The Cult summoned their followers for a night of self expression
- Kenneth Sporsheim
- Jun 18
- 4 min read
Sentrum Scene, Oslo, 17th June 2025
IMAGES KENNETH SPORSHEIM / WORDS THOMAS V. KIRKEBY
The Cult Celebrate 40 Years – And a Long-Overdue Oslo Reunion
The Cult have enjoyed a career spanning over 40 years. When they returned to Oslo, Norway, for the first time in 30 years, their fans had aged – but so had their hunger to see their musical heroes again. And that left a distinct mark on last night’s experience. But more on that later.
The band brought Swedish artist Jonathan Hultén along as support for their 8525 Tour. Some might know Hultén from the band Tribulation, which he co-founded in 2005 before leaving in 2020 to pursue a solo career. Last night, he stood alone on stage with an acoustic guitar, incense, and flower decorations, performing five songs accompanied by the sound of twittering birds. Not everyone quite knew how to react to the show, but most praised and applauded this unique and artistic performance.
Once all the instruments, gear, and the audience near the front had been “blessed with incense” by a crew member, Ian Astbury, Billy Duffy, Charlie Jones and John Tempesta took to the stage. They opened with In the Clouds, originally from the 1996 compilation High Octane Cult. It’s a solid rock track, though not quite the instantly familiar opener many in the crowd had hoped for.
After a somewhat surprising start, the band launched into Rise and Wild Flower, which were met with far more enthusiasm. Before moving on to The Witch, Astbury spoke to the audience, expressing how great it was to be back in Oslo, claiming it was the first city the band ever played. The audience, seemingly waiting for more context, didn’t react much, leaving Ian visibly unimpressed with the lukewarm response.
During Lucifer, one particularly energetic fan tried to start his own mosh pit. Whether it was the incense or three decades of pent-up anticipation, it didn’t win him any new friends.
The band continued with a mix of classics like Edie (Ciao Baby) and Hollow Man, as well as newer material including C.O.T.A. and Mirror from their latest album (2022). Ian was in constant motion, wielding his tambourine, dancing, shadowboxing and moving like he was doing tai chi when not singing. But for some reason, most of the audience still weren’t fully connecting. People mostly stood still, nodding to the beat. Ian asked multiple times for people to move and dance, but they seemed reluctant to let go – all except one man.
During Hollow Man, the same enthusiastic fan resumed bouncing into those around him. This time, people had had enough, and a couple of guys started pushing and hitting him, prompting Ian to step in after the song ended. Though likely unaware of what had started the fight, he kindly asked people to be more accepting and waved the jumper over to the side of the stage. At first it seemed like he was inviting him up on stage, but the man never appeared. Ian then addressed the situation bluntly: “It’s a rock show. If you can’t handle standing in front, go to the back.” When some in the crowd tried to explain what had happened, he cut them off: “Don’t be a cop. There are enough cops.” And with that, they launched into Resurrection Joe.
Oddly enough, this moment became a turning point in the show. While the crowd was a bit stunned at first, it seemed like Ian’s words finally made sense to them, and gave them permission to loosen up. More people started moving, clapping, and singing along, and finally it finally felt like the 30-year reunion it was meant to be.
When the band started Rain, the energetic fan reappeared – but now, those around him were dancing alongside him. It seemed they finally believed Ian meant it when he had asked them to move. They didn’t want to be cops, either.
The celebration continued with Spiritwalker and She Sells Sanctuary, before the band left the stage. But we all knew the party wasn’t over – at least I did, having sneaked a look at the previous setlist.
Returning for the encore, they tore into Fire Woman. And while a few might’ve momentarily expected a Rolling Stones cover of Start Me Up from the riff starting the final song, it was Love Removal Machine that brought the house down.
In the end, the show became a full-blown celebration – of 40 years of music and a long-overdue Oslo homecoming. And, oddly enough, it may never have turned out like that without the man who annoyed half the crowd by showing how much he loved the music.
SETLIST
1/ In the Clouds
2/ Rise
3/ Wild Flower
4/ The Witch
5/ Lucifer
6/ War (The Process)
7/ Mirror
8/ C.O.T.A.
9/ Edie (Ciao Baby)
10/ Hollow Man
11/ Resurrection Joe
12/ Rain
13/ Spiritwalker
14/ She Sells Sanctuary
Encore:
15/ Fire Woman
16/ Love Removal Machine
FOLLOW THE CULT
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