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London gig review – Almost a Rose Bowl moment for Depeche Mode

Even before London, I’ve been saying since the mini-gig at the Barrowlands in Glasgow that Depeche Mode are in-form.

This is a term obviously more commonly used by sport writers and pundits, but it can be applied here to Depeche.

Dave Gahan appears to be wonderfully energised for his 55 years and clearly is enjoying himself immensely (he broods and stomps around on-stage but with a cheeky glint in his eye); the “band” sound tight and the production is superb; and there is a confidence from both Depeche and fans in the new material.

All these elements go a long way towards, outwardly at least, showing that things are pretty good in Depeche camp at the moment – something that comes through in the live performances so far.

Gahan’s interview with the British political magazine New Statesman last week hinted at some of the usual issues behind the scenes, but for the time being there do not appear to be many signs that they’re only going through the motions of being back in “band mode” (a lot of credit must go to Martin Gore in this regard, who has become a new dad twice in the last 15 months and must find it difficult being on the road).

A few changes to the song line-up (perhaps throw in the Ultimate Set List!) from night to night might appease the fans who are irked by such things, yet it generally feels as if the fanbase is really enjoying having the band back on tour again.

* * *

I read and heard a fair amount in the weeks and months leading up to Depeche Mode’s show at the London Stadium that it was a risk for the band to try and pull something off on that scale.

Does that sound familiar?

Fans will remember an American interviewer in the 101 film asking Andy Fletcher and Martin Gore as to whether the Pasadena gig was a “risk for this band”.

It was a risk worth taking, as we all know – it was a triumph, in fact, with that memorable night in 1988 going down as one of the most important milestones in their eight-year history at that point.

They’ve had other milestone gigs since then, too, of course: the double-header at the Dodger Stadium in Los Angeles in 1990; Dave Gahan’s “return from the brink” for the Ultra parties in London and Los Angeles; and perhaps even the Crystal Palace show in London in 1993.

But nothing compares to that balmy night in California (“there’s probably not been like a gig like again for us”, Gahan later said).

Back to London in 2017, with the Global Spirit Tour now a month old and Depeche Mode playing their biggest ever outdoor gig in the UK at a venue in London’s East End that is already known for many celebratory nights during the London 2012 Olympics.

This was a big event for the band, in many ways.

It’s probably a bit of a stretch to say that the London Stadium gig was Depeche’s “Rose Bowl in the UK” – but it was fairly close.

Saturday night in London was our intrepid trio’s defining moment in their home country – a reminder (two fingers up, even) to the doubters in amongst both the press and non-believing, so-called music aficionados which they have accrued over the years that, whether the cynics like it or not, the UK has produced yet another one of the biggest bands in the world.

That Depeche Mode can still crank out music both from the studio and in a live setting that entertains their fans is something that will no doubt be a cause for celebration for as long as the band continue to make records.

It’s perhaps hard for fans outside of the UK to really appreciate the significance of the gig in London.

But for those of us here that have been to the gigs (at home and abroad), bought the records and merchandise, followed their every move, even written about Depeche… we know that a gig like that in London, in front of 70,000 people, was a proud moment not only for the band but also us as well.

As supposed “hardcore fans”, we can sometimes lose sight of how awe-inspiring the band can really be, especially for debutants at a gig.

Depeche trigger things at shows that do not happen with many other bands (mass sing-a-longs, crazed arm-waving, etc) – but perhaps the most noticeable is the fervour and passion that they inspire and the sense of community that is a genuine part of the overall experience.

In London, for thousands of fans, this was a chance to celebrate that sense of belonging to a movement that surrounds a band that has, frankly, not had the recognition they deserve in their own country.

It was against this backdrop that will ensure the gig remains a memorable one for the tens of thousands who sang, danced in the rain at various points, laughed with and hugged their fellow Depeche comrades.

In short: Depeche’s show in London was as much a reason for the fans to have a party as it was for the band to signal to their compatriots that have been a force in music for an exceedingly long time and the cynics should wake up and at least have the good manners to congratulate them.

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* * *

After three gigs (the mini-show in Glasgow and the second night in Amsterdam) on this tour, some of the highlights haven’t changed.

World In My Eyes is probably the moment in the set where things start really ramping up (although, to be fair, just their arrival onstage was greeted with a noise to remember for a long time), even with London it still being dusk rather than the dark enclosure of previous gigs.

Those closer to the front would have had a ring-side view of Gahan’s trip over Gore’s synth stand, sending the lead singer sprawling and his mic needing a swift replacement.

Perhaps the chuckle between the pair was compounded by recalling just an hour or so earlier, when Gore was known to have taken a tumble himself during one of the fan meet-and-greets, much to the amusement of his fellow band members.

Depeche karma in action right there.

What else?

There is a genuinely joyous moment during this tour when those that have avoided any clips from earlier shows realise what the hypnotic intro to Everything Counts actually is.

Corrupt and Wrong are far dirtier than on record and have become brilliant songs, whilst the last 30-45 mins of the show is simply a riotous run-through of classic tracks.

Again, although it doesn’t move me to this extent, despite its brilliance, I have seen people in tears during the rendition of David Bowie’s Heroes during the encore.

Yet the biggest moment of the night was not concentrated on a single song, or how the crowd participated in something, or the rapturous cheers the band received at the end.

It was the sum of all of its parts – how everything came together for one single evening when a band, their families, the travelling circus of an entourage and thousands of fans all participated in a good ol’ fashioned knees-up, as those down the East End of London would have once said.

FOOTNOTE: Part of this post originally appeared in a collection of reviews from fans, collected following the gig by the Almost Predictable. Almost blog. The site’s editor, David McElroy, has set himself the colossal task of trying to get a review of every gig on the Global Spirit Tour!

Barrowlands gig review – Let’s have a mass celebration

You have to feel for seasoned broadcaster and doyenne of BBC 6Music radio station, Lauren Laverne, as she saunters on to the Barrowlands stage to absolute bedlam in front of her.

The 38-year-old has probably seen some sights over the years as both a singer in the band Kenickie back in the mid-1990s and her subsequent radio and TV career – yet the gig in Glasgow is a unique moment for her, for the masses packed in under the ornate ceiling, and for the band she is about to introduce.

The band, obviously, is Depeche Mode – headlining the Sunday and final night of the station’s annual festival, and clearly the most high-profile and eagerly anticipated of the 70 or so acts that are performing over three days in the city.

Laverne has never introduced Depeche on-stage before (perhaps never even a band of their global scale and popularity), and certainly not one within the confines of a venue that by showtime is boiling (literally) over with excitement.

As she works her way through her notes, finally getting to the section where she hints at what is to come, you can see a combination of excitement, amusement and perhaps surprise at the reaction she is getting.

The baked crowd (no official number has been released, but it is probably in the region of 1,750 people, given the capacity is reduced somewhat to accommodate the film crew and tech area at the rear of the former ballroom) are roaring loudly at the end of every sentence.

“Get my boys on, Lauren!” screams a male fan with a thick Scottish accent near the front.

* * * *

Rewind a few hours and you can feel in the bars around the city that fans are preparing for an extravaganza.

This is, as Laverne reminded everyone to more cheers, the first time that Depeche have performed at the famous old venue since 1984 – confining themselves over the last two tours to the SECC and Hydro mega-halls elsewhere in the city, with those being the first Glasgow gigs since the Black Celebration Tour in 1986.

What most fans can sense is that this has all the factors necessary to go down as a landmark event – venue, crowd size, well-rested personnel (none of the late-in-the-tour fatigue having kicked in yet) and their first proper show in three years (the handful of small gigs in the previous week have been shorter and geared solely around to promote the new Spirit album).

Sure, there is a fair amount of anger over the way the tickets for the Barrowlands gig have been sold, with some appearing on re-seller sites before they’ve gone on sale to the devotee-verse.

By Sunday night, however, such irritations have gone and, whilst obviously being on the band’s circuit to push the new long-player, this instead feels like the first night of the forthcoming tour.

There is also no hiding away for a band in a venue such as the Barrowlands – the crowd is barely a few feet away from the performers, rather than the sprawling stages and rigs that will accompany the stadium and arena shows for Depeche in a few months.

Still, very few people in attendance will remember or have seen Depeche in such as setting – thus the raucous noise that erupts as Laverne ends her introduction and the band walk on stage.

I suspect they’ll not forget – or indeed, want to forget – those first few minutes in a hurry.

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If Going Backwards makes it to being the opener on the final setlist for the Spirit Tour, then the trio’s traditional squabbles over track selection and ordering will have paid off – it is a terrific song and has that now-usual Depeche sing-along quality to it and, in this case, sets the scene for what is to follow.

The A Question Of Time-esque So Much Love ignites the first heave of the legendary springy Barrowlands floor, yet perhaps what most people have already noticed and are lapping up is how much fun frontman Dave Gahan is having.

He twirls (nothing unusual there), pirouettes (nor there) and struts (or there), but in between are glimpses of a mischevious, pumped-up and fun singer clearly at ease with the opportunity to do his thing… and more.

He pokes his tongue out at the audience, grins like a giddy love-struck teenager, points at people and laughs his way through the first few tracks as if he’s just been plucked out of the Barras Market next door as a late replacement for the often-brooding, normal Dave Gahan.

Fans talk about the waistcoats and the boots and “guyliner” and (over-)analyse almost every move, yet very few people will disagree that he remains one of music’s best frontmen, having that confident and unique ability to entertain, control and cajole an audience.

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Corrupt comes next, perhaps the only slight low-point of the entire 12-song set, followed by A Pain That I’m Used To, complete with Peter Gordeno on bass guitar.

It’s not a perfect Depeche Mode song, but in this setting, it works, with Gahan prowling around and grinning at his two fellow stage-dwellers.

Arguably the next trio of songs is the first highlight of the set, with huge roars greeting those famous, bass-heavy bars of World In My Eyes (after the reworked, more atmospheric chord opening).

The sound is terrific and the loud synths for the final third of the song reverberate around the venue as Martin Gore, during his only keyboard-bound song, sings the Violator opener out.

The playful Gahan appears to be getting on well with Gore, comforting to those that worry about such things following reports of (but later played down) disagreements during the recording of Spirit.

He waves his towel in front of Gore to cool him down (Gahan himself is sweating profusely within minutes of the gig starting), exchanges a cheeky grin or two, kisses him on the head at the end of a song – antics that fans forget the sometimes serious Depeche Mode are capable of.

Gore himself, whilst appearing nervous at the recent Berlin promo show, looks relaxed as he says a few words or laughs with his guitar tech between songs.

Cover Me is a wonderfully intense song, starting here in a reasonably low-key way before the keyboards hit with a glorious wall of noise as Gore moves the slide up and down the guitar strings.

It is one of the best songs that Depeche have produced in many years. Gahan looks extremely proud of it as he shouts and encourages the crowd to follow his every clap.

After the song’s hypnotic ending, Gahan leaves the stage and the yelling and cheers start again, the crowd knowing it’s Gore’s turn to serenade them.

What comes next is a bit of a surprise, a fully-backed version of Home, sung with a passion and quality that reduces a couple stood nearby  to tears.

Whilst not weep-inducing to the vast majority of fans in attendance in the Barrowlands, it is a very moving moment, triggering the inevitable crowd serenade back to Gore at the end.

Where’s The Revolution and Barrel Of A Gun follow – the former sounding better than it has on the promo shows and Gore’s guitar cranked up a bit higher for the single from Ultra.

The latter will never be a perfect live track, but similar to A Pain That I’m Used To, it works here mainly because of the setting and atmosphere and Gahan’s incessant but appreciated patrolling of the stage.

“He’s absolutely lovin’ it!” laughs a guy to his girlfriend. “Haven’t seen him this animated for years….. COME ON, DAVE!!!!”

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The final three songs (two with a mini-break ahead of the “encore”, Enjoy The Silence) are pure Depeche in crowd-pleasing mode.

The reworked Walking In My Shoes sounds good and fresh, and gone is the almost painfully slow introduction to Personal Jesus from the Delta Machine Tour.

An ear-splitting series of “Reach out and touch faith” that end Personal Jesus are enough to, coining a well-worn cliche, metaphorically take the roof off the venue.

The band look shocked but thrilled at how raucous everything is.

It has turned into a crowd and band-fuelled celebration that many arguably haven’t seen since some of the nights on the Singles Tour in 1998.

Enjoy The Silence concludes the Barrowlands evening, again with a classic fan-led sing-along.

The music ends, the band come forward for their customary bow (Andy Fletcher comes over stage-left to applaud and grin),  and they’re gone.

For a moment there is a glimmer of hope that they will return for another song, perhaps debuting the cover of David Bowie’s Heroes that has been being talked about recently, but the venue music kicks in and the crowd (including Labour Party deputy leader, Tom Watson) are left to look at one another with various interpretations of “Did THAT just happen?”-type expressions.

* * * *

It is easy to get caught up in the hyperbole of such a night – to think it was bigger or better than it really was, just because you were lucky enough be there.

But, equally, Depeche have been around for so long now that many fans will naturally cast their minds back, nostalgically, to what they consider peaks for the band, and refuse to acknowledge that the now-trio (plus Gordeno and Christian Eigner on tours) can still cut it as a live act.

Yet it was, for many there on Sunday night, the pinnacle of their Depeche Mode live experiences.

Bands such as Depeche, with their enormous gigs, entourage and tightly controlled publicity schedule, rarely perform in an environment that feels both “old school” and utterly rapturous.

One fan said to me later that it felt like “his band” had come to perform just for him and his mates (that’s how so-called devotees often verbalise their passion – as if they have some kind of ownership of “my boys”).

The intimacy of the occasion and the passion that flowed between the band (especially Gahan) and the masses was a remarkable one to witness and be a part of.

Sure, there were a few flaws – some off-kilter harmonies during Walking In My Shoes and drummer Eigner continues to irk some fans (head over to the unofficial Eigner Fanclub, Electricity Club, for their valid take on that) – but this gig wasn’t about those individual moments, and certainly did not overshadow in any way the otherwise unique and celebratory night for what it was: an event that many will struggle to forget.

The reaction to the gig, generally, has been extraordinary (even from the sometimes unforgiving British mainstream press) – a prime example being David McElroy’s take on the Almost Predictable… Almost blog.

An “I was there!” moment for so many people.

I saw Depeche Mode on consecutive nights at the Bercy in Paris in 1993, during the Devotional Tour, and was blown away by their sheer power and an overwhelming explosion of colour, noise and swagger from the show.

I was also lucky enough to be at the Royal Albert Hall in 2010 (when Alan Wilder famously returned to play Somebody with Gore) but had consoled myself that I’d probably never experience something like that again (hint-hint, band and manager Jonathan “Baron” Kessler: iconic venues bring out the best in Depeche Mode).

But, 37 years in, they somehow, against all the odds of running a slick, sophisticated, professional and hugely popular Depeche Mode these days (it does almost feel like a “brand” sometimes), managed to inspire what for many will go down as a very special, intimate and one hell of a barnstorming evening at the Barrowlands of Glasgow.

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FOOTNOTE:

In the early hours of Monday morning, I found myself – with half a dozen or so friends – dissecting the evening over a few drinks in the bar of a hotel in the north of the city.

We didn’t try to gatecrash but we could see the entire band, entourage and guests at a private party next door. Sometimes it feels better to just let people get on with their lives – in this case, celebrating their evening.

Still, as good fortune has it, I bumped into Fletch outside in the street when I arrived, so we chatted for a while.

I have never sought to contact any band that I have liked (except, in the case of Depeche, when dealing with their management for HALO), so this is a surprise and, after decades of following them, not as intimidating an experience as one might have feared.

Thanks, Fletch.

Later, I also spoke to Eigner outside the hotel as we left at the end of the night. He was on good form and happy to oblige the by-then half a dozen or so people who asked for pictures.

Unusually for me, not wanting to come across as a groupie despite being at the band’s hotel, I thought (presumably by now, simply basking in the adrenalin of the evening) that it was a worth asking.

Oh well 🙂

barrowlands depeche mode christian eigner

Lastly, even the 630am flight that I had to take a few hours later to return to home (and the day job) had its upside.

The fair city of Glasgow certainly knows how to do a sunrise.

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Spirit album review – Depeche Mode find bleak is the new black

It is perhaps an illustration of the passion (devotion) that fans hold for Depeche Mode that everything they create often seems to inspire simple words such as “love” or “hate”.

“I LOVE Ultra…”, “I HATE anything after 2005…”, “I LOVE everything, seriously EVERYTHING, that Depeche Mode do…”, “I HATE live drums…”, etc, etc.

This polarising process of describing their output has intensified as Depeche have got older, perhaps in part because their supposed “glory years” have moved further back in time.

Every single, every album, every video, every tour, every piece of artwork, creates what those in the UK would call the so-called Marmite effect: many fans either love it, or they hate it.

But, still, those that have consistently applied the latter to their beloved band’s output over the years will still buy the records, catch the band on tour and, of course, have an opinion and want to debate it.

It’s how devotees roll.

The well-worn phrase that many fans use to describe their devotion  – “soundtrack to my life” – means they have the right to expect something exciting, perhaps different or something thought-provoking from Depeche Mode, something that will lurk in the background for the next chapter in their lives.

So, therefore, to follow that simplistic narrative to describe Depeche’s 14th studio album: there is helluva lot more to love than hate with Spirit.

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Spirit is not an easily accessible album – but one guesses that it is probably not trying to be.

Whereas 1985’s supposed “dark album” Black Celebration retained, in many parts, a pop sensibility to it, Spirit‘s bleakness in terms of songs and atmosphere feels deliberate.

There is a curious contrast between the vast majority of Depeche’s work, where the subject matter was inward-looking and left to the reader’s own interpretation (primary songwriter Martin Gore rarely discusses his lyrics), to Spirit, an album with a sizeable number of tracks where the boys have turned their attention to the world again.

Depeche Mode have talked in interviews about how the album and the world view-type content came about as they saw the “mess” the world was descending into over the last few years – and this was before Donald Trump in the US and issues such as Brexit.

For a band that has spent large swathes of the previous 34 years since their last “political” album, Construction Time Again in 1983, examining life’s extremely personal mysteries such as love, loss, sex and religion, turning to issues that affect everyone else is an interesting move.

Whatever the motives for it, Gore and Gahan ‘s (who pens four of the songs on Spirit, including a co-writing credit with Gore) sudden rise of fury is clearly the most obvious new element to the angry Depeche in 2017.

Interestingly, February’s single Where’s The Revolution is, lyrically, perhaps the weakest of the political tracks on Spirit, almost having a too obvious a flow to the prose.

In fact, Gore’s usual subtlety is missing in a lot of his songs on Spirit – but this is generally not to their detriment, again reflecting the change in emphasis on what is bugging the now-55 year old.

Perhaps finding some personal redemption (the word had to creep in somewhere!), after kicking the booze and having a new, young family again, Gore has now set his sights on other things.

And there is, furthermore, a remarkable intensity to the songs that he sings – remember, this is the same chap who wrote and sang Somebody who is now, in his familiar tone, telling us on Fail:

Our souls are corrupt
Our minds are messed up
Our consciences bankrupt
Oh, we’re fucked

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Gahan’s songs, again, continue to show signs of someone who is increasingly comfortable with his new(ish) role of putting pen to paper – a maturity that started with Spirit predecessor Delta Machine, through the bluesy work of mid-Mode project Soulsavers, to now.

Suffer Well (on Playing the Angel) and Should Be Higher (from the aforementioned Delta Machine) had been relative high points – but Gahan has hit a purple patch of sorts on Spirit with Cover Me and Poison Heart.

Whether Gore and Gahan’s ramblings would have worked with Ben Hillier, the studio wonk behind Playing The Angel, Sounds of the Universe and Delta Machine,  is an interesting question around the creation of Spirit.

Hillier’s production (if there’s another Marmite figure in the world of later-year Depeche, Hillier is it) gave Depeche’s songs space, not least because lyrically they needed it, but also possibly due to the collective vibe what they were trying to achieve at the time.

Spirit has a sonic intensity, almost claustrophobic feel to it, even in the musically sparse moments, which clearly comes from the much-anticipated new production team, led by one-half of Simian Mobile Disco, James Ford (Arctic Monkeys, Florence & The Machine), with Matrixxman and Kurt Uenala on engineering duties.

Maybe details will emerge as the merry-go-round of promotional interviews take place, but it will be interesting to learn how much direction Ford and co were given, in terms of what atmosphere the band wanted, or whether it was his interpretation of the songs and his own general mood. Or a mixture of both.

Regardless of the motivation, Ford’s involvement has certainly created a very different Depeche, matching the change in lyrical focus.

It’s not an easy album to listen to.

Much has already been made of the album’s first track, Going Backwards, arguably the best opening song to a Depeche long-player since Barrel Of A Gun on Ultra, and certainly a highlight generally of the intervening 20 years.

In a way, Going Backwards is the blueprint for how many of the songs on Spirit work – brooding, initially, with subtle melodies then giving way to a big sound in the final third.

Ford, perhaps with a nod to his dance music routes, understands the need for a slow build, a hesitation, before a final burst of intensity.

On some tracks it is more obvious, such as Going Backwards, Where’s The Revolution and You Move.

There is probably a case to be made for the Gore-Gahan co-penned You Move being one the dirtiest sounding and lyrically suggestive Depeche tracks since World In My Eyes on Violator – a sign that, despite their well-documented differences, there’s potentially more to explore with a direct collaboration.

How much of the final output is down to the production’s team musical ideas or work on atmospheres is, again, rather intriguing.

On some tracks, Ford’s previously mentioned technique saves what could have been fairly straightforward songs musically, such as Poison Heart and the most “synthy” song on the album, No More (This Is The Last Time).

The three tracks that perhaps neither songwriting intensity or studio kung fu come to the fore are The Worst CrimeEternal and Poorman. They are, unfortunately, the Get Right With Me of the Spirit album, in that they stand out for being average, modern Depeche songs.

Still, alongside Going Backwards, two other tracks stand out: So Much Love and Cover Me.

The former is an up-to-date Depeche barnstormer (hey, over 100 bps!) with an obvious raising of the glass to the back catalogue, especially A Question Of Time.

It will no doubt be an even bigger (in all sense of the word) song when the band hit the road in a few months.

Cover Me, written by Gahan and touring musos Peter Gordeno and Christian Eigner, is a standout track on Spirit.

Whoever suggested Ford have a play with a slide guitar and, apparently, teach himself overnight how to master it deserves a pat on the back.

A second pat should also go to the person who came up the chord change on the guitar and the inclusion of strings that gives the song a series of sonically satisfying yet breath-taking moments.

The still much-missed former-bandmate Alan Wilder (the Depeche forums will debate this forever) would surely appreciate the atmosphere that band and Ford have created with this song. It is one of the best in the Depeche arsenal of slow tracks since Home on Ultra.

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The new studio squad deserves a lot of credit for what they have managed to create with Spirit.

And so do Gore and Gahan for spreading their wings lyrically.

The album, in some respects, will (inevitably) disappoint some fans because it doesn’t have an inkling of the pop genius of old (Construction Time AgainSome Great Reward, Violator), nor does it have the obvious flow or accessibility of an Ultra or Playing The Angel.

Spirit has a depth and overall moodiness to it that Depeche have not achieved since Songs Of Faith And Devotion.

This is not to say that, as a body of work, Spirit comes close to that 1993 bucketload of dark intensity. It doesn’t.

It is a very grown-up album, both in its outlook and production.

The minimalist nature of many of the songs will put some fans off, yet Ford and his team’s creativity and expertise in gradually layering a song to create something that perhaps would not have been obvious in the first few minutes is clever.

It also means that many people might not “get” Spirit on the first few listens, nor will they truly appreciate the textures (subtle or otherwise) in many of the songs until they play it very loud, alone (in the tub with a glass of wine seems like a perfect spot!).

In places, Spirit literally booms with a force and potency of noise around a room. This is perhaps where Spirit will eventually be appreciated.

Sure, Depeche could always do with writing a few more upbeat, dynamic tunes – something new apart from So Much Love for the tens of thousands of fans to shake their devoted backsides to when they see the band on tour this year.

But this is a different era. This is a more thoughtful and angry and reflective Depeche Mode.

The Exciter album in 2001 was an appreciation of love and a request for longing.

Spirit is the complete opposite, and it is yet probably the best Depeche Mode album since then.

It seems, as the 21st century has developed, Depeche have managed to book-end their role in it perfectly.

Many fans will say Spirit makes them angry for lots of reasons, of course (back to the passion discussion), but the anger that Depeche are trying to create is about their view of the world.

Though far from being a perfect record, Depeche have certainly managed to shift our impressions of them and should be applauded for sharpening our minds a little.

Forget love and lust for a little while – we’ve all got bigger fish to fry, including our perceptions of what Depeche Mode should and can be.

7/10.

Footnote:

Depeche Mode held a launch party in Berlin on 17 March, where they played Going Backwards, So Much Love, Cover Me and Where’s The Revolution from Spirit.

Watch out a slightly reworked and terrific performance of World In My Eyes: