The Cure are one of the very few bands that still tickle me pink from my earlier childhood/high school days, so it was completely fitting and natural to have snapped up tickets for both of their recent New York City shows, even though I'm seldom ever able to handle a band two nights in a row.

Originally, the band had intended to end their extensive world tour at Madison Square Garden, a show rescheduled in order to give the band time to finish their next record (which still isn't out yet, mind you). The band added an intimate date at Radio City Music Hall a few months ago, and tickets sold out almost immediately.

Before we get to the Cure, it's worthy to note opening act 65daysofstatic, who played a solid half an hour set each night. The four piece instrumental act was hard hitting, combining the cathartic edge of Mogwai and the electronic misfires of an 80s Wax Trax! act. Though they were captivating, skittishly thrashing around with a series of flashing lights behind them, I couldn't help but think that they'd be more at home in a much more intimate venue, where the sheer force of their sonic assault would be given the epic impact it deserved.

Due to the Cure's propensity for playing extensively long shows, it was only a short amount of time before they took to the stage. Normally, seeing a band two nights in a row is somewhat wasteful, as most stick to the same set list night after night, but the Cure not only have a knack for playing three-hour gigs, but they have an incredibly extensive back catalog to draw from, leading to radically different set lists with every show. This was certainly the case in New York. Madison Square Garden was a more singles based set list, showcasing more of the Cure's pop appeal. Sure, intense numbers like 'The Kiss,' 'Killing an Arab,' 'Shake Dog Shake,' and 'To Wish Impossible Things' made an appearance, but otherwise, the show was chock full of crowd-pleasing hits. The audience ate it right up, even if I was a bit bored mid way through the set. For the record, I love the band's singles and was delighted to hear 'Pictures of You,' just like everyone else, but the show was generally stacked in favor of these tunes, and by the time 'Friday I'm In Love' hit, I let out an audible groan while the venue lit up in ecstatic applause.

The Cure has since slimmed down to a four-piece act as of 2004's departure of Roger O'Donnell and Perry Bamonte, and even though the band has welcomed their prodigal son Porl Thompson back into the fold, the lack of keyboards is a sometimes noticeable drag. Though Porl's freak out fuzz attack and technical proficiency generally got the job done (and then some, he certainly is an essential member of the band and we're happy to have him back), there were a few numbers where the synths were missed. For example, the band had no business playing 'the Walk' whatsoever, and though I was happy to hear an old favorite for the first time, the lack of synth damn near drowned the song in poorly mixed mediocrity. The same fate befell both 'Hot Hot Hot' and 'Why Can't I Be You?' (why no one has ever noticed that these two tunes are virtually identical is beyond me), both of which would have triumphed with their respective keyboard hooks, but instead fell a bit flat. However, tracks like 'Push,' 'Lullaby' and 'Charlotte Sometimes' thrived even still, so the lack of personnel wasn't a complete loss.

Although I was extremely disappointed with the Madison Square Garden show, I still had my hopes up for the next evening. Knowing that the band would be ending their tour on Saturday, I had high hopes and expectations for a much more intimate set chock full of deep cuts and rare tracks. Right I was! Whatever bad taste was left in my mouth was wiped away immediately as the band played 'The Big Hand' (a 1992 b-side), 'The Hanging Garden,' 'Other Voices,' 'The Baby Screams,' 'Bloodflowers,' and 'Forever,' a never recorded but epic stream of consciousness piece that dates back to 1981 and was tacked to the end of 'A Forest' to finish the show. Amazing.

My only complaint with this gig lies within the extreme lack of crowd energy for the majority of the time, as I imagine casual fans had no idea what hit them left and right. It was no surprise that bubbly blonde girls and ex-frat-esque gentlemen with cups of beer firmly in their hands couldn't quite gel with the darker, less hit-tastic setlist. Everyone was out of their seat when 'Just Like Heaven,' 'Close to Me,' and 'Boys Don't Cry' were played, but otherwise, they seemed baffled by the more intense numbers.

Not that there wasn't fun to be had at Radio City Music Hall. The band's first encore featured several slices of pure pop perfection, and while the band performed, Robert Smith climbed the staircases to the side of the stage as a spotlight trailed, stopping just before the legions of fans in the first mezzanine. It was adorable. Well, as adorable as an aging man in makeup singing from great heights could be. "I can't f**king believe you let me get up here at all," he said after finishing 'Freakshow,' the band's latest single.

Though I may have incredibly high standards for a Cure gig these days, I'm glad I caught both shows. The band's devotion to their craft is always apparent no matter what they play, and though I can't say I adore their newer material or love their lack of keyboards, the band still can move me like no other. Naturally, I have mind to tease my hair every day this week, but I'm not sure my fellow employees would appreciate the gesture. The memories will have to do until next time.

To peek at the setlists for each night, click here and here, respectively. Otherwise, click below for a video clip of 'Kyoto Song' from the Radio City gig: