Fresh off releasing a deluxe box set of Sounds of the Universe, Depeche Mode performed to a sold-out audience of 2,200 at the Palms Casino Resort’s Pearl Concert Theater — an intimate soft-seater comprised of tiered levels and an open floor.
Swedish indie pop sensations, Peter Bjorn and John opened the night with a friendly and tidy 25-minute set beginning with “Nothing to Worry About” and the Paul Simon-influenced title track from their latest release, Living Thing. The band ended with a prelude taken from their 2007 breakthrough release Writer’s Block and “Young Folks,” which seemed like an incredibly gutsy move. First, euphemistically speaking, people have heard the happy-go-lucky hit more than a few times. Second, Peter Morén left the stage to considerately sing to the floor crowd, which consisted of hardcore DM fans (a.k.a. grown-up versions of formerly dark-angsty-twisty-n-twitchy teenagers) and who knows what could have been dangerously awoken inside these post-industrial new wavers by a precious pop song. Either way, PB&J bravely put on an energetic and warmly received set and were wise to keep it under a half hour. Kudos to Björn Yttling, who has split his time between PB&J and doing production work for the likes of the Concretes, Shout Out Louds, Robyn and Lykke Li.
At nine o’clock sharp, members of Depeche Mode walked onto the stage — the crowd roared and it sounded as though every one of the 2,200 fans in attendance began screaming their excitement at the same time. Andrew Fletcher took his spot behind the keys and, as the only member of Depeche Mode who hasn’t written a song, mostly disappeared in the background. A sparkly and body glittered Martin Gore took his spot on stage right and Dave Gahan confidently planted his feet at the centre of the stage as the band broke into “In Chains.”
A dozen years have transpired since Depeche Mode’s last obvious sign of a commercially successful album, Ultra. The pop music landscape has inhospitably changed and shifted and artistic music videos — the band’s forte due to the immensely creative eye of Anton Corbijn — no longer have the opportunity to monopolize music channels. Even so, the band continued to release new albums and quietly sell millions. Now with the synth revival comfortably settled in, the music community seems ripe for another love affair with these sonic pioneers from the alternative scene.
The rest of the 90-minute gig was a (black) celebration of old hits and new material coexisting with smooth continuity. The show was more than a trip along memory lane as a rapt audience sang along with songs of their youth and the new songs. With “Walking in My Shoes,” “A Question of Time,” “Enjoy the Silence,” and Gore’s a cappella “Question of Lust,” the audience’s collective voice nearly overtook the volume of the nearly 50-year-old front men. They were permitted to take over certain choruses with the blessing of Gahan, whose rich baritone had recently been on rest and was as strong as ever.
Appearing to be enjoying themselves as much as the audience, the ageless Gore and Gahan kept amping up the energy as the set proceeded. Gahan’s trademark moves haven’t changed — wiggling hips, flamenco-inspired shuffles, fierce spins and lascivious interactions with the mic stand. Gore, dressed like a glittery spaceman, kept swapping one gorgeous sounding Gretsch for another before connecting with a sparkly star-shaped guitar as iridescent as his outfit.
As a whole, the set firmly laid down the band’s relevancy and impressive attention to production detail. After all, Gore is a man at home in a recording studio. There have been remixes (and box sets of these remixes) from the start of their career. Due attention was paid to resonant bass and thick bottom end, so that the instantly recognizable melodies were given a bright spotlight and sturdy ground to dance upon.
As a lesson or reminder to all music fanatics, don’t be discouraged when concerts sell out. In this case, the gig sold out within minutes. However, the band released tickets they didn’t need (for friends, family and media) before the concert began and a few lucky fans walked away from the box office with highly coveted floor tickets. Previously, floor tickets had only been available for purchase on eBay for triple and quadruple the face value.
Depeche Mode is on tour. Head to www.depechemode.com for details on upcoming dates.
Swedish indie pop sensations, Peter Bjorn and John opened the night with a friendly and tidy 25-minute set beginning with “Nothing to Worry About” and the Paul Simon-influenced title track from their latest release, Living Thing. The band ended with a prelude taken from their 2007 breakthrough release Writer’s Block and “Young Folks,” which seemed like an incredibly gutsy move. First, euphemistically speaking, people have heard the happy-go-lucky hit more than a few times. Second, Peter Morén left the stage to considerately sing to the floor crowd, which consisted of hardcore DM fans (a.k.a. grown-up versions of formerly dark-angsty-twisty-n-twitchy teenagers) and who knows what could have been dangerously awoken inside these post-industrial new wavers by a precious pop song. Either way, PB&J bravely put on an energetic and warmly received set and were wise to keep it under a half hour. Kudos to Björn Yttling, who has split his time between PB&J and doing production work for the likes of the Concretes, Shout Out Louds, Robyn and Lykke Li.
At nine o’clock sharp, members of Depeche Mode walked onto the stage — the crowd roared and it sounded as though every one of the 2,200 fans in attendance began screaming their excitement at the same time. Andrew Fletcher took his spot behind the keys and, as the only member of Depeche Mode who hasn’t written a song, mostly disappeared in the background. A sparkly and body glittered Martin Gore took his spot on stage right and Dave Gahan confidently planted his feet at the centre of the stage as the band broke into “In Chains.”
A dozen years have transpired since Depeche Mode’s last obvious sign of a commercially successful album, Ultra. The pop music landscape has inhospitably changed and shifted and artistic music videos — the band’s forte due to the immensely creative eye of Anton Corbijn — no longer have the opportunity to monopolize music channels. Even so, the band continued to release new albums and quietly sell millions. Now with the synth revival comfortably settled in, the music community seems ripe for another love affair with these sonic pioneers from the alternative scene.
The rest of the 90-minute gig was a (black) celebration of old hits and new material coexisting with smooth continuity. The show was more than a trip along memory lane as a rapt audience sang along with songs of their youth and the new songs. With “Walking in My Shoes,” “A Question of Time,” “Enjoy the Silence,” and Gore’s a cappella “Question of Lust,” the audience’s collective voice nearly overtook the volume of the nearly 50-year-old front men. They were permitted to take over certain choruses with the blessing of Gahan, whose rich baritone had recently been on rest and was as strong as ever.
Appearing to be enjoying themselves as much as the audience, the ageless Gore and Gahan kept amping up the energy as the set proceeded. Gahan’s trademark moves haven’t changed — wiggling hips, flamenco-inspired shuffles, fierce spins and lascivious interactions with the mic stand. Gore, dressed like a glittery spaceman, kept swapping one gorgeous sounding Gretsch for another before connecting with a sparkly star-shaped guitar as iridescent as his outfit.
As a whole, the set firmly laid down the band’s relevancy and impressive attention to production detail. After all, Gore is a man at home in a recording studio. There have been remixes (and box sets of these remixes) from the start of their career. Due attention was paid to resonant bass and thick bottom end, so that the instantly recognizable melodies were given a bright spotlight and sturdy ground to dance upon.
As a lesson or reminder to all music fanatics, don’t be discouraged when concerts sell out. In this case, the gig sold out within minutes. However, the band released tickets they didn’t need (for friends, family and media) before the concert began and a few lucky fans walked away from the box office with highly coveted floor tickets. Previously, floor tickets had only been available for purchase on eBay for triple and quadruple the face value.
Depeche Mode is on tour. Head to www.depechemode.com for details on upcoming dates.
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