The Cure's Founding Member Delves Deep into the Enigmatic World of Goth Culture - A Captivating Journey Unveiled!

Although he no longer flaunts his tall and unkempt hairstyle and has abandoned the smeared eyeliner and all-black attire, Lol Tolhurst, a founding member of The Cure, still identifies himself as goth.

Tolhurst's life has undergone significant changes since his days of playing drums and keyboard on the cherished albums of the late 1970s and 80s. He continues to pursue his passion as a musician, collaborating with his peers and fellow veterans of the scene, Budgie and Jacknife Lee, on an upcoming album. However, he now has the freedom to engage in podcasting, attend his sons' concerts, and even indulge in writing a book or two.

Despite more than 40 years passing since The Cure released their second record, "Seventeen Seconds," which solidified their reputation as skilled creators of dark and eerie music, goth remains a central aspect of his perspective, the individuals he encounters, and the music he resonates with.

"In my opinion, once you discover something that resonates with you, you don't want to abandon it—you adjust," he expressed during a phone interview.

The essence of Tolhurst's new book, "Goth: A History," is that Goth goes beyond mere fashion or music; rather, it provides a unique perspective to perceive the world. According to Tolhurst, Goth is not limited to a specific group, and it should not be considered as a passing phase to be outgrown.

Tolhurst describes his experience in Goth as a form of communal reverse meditation. Through shared exploration of dark literary works, films, music, and art, they briefly escaped from their current time and space to gain a deeper understanding of their existence. They continued to traverse through life, but with a newfound sense of liberation.

What it means to be goth

Two goths pose at the Batcave club in Soho, London, in 1984.

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Goth is often depicted in a caricatured manner with excessive makeup, a brooding demeanor, and a preoccupation with the occult, Tolhurst remarked. By trivializing or exclusively focusing on its visual aspects, individuals who fail to understand goth effectively dilute its essence, he explained. It is no surprise that goth appeals to those who feel misunderstood.

According to Tolhurst, the true essence of goth lies in an intrigue for "all those aspects that our society tends to shy away from immediately—death, darkness."

"It may seem contradictory, but he insisted that it is life-affirming," he said. "We don't need to be so afraid."

According to Tolhurst, Goth originated from punk, which emerged as a response to the chaos and despair of 1970s England. During this time, widespread unemployment, racial discrimination against vibrant communities like Brixton in London, and the marginalization of those who questioned the established norms were prevalent. As curious teenagers, Tolhurst and his co-founders of The Cure, Robert Smith and Michael Dempsey, experienced this firsthand when they ventured into London. They witnessed clashes between the police and citizens, and were exposed to the provocative performances of punk and post-punk artists.

However, while punk is often characterized by nihilism, as seen in the Sex Pistols' sneering lyrics in "God Save the Queen" ("No future/no future for you!"), goth possesses a slightly more romantic perspective when it comes to assessing the state of the world, according to Tolhurst. Goth draws inspiration from art and literature to express its broad themes of destructive love and profound loss—not cynical, yet also not completely defeated.

One of the aspects of goth that attracted Tolhurst, and a reason why he still identifies as goth, is its inclusive philosophy. Goth provided a safe space for outcasts of all kinds, without excluding anyone who identified with it. Tolhurst explained, "If you claim to be part of it, you are."

Tolhurst discusses the infamous Batcave nightclub in central London, which served as a gathering place for goths of all types. The club offered a diverse range of music, including performances by influential bands such as Bauhaus, The Cure, Siouxsie and the Banshees, and Nick Caves early band the Birthday Party. According to Tolhurst, the Batcave welcomed anyone who could afford the entrance fee and met the age requirement, regardless of whether they were dressed formally in a blazer or donned black leather attire. Additionally, Tolhurst notes that the Batcave provided a safe space for queer Londoners who faced exclusion and violence within the larger community during the 1970s and 80s.

Growing up goth and learning from Siouxsie Sioux

The majority of "Goth" depicts Tolhurst's immersion in the post-punk and goth scenes. Witnessing an electrifying performance by Joe Strummer leading The Clash at a young age further ignited Tolhurst's passion for pursuing a career in music. He then embarked on a tour with Siouxsie and the Banshees, providing the band with their first taste of life on the road. Additionally, Tolhurst stumbled upon Joy Division and their frontman Ian Curtis before the tragic turn of events that led to Curtis' untimely death by suicide at the tender age of 23.

Tolhurst writes about the crushing death of Ian Curtis of Joy Division in "Goth: A History."

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Siouxsie Sioux played a crucial role as a mentor for Tolhurst and his bandmates. Whenever she performed on stage, she energetically bounded and thrashed, her eyes hidden beneath her bold black eye makeup. However, Siouxsie had no tolerance for any dramatic behavior from her audience. In his book, Tolhurst recounts how he would observe Siouxsie night after night from the side of the stage, after their band had opened for her. He vividly remembers her stomping on the fingers of skinheads who gathered at the front of the stage to jeer at her, simply because she was a "woman in complete command of her environment," as Tolhurst writes.

The hatred that Siouxsie faced was not only from the audience, but also from within the music industry itself. Tolhurst reveals that the industry was still deeply entrenched in misogyny, especially towards boundary-pushing figures like Siouxsie.

"She took no prisoners, which was great," he said over the phone. "But theres a hierarchy in the music business, and its full of old guys who didnt know how to deal with her."

Siouxsie Sioux of Siouxsie and the Banshees entranced Tolhurst when they toured together.

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Tolhurst honors influential female pioneers in goth music, such as Siouxsie, Nico, Julianne Reagan, and Gitane DeMone. These women challenged societal norms and reshaped perceptions of women in the music industry. Tolhurst credits them for inspiring him and showcasing how the world can embrace positive change.

How The Cures goth records redefined the genre

Despite the Cure frontman Robert Smith's denial of being a "goth" band, the essence of gothic darkness and romance can be felt throughout a significant portion of the band's discography. Tolhurst stated that this sentiment is particularly evident in their second to fourth albums, namely "Seventeen Seconds," "Faith," and "Pornography" - three critically acclaimed and sonically profound albums. Tolhurst also provides an insightful tip in his book, suggesting that goth anthems usually intertwine themes of death and love within the same song.

According to Tolhurst, the process of recording those albums was often chaotic due to the band going through periods of losing and gaining new members. Additionally, Smith was occupied with his role as a temporary guitarist for the Banshees, and the group was shaken by the deaths of loved ones. However, Tolhurst regards those years as incredibly gratifying experiences in his musical career. If fans of The Cure are seeking further insights into Tolhurst's departure from and intermittent return to the band, as well as his relationship with Smith, they will find more information in Tolhurst's previous book, "Cured: The Tale of Two Imaginary Boys." Tolhurst emphasizes that the essence of The Cure's existence can be found within those three albums, as they serve as a personal diary reflecting the band's lives during that time. Therefore, listening to them holds a special significance, allowing for contemplation about those experiences.

Tolhurst responded to critics and listeners who didn't appreciate The Cure's fondness for the minor scale by addressing their concerns about the potential impact on their "depressed-looking" fans. According to Tolhurst, he would explain that these individuals had misunderstood the message behind the music. He pointed out the song "Pornography" as an example, noting its dark and ominous nature. However, he highlighted the final lyrics sung by Smith, which emphasize the importance of fighting illness, finding a cure, and ultimately persevering through the darkness.

"It's all about solace," he expressed. "It doesn't have to be an idealized solace filled with unicorns and hearts, where everything magically turns out okay. It recognizes the shadowy and melancholic aspects. And from that, arises redemption."

The future of goth is bright — well, as bright as goth can be

Fans of The Cure at a 1992 concert smile and dance, proving goths are prone to bouts of joy.

Goth is still vibrant in modern times, noted Tolhurst. Although its appearance and sound may have evolved since the Cure's era of recording iconic goth songs like "A Forest," he recognizes the influence of the Cure and other contemporaries on the newer generation. According to him, artists like Billie Eilish owe their existence to pioneers like Siouxsie Sioux.

According to Tracy Fahey, an Irish author and academic, "gothic is a mode that responds to crisis." In light of the pandemic and political upheaval, the world has once again undergone significant changes. Tolhurst believes that goth will naturally "self-regenerate" among those who feel alienated from the mainstream. When he convinced a skeptical Smith to accept their group's induction into the Rock & Roll Hall of Fame in 2019, Tolhurst had the people in smaller towns, who found a sense of community in The Cure and other similar bands, in mind.

"I see all these people live in small placestheir way out was us," he said. "Im very honored and proud of that. Thats what keeps (goth) going."