The Cure’s frontman Robert Smith has voiced his disapproval of the planned FIFA World Cup final halftime show, to be curated by Coldplay’s Chris Martin.
Set to take place at MetLife Stadium in New Jersey on July 19, the inaugural official World Cup final halftime show will feature performances by Madonna, Justin Bieber, Shakira, and BTS under Martin’s curation. Earlier this week, Smith expressed his critical stance on The Cure’s official Instagram account, specifically targeting FIFA President Gianni Infantino, who described the spectacle as a “groundbreaking” celebration of football and global values.
In his Instagram post, Smith mocked the event’s rhetoric, writing: “Fifa’s president, Gianni Infantosser, has described the half-time show as ‘groundbreaking spectacle’ that will ‘celebrate football, music and our shared values, ensuring a legacy that transcends the final whistle’… AAAAAAAAGH… #Breadandcircuses #MUGWANK #pleasejustfuckoff.”
The post featured a photograph of NASA’s iconic “Pale Blue Dot” image, taken by Voyager 1 in 1990, symbolizing Earth’s fragility. The halftime show, modeled after the Super Bowl’s performance, aims to support the FIFA Global Citizen Education Fund, raising funds to expand educational and football access for children worldwide.
The candid critique echoes Smith’s famously direct remarks during his 2019 Rock And Roll Hall Of Fame induction interview, where he dismissed enthusiasm with: “By the sounds of it, no,” a clip that went viral. Reflecting on the exchange in 2024, Smith admitted, “I didn’t realise that I was being filmed,” during an appearance on the Sidetracked podcast. The Cure currently tour the UK and Europe, with Simon Gallup’s son Eden filling in as bassist. The band recently performed at Poland’s Open’er Festival, including the deep cut “Treasure,” and announced they have completed a follow-up to 2024’s *Songs Of A Lost World*, alongside an upcoming more upbeat album. Smith has also collaborated with Olivia Rodrigo on “What’s Wrong With Me” and contributed to The Rolling Stones’ *Foreign Tongues*.*
