying to escape his grasp. Billy, stage left, lost the leather jacket during the change and now had his Black Falcon Gretsch hanging by his knees.
(Shout out to the crew member hidden at the side who had some masterful precision when launching Astbury’s tambourine directly into his hand , center stage.)
Although there was almost no interaction between the band members through the night, Astbury and Duffy reminded the crowd why their musical chemistry remains one of rock’s most magnetic partnerships.
Outside of a short strut to the left or to the right, from Astbury, the band basically remained in their own “zones” with Charlie and Billy sticking to stage right and left respectively. The only change for John was his bass drum head switched Between Death Cult (Butterfly) and The Cult (Snake and Crosses) images.
It was a set that basically allowed the music do the talking. The Cult played 12 songs from 6 of their most popular albums and had a small taste for everyone. I’m sure there were a lot of tunes not played that the crowd would have loved to have heard. (I mean I was REALLY hoping to hear “Sweet Soul Sister“, and selfishly, “Sun King” because it was a song we’d practice in my first band, but nope.)
Between songs Astbury at times was urging the crowd to raise their voices with the sporting chant “Olé, Olé, Olé”. But it was the opening riffs to songs like “Rain“, Edie (Ciao Baby)“, “Fire Woman” etc. that really brought the crowd to a crescendo.
“Lil’ Devil” was another song that had the crowd’s hips shaking. As soon as that unmistakeable riff kicked in the Shrine Expo Hall erupted into one voice. It wasn’t going to be part of the set, but luckily at the insistence of Ian’s wife, Aimee and Billy, it was included.
The evening ended with two of their best in “Love Removal Machine” and the one encore of a song that helped define generations of Cult fans, “She Sells Sanctuary“.
It was definitely a night for retrospection. Not just for the band, but for the fans who have been a part of this journey for over 42 years. A lot of these early songs were the soundtrack to my days at college, and still remain prevalent now.
The Cult remain the High Priest’s of Rock n Roll and for us fans, we will continue to worship wherever the wind takes them.
A few days before this show the band released a statement (See below) about an extended hiatus from touring. I’m not sure what that means for the future of the band or timing of their return, but those who were able to catch any of these last shows will be left with the memory of a classic band still performing at the top of their game.
“Mother Nature has a cycle of change and evolution that is inevitable. The moon’s phases change, tides rise and fall. Change is necessary for creation and rebirth.
It is with this in mind that, following the remaining dates on our current North American The Cult/Death Cult 8525 Tour, we have decided to step away from touring for an undetermined amount of time. We have toured extensively over the last few years and we shall now shift our focus to writing, recording new music, and exploring other projects that shall be revealed over time. It is a time for us to turn inward to recharge our spiritual batteries.
When we return to the stage, it shall be with an even stronger fire and energy that we will share with all of you.
Ours is a communal bond, and it will not be broken, simply paused.
Until then, we have five remaining shows on this current tour, culminating at The Shrine in Los Angeles on Oct 30. Please join us for what has been an incredible celebration of 40 years of The Cult and Death Cult.
Thank you from the bottom of our hearts for all the love and support. It keeps us alive.”
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