On a balmy September evening, Winnipeg’s Burton Cummings Theatre played host to a masterclass in rock ‘n’ roll as The Cult’s 8424 Tour came through town. With support from Austin-based electro-rock group Culture Wars, the night offered an eclectic mix of brooding alternative rock and thunderous anthems that thrilled the audience, from longtime fans to newcomers.
Culture Wars took the stage first, delivering a dynamic opening set that quickly captured the crowd's attention. From the moment they launched into their first song, “It Hurts,” it was clear that the band wasn’t just here to warm up the audience—they were here to make a statement. Frontman Alex Dugan prowled the stage with an infectious energy, his raspy vocals cutting through the thumping bass and pulsating synths. The set’s midpoint was marked by the catchy, anthemic “Miley,” which saw the crowd swaying along to the groovy beat.
Culture Wars. Photos by Samuel Stevens Photography
The band’s penchant for blending electronic rock with raw emotion was most evident on songs like “Typical Ways” and “Slowly.” Their performance of “Lies” stood out as a highlight, its dark, introspective lyrics resonating with the crowd, while the closing track, “Heaven,” left the audience wanting more. By the time their eight-song set concluded, Culture Wars had more than proven their place as a rising force in the alt-rock scene.
As the house lights dimmed and the opening chords of “In the Clouds” echoed through the Burton Cummings Theatre, the crowd erupted in cheers. The Cult, fronted by the ever-charismatic Ian Astbury and guitar maestro Billy Duffy, wasted no time showing why they’ve remained rock legends for many decades. The air inside the Burton Cummings Theatre was electric as they tore into “Rise,” with Astbury’s voice as powerful as ever and Duffy’s guitar work laying down a wall of sound that reverberated through the ornate venue.
“Wild Flower” and “The Witch” sent fans into a nostalgic frenzy, with Astbury prowling the stage, his signature tambourine in hand. The chemistry between him and Duffy was palpable, particularly during “Edie (Ciao Baby),” which became a moment of pure transcendence, the haunting ballad resonating through the packed theatre.
The Cult. Photos by Samuel Stevens Photography
One of the night’s most intense performances came with “Fire Woman,” where the energy reached a fever pitch. Astbury commanded the crowd like a seasoned frontman he is, and when they launched into “Rain,” the audience swayed in unison, caught in the spell of the song’s hypnotic rhythm.
The band’s setlist offered a perfect blend of their biggest hits and deeper cuts. “Spiritwalker” was a reminder of the band's early days, while “Love Removal Machine” showcased their heavier side, with Duffy’s relentless riffage roaring through the venue. As the band left the stage, the audience’s chants for more were soon answered. The encore opened with the atmospheric and deeply spiritual “Brother Wolf, Sister Moon,” a slower, more introspective moment that contrasted beautifully with the explosive finale that was “She Sells Sanctuary.” The unmistakable opening riff of the latter sent the crowd into a euphoric frenzy, with every person on their feet, singing along to every word. The Cult left the stage triumphantly, having given Winnipeg a performance that will be remembered for years.
The Cult’s 8424 Tour is a testament to their enduring legacy in rock music. With a setlist that perfectly balanced their classic hits with deeper cuts, they delivered a show that was equal parts nostalgia and raw power. Culture Wars’ opening set was the perfect complement, setting the stage for a night of unforgettable performances. For those lucky enough to have been in the audience, it was a night where rock ‘n’ roll was very much alive and kicking in Winnipeg.