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Depeche Mode Announce 29 Additional North American Dates on the Memento Mori World Tour

New Fall Shows Added in the US, Canada and Mexico

Depeche mode’s first tour in over five years kicks off march 23, 2023 in sacramento, ca.

Following the rapturous reception to their new single “Ghosts Again,”  Depeche Mode  have added a new Fall leg of North American tour dates to the Memento Mori Tour, which will support Memento Mori, their forthcoming studio album due out March 24. With the addition of these 29 new shows, the Rock & Roll Hall of Fame Class of 2020 inductees will now set out on a colossal 75-date tour — their 19th tour and their first in over five years.

The Live Nation-presented tour begins March 23 with a limited North American run featuring stops at New York’s Madison Square Garden, Chicago’s United Center, and Toronto’s Scotiabank Arena. The band will then embark on their European stadium tour on May 16, with noted stops including the Stade de France in Paris, Berlin’s Olympic Stadium, Milan’s San Siro Stadium, and London’s Twickenham Stadium. 

Following the end of the European summer run, the newly added tour dates bring the band back to North America in the Fall, with the tour stopping in Mexico City at Foro Sol before returning to the US and Canada. Newly announced tour stops include Austin’s Moody Center, Vancouver’s Rogers Arena, additional New York City shows at Madison Square Garden and Barclays Center, Seattle’s Climate Pledge Arena and more, and concluding with a multi-night run in Los Angeles at the Kia Forum and Crypto.com Arena.

Pre-sales will kick off with a Fan Pre-sale on Tuesday, February 21, with the general on sale beginning Friday, February 24 at 10am local time. For further information on the tour routing and ticket on-sale dates, please visit  depechemode.com . The full listing of dates, cities and venues is also below. On the Memento Mori Tour, the band will once again be partnering with luxury watchmaker Hublot to support charity endeavors tied to the tour.

Reception to the Memento Mori tour has been overwhelming with shows quickly selling out across Europe and North America, and over 1.5 million tickets already sold for the initial 46 shows. The tour is on track to be one of Depeche Mode’s largest to date and is also well on its way to being one of the largest worldwide tours of 2023. The tour will feature Depeche Mode favorites and rarities, alongside new songs from Memento Mori, including the new single ”Ghosts Again,” which has been heralded as “a melancholic and joyful ode” (Vulture), “hypnotic” (Rolling Stone), and “a gorgeous, haunting song” (Revolver). The beautifully stark and cinematic Anton Corbijn-directed video for “Ghosts Again” released on February 9th can be viewed at  https://depechemode.lnk.to/GhostsAgain . 

Having sold more than 100 million records and played to more than 35 million fans worldwide, Depeche Mode remains an ever-evolving and singularly influential musical force. An indelible inspiration to fans, critics and artists alike, Depeche Mode continues to forge ahead, with the Memento Mori album and tour representing the opening of the newest chapter of a peerless and ongoing legacy. 

Memento Mori World Tour 2023 – Leg One

March 23          Sacramento, CA            Golden 1 Center 

March 25          San Jose, CA                  SAP Center 

March 28          Los Angeles, CA            Kia Forum 

March 30          Las Vegas, NV                T-Mobile Arena 

April 2               San Antonio, TX            AT&T Center 

April 5               Chicago, IL                     United Center 

April 7               Toronto, ON                  Scotiabank Arena 

April 9               Quebec City, QC           Videotron Centre 

April 12             Montreal, QC                Centre Bell 

April 14             New York, NY                Madison Square Garden 

May 16             Amsterdam, NL             Ziggo Dome 

May 18             Amsterdam, NL             Ziggo Dome 

May 20             Antwerp, BE                  Sportpaleis Antwerpen 

May 23             Stockholm, SE               Friends Arena 

May 26             Leipzig, DE                     Leipziger Festwiese 

May 28             Bratislava, SK                 Národný Futbalový Štadión 

May 31             Lyon, FR                            Groupama Stadium

June 2               Barcelona, ES                Primavera Sound Festival 

June 4               Dusseldorf, DE              Merkur Spiel-Arena 

June 6               Dusseldorf, DE              Merkur Spiel-Arena 

June 9               Madrid, ES                     Primavera Sound Festival 

June 11             Bern, CH                        Stadion Wankdorf 

June 14             Dublin, IE                      Malahide Castle 

June 17             London, UK                   Twickenham Stadium 

June 20             Munich, DE                   Olympiastadion

June 22             Lille, FR                          Stade Pierre Mauroy 

June 24             Paris, FR                         Stade de France 

June 27             Copenhagen, DK          Parken 

June 29             Frankfurt, DE                Deutsche Bank Park 

July 1                Frankfurt, DE               Deutsche Bank Park 

July 4                Bordeaux, FR               Matmut Atlantique

July 7                Berlin, DE                     Olympiastadion 

July 9                Berlin, DE                     Olympiastadion 

July 12              Rome, IT                       Stadio Olympico 

July 14              Milan, IT                       San Siro 

July 16              Bologna, IT                   Stadio Renato Dall’Ara 

July 21              Klagenfurt, AT              Wörthersee Stadion 

July 23              Zagreb, HR                    Arena Zagreb 

July 26              Bucharest, RO              Arena Națională 

July 28              Budapest, HU               Puskás Aréna 

July 30              Prague, CZ                     Letňany Airport 

August 2           Warsaw, PL                   PGE Narodowy 

August 4           Krakow, PL                    Tauron Arena

August 6           Tallinn, EE                     Tallinna Lauluväljak 

August 8           Helsinki, FI                    Kaisaniemen Puisto 

August 11         Oslo, NO                       Telenor Arena 

– New dates just added – 

September 21            Mexico City, MX          Foro Sol 

September 29            Austin, TX                      Moody Center 

October 1    Dallas, TX                      American Airlines Center

October 4    Houston, TX                 Toyota Center 

October 7    New Orleans, LA        Smoothie King Center

October 10  Orlando, FL                  Amway Center 

October 12  Miami, FL                      Miami-Dade Arena

October 19  Nashville, TN               Bridgestone Arena 

October 21  Brooklyn, NY               Barclays Center

October 23  Washington, DC         Capital One Arena 

October 25  Philadelphia, PA         Wells Fargo Center 

October 28  New York, NY              Madison Square Garden 

October 31  Boston, MA                  TD Garden

November 3               Montreal, QC              Centre Bell 

November 5               Toronto, ON                Scotiabank Arena

November 8               Detroit, MI                   Little Caesars Arena

November 10             Cleveland, OH             Rocket Mortgage FieldHouse 

November 13             Chicago, IL                    United Center

November 16             Denver, CO                  Ball Arena

November 18             Salt Lake City, UT       Vivint Arena

November 21             Edmonton, AB            Rogers Place 

November 24             Vancouver, BC            Rogers Arena 

November 26             Seattle, WA                  Climate Pledge Arena

November 28             Portland, OR                MODA Center

December 1                Las Vegas, NV             T-Mobile Arena 

December 3                San Francisco, CA       Chase Center 

December 6                San Diego, CA             Pechanga Arena

December 10             Los Angeles, CA          Kia Forum 

December 15             Los Angeles, CA          Crypto.com Arena 

Media Contacts

Depeche Mode:

Steve Martin |  [email protected]

Jillian Condran |  [email protected]

Live Nation Concerts:

Monique Sowinski |  [email protected]

Maya Sarin |  [email protected]

Valeska Thomas |  [email protected]

For further information re: Memento Mori, tour updates and more, please go to  depechemode.com

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Depeche Mode review – to the newly minted power of two

The O2, London On the latest leg of their first tour after the death of founding member Andrew Fletcher, fellow Depeche Mode mainstays Dave Gahan and Martin Gore reward fans with hits from across the decades – and seem closer than they’ve been in years

A triumphal arch dominates the stage set of Depeche Mode’s tour . The giant M stands for Memento Mori – the title of their 2023 album, widely hailed as a return to form. But that monumental M is also for Mode. Two years ago they were a band under existential threat, when founder member and keyboard player Andrew Fletcher died of heart failure. Eye-wideningly, much of the latest album’s concern with death had already been established by chief songwriter Martin Gore some time before Fletcher’s passing.

Now, Depeche Mode are on their second year of a tour of the world’s stages, pummelling audiences with caustic earworms about our flawed human nature once more. On night one of leg four, they seize their day with vigour. Singer Dave Gahan, in fine voice, often spins around on the spot, his emphatic shirt cuffs recalling the Damned’s Dave Vanian’s, but with a far more salubrious couturier.

Comfortingly mohicaned, Gore also sports his customary black nail varnish and swaps between keyboards and a low-slung semi-acoustic. Also on stage are keys player Peter Gordeno and drummer Christian Eigner, the latter perhaps a little too keen on stadium rock fills. It takes a while for an actual memento mori – a reminder that death comes to all – to appear. But giant projections of skulls covered with glitter ( pace Damien Hirst ) spin around during Enjoy the Silence from 1990’s Violator album, daubed with the word “enjoy”.

Better than the heavy symbolism, though, is the song’s unexpected progression tonight from a tune that recalls New Order to house piano rave breakdown, one that could have gone on for far longer. The visuals for the magnificent Everything Counts , meanwhile, elegantly enhance the song’s anti-greed message. A video of a mime with gloved white hands enacts the lyrics, like an arty sign language interpreter.

The two hours of Mode music that plays out on the Greenwich peninsula, just 30 miles from the band’s native Basildon, rewards fans with a retrospective from across the band’s eras, from start to end. In with the new: the song Ghosts Again may have taken top billing as Memento Mori’s calling card, but tonight the machine hydraulics of set opener My Cosmos Is Mine and the clean lines of My Favourite Stranger stand prouder.

Depeche Mode go out with the old too. “Are you ready to have a bit of fun?” asks Gahan in the encore. It’s a prelude to 1981’s Just Can’t Get Enough , a holdover from the long-ago Vince Clarke era, rendered as glorious synth-pop with added polyrhythms. The US, where the band reinvented themselves as glowering electronic rock beasts, may not remember them when they were Spandau Ballet with a dungeon in their basement, but SE10 clearly does.

What we are witnessing, though, besides an assured greatest hits set, is a kind of rock Jenga in real time. What happens when you knock a support out from under a structure? The remaining struts either take the load – or don’t. In other words: construction time again. It has been a hallmark of this album campaign that the pact to continue has brought Gore and Gahan closer together after decades of arm’s length diplomacy, often with Fletcher as middleman.

Gore was the band’s sole songwriter between the 1981 departure of founder member Clarke and the 2005 détente that marked Gahan’s increased creative input to the band. Tensions between Depeche Mode’s two most valuable players (who live on opposite coasts of the US) had contributed to the departure of Alan Wilder in 1995. A former dependency on alcohol (Gore) and heroin (Gahan) had not helped matters either; neither did Gahan’s multiple brushes with death .

The newly minted power of two is borne out tonight by the affection and bonhomie the survivors show each other. There are broad smiles and praise from Gahan for Gore’s “beautiful, angelic tones” after a couple of Gore-fronted numbers; backslaps throughout and hugs at the end. Fletcher is remembered – as a giant, subtly morphing black and white image – when the band play World in My Eyes , his favourite Depeche Mode song.

That big proscenium M could stand for Martin as well. Gore downs tools to sing a moving, pared-back rendition of 1987’s Strangelove , accompanied only by Gordeno. He follows it up with Heaven , a 2013 song that faintly recalls Portishead’s Glory Box . Both provide some breathing space from Default Mode: the thunderous sulks about relationships, religion and vice.

If their set closer, Personal Jesus , covers that middle ground, two other canon highlights hold up the ends. Never Let Me Down Again is a compelling portrait of dependence that leads to a bout of manic arm waving from the crowd. Most assured of all, though, is I Feel You , from 1993’s Songs of Faith and Devotion – an unrelenting love track that swings at the same time. More than any other tune, new or old tonight, it captures Depeche Mode’s enduring lust for life.

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Memento Mori Tour dates (updated Oct 10)

October 6th, 2022 by editorial

Depeche Mode’s upcoming Memento Mori World Tour 2023 will hit North American arenas in March and April, with European stadium dates running from May till August.

Dates for Lyon and Bordeaux moved.

North America 23 Mar 2023 – Sacramento, CA – Golden 1 Center 25 Mar 2023 – San Jose, CA – SAP Center 28 Mar 2023 – Los Angeles, CA – Kia Forum 30 Mar 2023 – Las Vegas, NV – T-Mobile Arena 02 Apr 2023 – San Antonio, TX – AT&T Center 05 Apr 2023 – Chicago, IL – United Center 07 Apr 2023 – Toronto, ON – Scotiabank Arena 09 Apr 2023 – Quebec City, QC – Videotron Center 12 Apr 2023 – Montreal, QC – Centre Bell 14 Apr 2023 – New York, NY – Madison Square Garden Europe 16 May 2023 – Amsterdam, The Nederlands – Ziggo Dome 18 May 2023 – Amsterdam, The Nederlands – Ziggo Dome *EXTRA DATE* 20 May 2023 – Antwerp, Belgium – Sportpaleis Antwerpen 23 May 2023 – Stockholm, Sweden – Friends Arena 26 May 2023 – Leipzig, Germany – Leipziger Festwiese 28 May 2023 – Bratislava, Slovakia – Národný Futbalový Stadión 31 May 2023 – Lyon, France – Groupama Stadium (moved from July 4) 02 Jun 2023 – Barcelona, Spain – Primavera Sound Festival 04 Jun 2023 – Dusseldorf, Germany – Merkur Spiel-Arena 06 Jun 2023 – Dusseldorf, Germany – Merkur Spiel-Arena 09 Jun 2023 – Madrid, Spain – Primavera Sound Festival 11 Jun 2023 – Bern, Switzerland – Stadion Wankdorf 14 Jun 2023 – Dublin, Ireland – Malahide Castle 17 Jun 2023 – London, UK – Twickenham Stadium 20 Jun 2023 – Munich, Germany – Olympiastadion 22 Jun 2023 – Lille, France – Stade Pierre Mauroy 24 Jun 2023 – Paris, France – Stade de France 27 Jun 2023 – Copenhagen, Denmark – Parken 29 Jun 2023 – Frankfurt, Germany – Deutsche Bank Park 01 Jul 2023 – Frankfurt, Germany – Deutsche Bank Park *EXTRA DATE* 04 Jul 2023 – Bordeaux, France – Matmut Atlantique (moved from May 31) 07 Jul 2023 – Berlin, Germany – Olympiastadion 09 Jul 2023 – Berlin, Germany – Olympiastadion * EXTRA DATE * 12 Jul 2023 – Rome, Italy – Stadio Olympico 14 Jul 2023 – Milan, Italy – San Siro 16 Jul 2023 – Bologna, Italy – Stadio Renato Dall’Ara 21 Jul 2023 – Klagenfurt, Austria – Wörthersee Stadion 23 Jul 2023 – Zagreb, Croatia – Arena Zagreb 26 Jul 2023 – Bucharest, Romania – Arena Nationala 28 Jul 2023 – Budapest, Hungary – Puskás Aréna 30 Jul 2023 – Prague, Czech Republic – Letnany Airport 02 Aug 2023 – Warsaw, Poland – PGE Narodowy 06 Aug 2023 – Tallinn, Estonia – Tallinna Lauluväljak 08 Aug 2023 – Helsinki, Finland – Kaisaniemen Puisto 11 Aug 2023 – Oslo, Norway – Telenor Arena

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Orchestral Manoeuvres in the Dark

House of blues, boston, massachusetts usa, share with:, on tour - buy tickets now, featured on tour, latest reviews.

To discuss Depeche Mode with other fans, please consider joining the official Depeche Mode Discord server or independent fan server Discord for the Masses . To coordinate site work, we recommend the Depeche Mode Live Editor Discord group .

1988-06-18 Rose Bowl, Pasadena, CA, USA/OMD Source 1

Orchestral Manoeuvres In The Dark were one of the opening support acts for Depeche Mode at this concert. A nearly complete audience recording of OMD's set is available to stream and download below.

• 3 Track list
• 4.1 dmlive2k's recording
• 4.2 FStop67's recording

A good audience recording. Two sources were used to help create the most complete recording available. "Maid Of Orleans" is still incomplete due to tape flip, but now has about 10 seconds added from the second source. The recording has no other missing music, as far as I know.

dmlive2k's recording was shared on DIME before but was dual-mono due to a tape deck issue (one channel did not play back correctly so the intact channel was pasted over the damaged one). This version is stereo, as it appears on the cassette. Emmett's source consists of tracks 1 through half of 7; the remainder is FStop67's source.

dmlive2k also taped Depeche Mode's set, but only the first nine tracks of his recording exist today. The second tape is missing or lost, unfortunately. Due to the fact that the audio was officially released on the '101' video and CD releases, I cannot upload the audience recording to DIME or my live wiki. A transfer of Emmett's DM recording circulates, but it is 112kbps MP3 converted to FLAC. That one is also dual-mono. I retransferred DM's set when I had dmlive2k's tape, of course. Unfortunately, excerpts of that recording cannot be provided.

The FStop67 tape has some of the second half of DM's set (which tracks exactly is unknown), but the tape was returned to the taper and the person who transferred it must have discarded the transfer of DM's set since it is not possible to share the recording on DIME. It is unlikely that the recording will be available in the future, but I will remain hopeful.

You can listen to this entire recording below.

• [4:23] Play Enola Gay
• [4:15] Play Tesla Girls
• [4:53] Play Messages
• [4:33] Play Secret
• [5:04] Play If You Leave
• [4:06] Play (Forever) Live And Die
• [0:49] Play Maid Of Orleans
• [3:38] Play Souvenir
• [3:43] Play So In Love
• [4:18] Play Dreaming
• [4:19] Play Locomotion
• [3:09] Play Electricity
• Total time: 47:08

dmlive2k's recording

• Sony tape recorder + Sony mics (unknown models) -> master cassette (unknown type) -> 1st generation cassette (Maxell UR-120) -> Sony TC-WE805S tape deck (no Dolby setting, azimuth adjusted) -> RCA to 3.5mm cable -> TASCAM DR-2d (line in @ 95 percent, 24/48) -> 16GB SD card -> USB -> in Adobe Audition CC: automatic phase correction (most accurate settings), normalized to -0.1dB and any DC bias removed -> WAV (24/48) -> FLAC level 8 (16/44) using foobar2000 v1.3.2, FLAC 1.3.0 64-bit, and Resampler (SoX), best quality
• Generation: 1st
• Taper: Emmett C. / dmlive2k
• Transfer: DMLiveWiki
• Cassette tape photos included

FStop67's recording

• Borrowed Cassette (master / low gen) -> TASCAM CD-RW700 -> Exact Audio Copy (unknown version / settings) -> Soundforge -> FLAC -> in Adobe Audition CC: automatic phase correction, normalized to -0.1dB and any DC bias removed, slowed down 1.5%
• Taper: FStop67
• Download ZIP - FLAC 16-bit 44.1khz - 307MB
• Audience recordings
• First generation recordings
• DMLiveWiki transfers
• Cassette sourced recordings
• Download available

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OMD talk inspiring Depeche Mode, not being inspired by the Beatles

American music fans of a certain age know Orchestral Manoeuvres in the Dark — OMD, for short — as the English duo that soundtracked Pretty in Pink ‘s prom scene with their 1986 top 5 hit “If You Leave.” Many may also recognize them as the opening act on Depeche Mode’s seminal 1987-88 Music for the Masses arena tour; once seen, Andy McCluskey’s herky-jerky jig , which may or may not have inspired Elaine Benes’s moves on Seinfeld , is impossible to forget.

Snagging that supporting slot introduced the Liverpool act to a whole new wave of fans stateside, including the more than 60,000 Depeche fans who held tickets for the tour’s massive June 1988 finale at the Rose Bowl in Pasadena, Calif. But by that time, McCluskey and Paul Humphreys had already amassed a dozen British top 40 singles, the first of which was responsible for informing Depeche Mode’s all-electronic mission and sound.

“Vince Clarke told us that they heard ‘Electricity’ by us in a club in Basildon [England, Depeche Mode’s hometown] and went, ‘We want to do that,’” recalls McCluskey. Adds Humphreys: “Vince went to buy a synth, and the first riff he learned to play was a song called ‘Almost,’ which was on our first album [1980’s Orchestral Manoeuvres in the Dark ], and also the B-side to ‘Electricity.’”

(Clarke, founder of Depeche Mode, Yaz, and Erasure, and widely regarded as an electronic-music genius, corroborates these statements in my new wave oral history, Mad World: An Oral History of the New Wave Artists and Songs That Defined the 1980s : “The thing that changed in the ’80s was that people used synthesizers to make pop records rather than concept records. I’m a fan of Kraftwerk, but I’m more of a fan of OMD, because I like emotional records. … The thing that turned me on to synths was ‘Almost.’ That was when I connected synthesizers with folk music.”)

In New York City to promote their 13th studio album, The Punishment of Luxury , the lifelong friends and electropop pioneers talk about being “punk on synths,” their influences (Kraftwerk, yes; the Beatles, not so much), their career-long proclivity for “pretentious twaddle,” and more.

Yahoo Music: I saw OMD open for lots of bands in the ’80s: Power Station, Thompson Twins, and Depeche Mode for their “Music for the Masses Tour,” which you actually lost money on. Considering the size of the venues, how was that possible?

Paul Humphreys : Oh, but we did — and “If You Leave” was flying high in the charts at that time.

Andy McCluskey: They were doing their “Making Enough to Retire Tour,” and we were getting paid $5,000 a night. With the band, the crew, and all the transportation, we were losing money. We did massive tours trying to break the States, and we lost hundreds of thousands of dollars. Our joke is by the time we broke the States, the States broke us.

Being from Liverpool, how important was it to you to make a mark on your city that was distinct from the Beatles?

Humphreys : It was kind of important. Because the Beatles were a fantastic band and wrote amazing songs, but they weren’t really … I mean, my brother used to listen to them, and they used to be blasting out of his bedroom, but they weren’t a great influence on us. We weren’t big fans of the Beatles when we were younger.

McCluskey: The funniest thing is, the place we played our first gig, which was Eric’s Club in Liverpool, was on Mathew Street, where the Cavern was. But the building that the Cavern had been in had been flattened, and actually, that was the car park. We used to park on top of the Cavern to go to Eric’s.

What were the hallmarks of the late-’70s/early-’80s Liverpool scene?

McCluskey: Stupid names.

Humphreys: From Echo & the Bunnymen to Frankie Goes to Hollywood to Teardrop Explodes. A Flock of Seagulls…

…and Orchestral Manoeuvres in the Dark!

McCluskey: The thing is, we all started in this club Eric’s, which we call a punk club, but actually, there were no punk bands in Liverpool. All the bands in Liverpool were basically art school students, so that’s why we all had these incredibly pretentious band names and thought we were going to try and change the world by doing something different. But it was amazing: Ourselves and the Teardrops and the Bunnymen all started in the same month in Eric’s, and I think our third gig, it was us, the Bunnymen, and Teardrops all playing together in Eric’s one night. Every single person who was in the audience at Eric’s was in a band that you got to hear of within a few years.

Still, punk had an enormous impact on your generation. Didn’t you once say something to the effect of “Punks played two chords; we used one finger”?

Humphreys: We were punk on synths, weren’t we, really?

McCluskey: When we first started making music together, we were 16. I’d just got a left-handed bass guitar — even though I’m right-handed, because it was the only one I could afford in the secondhand shop — and Paul was making these noise machines. Literally, we learned to play as we got our instruments, and we taught ourselves. And everything was really one finger, one note.

Humphreys: Because punk opened the door for people just to express themselves. Up until that point, you had to have a musical background, you needed to be musically proficient, whereas punk allowed us all to just get up and express ourselves without any huge talent.

McCluskey: The other thing was that punk clubs grew across the country, so for a brief period, all of the cities across the U.K. had their own clubs. So, for a couple of years, it decentralized. It wasn’t just about London. And all the bands of our generation, almost all of us came from outside of London. Because we started off in these little, provincial punk clubs where you could get up and do what you wanted to do. No record company was going to hear you. You didn’t care; you were just doing it for the fun of it. People like ourselves, UB40, Human League, Joy Division, Simple Minds, and U2 all started outside of London. That was the window of opportunity we all had.

Andy, you saw Kraftwerk when you were 16, and the show had a profound impact on you. What do you remember about that?

McCluskey: To give you some idea of how powerful it was [to] me, it was September the 11th, 1975, at the Liverpool Empire Theatre, and I was sitting in seat Q-36. I remember that. So, it was the first day of the rest of my life. And this was the days of long hair and flared denims and guitar solos, and these four guys come out wearing suits and ties, short hair, two of them playing what looked like tea trays with wired-up knitting needles. I was just like, “This is the future! I want to do this! Oh, my God!” Because I still had flares and a trench coat and had an Afro at the time!

Humphreys: My mum wouldn’t let me go to the gig, because I was still 15 at the time, and I had to wait until I was 16 before I was allowed to go to a concert. I’m incredibly jealous to this day.

In my book, Mad World, you talked about OMD’s manifesto. One of the rules was that you forbade the use of the word “love” in your early songs.

McCluskey: We saw certain things as rock clichés. For example, our drummer was not allowed to play a cymbal for the first three albums. And it was before you had samples or programmable drum machines, so you still had to have the bass drum, the snare drum, the hi-hat. But we wouldn’t even let him play them as a kit — he had to play the bass drum separately, then the snare drum, because we didn’t want that rock ’n’ roll spill. And, yes, the word “love”: With the song “Joan of Arc” on our third album, I tormented myself, because I couldn’t find a better word than the word than love, so I had to use it. But it really bothered me!

Your excellent new album, The Punishment of Luxury , seems to combine earlier, industrial-sounding OMD with the lushness of your later work. Can we talk about the title track? It seems like a powerful statement.

McCluskey: And wholly appropriate in 2017! The title is appropriated from a painting in the Walker Art Gallery in Liverpool, which I have loved since I was a kid. However, the painting is actually a misogynist painting about bad mothers in purgatory, because it’s a Victorian painting, and women who wanted to be more than wives and mothers were considered to be wanting things beyond their station, so they were bad. They were sent to purgatory.

Humphreys: But the song isn’t about that.

McCluskey: We’ve stolen the title, but it’s not a misogynist song. Essentially, most people in the Western world live materially better off than ever before, and yet we seem to be more and more unhappy. We have replaced the imagined order of religion, royal decree, and nationalism with this brainwashing of consumerism, to the point now where you firmly believe in your subconscious that if you don’t own this TV, if your car isn’t this new, if your kids haven’t got the latest Xbox, essentially, you’re not worthy of love. You should have more! It’s just this constant bombardment by marketing people. Because all the major companies in the world who manufacture have got a massive overproduction, so the only way they can keep making their profits and keep making their bonuses is to make you buy the new one even though your old one is just fine. So that is the punishment of luxury.

It’s a very OMD title.

Humphreys: Isn’t it just?

McCluskey: Pretentious twaddle again!

Humphreys: At least we’re consistent with our pretentious twaddle.

Audio of this conversation is available on demand via SiriusXM . Lori Majewski is the co-host of Sirius’s “Feedback” morning show on the Volume channel.

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Orchestral Manoeuvres In The Dark (OMD)

Doors Open:  6:30pm

Support (Walt Disco):  8:00pm - 8:30pm

Interval : 8:30pm - 9:00pm

OMD : 9:00pm - 10:45pm

Approx Finish:  10:45pm

After the recent announcement of their forthcoming new studio album, synth pioneers Orchestral Manoeuvres In The Dark (OMD) reveal details of their return to the stage, with the band taking to the road and coming to the M&S Bank Arena Liverpool on the 3rd March 2024! "We are so excited to be able to tour again with a brand new album to showcase.” says Andy McCluskey. “It's been six years since we learned new songs for live performances. The songs from Bauhaus Staircase will fit beautifully into our setlist - we just have to choose which five to play, as we have to treat people to the hits as well!"

OMD have sold an astonishing 25 million singles and 15 million albums , which has established them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups . Their 13 albums include reissued ‘Orchestral Manoeuvres In The Dark’ (1980), ‘Organisation’ (1980), ‘Architecture & Morality’ (1981) and ‘Dazzle Ships’ (1983).

The latest release from the band was ‘ Slow Train ’ - the second instalment from their new studio album Bauhaus Staircase . A raucous, glam-tinged explosion, ‘Slow Train’ arrives with help from the band;s only other external influence David Watts. Known as a rock producer, who helmed Sheffield band The Reytons’ recent No 1 album What’s Rock And Roll?, he brings a sharp, exciting new sound to the record.

Under 14's must be accompanied by an adult. 

Set Reminder

Hospitality

One night only, getting here.

Most Liverpool city centre bound buses will call at either Queen Square bus station (a 15-minute walk) or Liverpool ONE Bus Station, which is only a five minute walk to M&S Bank Arena.

For further information on bus routes within Merseyside, you can visit https://www.merseytravel.gov.uk/customer-information/routes-and-maps/

For up-to-date information on all bus, train and ferry services, call Traveline Merseyside on 0871 200 22 33, open 8am – 8pm, 364 days a year or visit  www.merseytravel.gov.uk

For all car journeys it's best to follow the white on brown tourist route signs for the Waterfront. These signs are visible on the major routes into the city. Exhibition Centre Liverpool is situated on the Kings Dock directly adjacent to the south side of the Albert Dock. Upon arrival, the Kings Dock entrance is clearly sign posted.

From the North...

Leave the M6 at junction 26 and follow signs for M58 Liverpool. Follow to end of M58 and then take signs for A59 Liverpool. Continue to follow Liverpool City Centre until picking up signs for the Waterfront. 

From the South...

Leave the M6 at junction 21A and take the M62 to Liverpool. At the end of the M62 follow signs for Liverpool City Centre along Edge Lane, picking up and following signs for Waterfront. 

From the south...

Avanti West Coast operates hourly, direct services from London Euston to Liverpool Lime Street (with a journey time of just over two hours). Other long-distance rail services also operate into Liverpool Lime Street station.

M&S Bank Arena is a 20-minute walk from Lime Street or a short taxi ride. You can also transfer at Lime Street onto the underground Wirral Line trains to James Street station (10 minute walk) or catch the CityLink Route C4 (7am – 8pm) directly to the venue. If travelling from outside Merseyside, you can catch an underground train to James Street station from Lime Street station, inclusive of the cost of your train ticket.

Flying into Liverpool John Lennon Airport...

A taxi from the airport to the city centre will take approximately 20 minutes or the express bus service Route 500 will take approximately 25 minutes, dropping you off within a five minute walk of M&S Bank Arena, while Manchester’s international airport is just 45 minutes away by car.

Seating Plan - 2/3 Seated

This is a '2/3 Seated' event - this means that two thirds of the arena is in use. This is a layout for guidance only, as each event layout is unique, so please refer to the individual plan provided when booking your tickets online as the actual layout may differ from this image.  

You can find more venue layout plans here.

Useful Links

• Merseytravel  (rail, ferry and bus timetables)
• Liverpool John Lennon Airport
• Manchester Airport
• Visit Liverpool  (Tourism website)
• Virgin Trains  (mainline services from Liverpool Lime Street)

Frequently Asked Questions

• Transport/Parking
• Food and Drink
• Smoking Policy
• Use of electronic devices
• Accessibility
• Babies and young children

Our   new on-site temporary multi-deck car park is now open.

Kings Dock Car Park

There are  1450 parking spaces  available in the on-site Kings Dock Car Park, with accessible bays and electric charging points on every floor.

There is plenty of parking nearby too, more information on driving to the venue and parking can be found here.

Book with confidence

We want our customers to have confidence in booking tickets to attend events at the M&S Bank Arena. This includes refunds on tickets for cancelled or rescheduled events. More Information.

Accessibility Bookings

Accessible Bookings

To book accessible tickets please call our box office on 0344 8000 400 on the day that the event goes on sale - this applies to both presale and general sale. 

Our contact centre is open Monday to Friday, 9am to 5pm.

The M&S Bank Arena has recently partnered with Nimbus Disability and The Access Card to ensure customers' needs are met at events. Nimbus is one of the country’s leading providers of disability-related advice and support to professional organisations and is recognised as a leading authority on accessible ticketing in the UK.

To ensure the right tickets are sold to the right people, we will require all access bookers for events at ACC Liverpool to provide us with a Nimbus registration number to qualify for any accessible tickets or discounts available at the time of booking. Registering is free to Ticket Quarter customers with an option to upgrade for £15 to have access to all participating venues. For more information please visit here .

ONLINE EXCLUSIVE: Live review – Depeche Mode at The O2

By Andy Jones | January 25, 2024

Depeche Mode – Live at The O2, 22 January 2024

Rating: 4/5

The last time I saw and reviewed Depeche Mode on stage, it was for their triumphant Twickenham gig last year, during which I talked so much about the cost that I was starting to sound like my dad. I’ll not be so middle-aged this time. And besides, Depeche Mode in 2024 are just so damned irresistible live that, well, to hell with the cash.

This is a band that has had four decades to hone the craft, of course, but those of us who bought into Dreaming Of Me  all those years ago could never have conceived the words ‘Depeche Mode 2024’ being used in the same sentence, let alone seeing two of the original lineup still knocking it out of the park all these decades later.

Intense and immense

But on stage, and even in their 60s, this is a band that slides around its back catalogue – Dave Gahan gyrating about the stage like a 1960s pool hustler with Martin Gore forever smiling on – with so much ease and panache that you’re in safe hands from the atmospheric beginning to the searing, glorious end.

Inevitably there are comparisons to be made with that gig at Twickers, but this O2 experience has a very different vibe. More indoor and darker, obviously, and more celebratory perhaps. There are more setlist changes to enjoy here than we’d expected, too. Black Celebration is intense and immense, Strangelove is Martin Gore as his best, a surprisingly brilliant version, as is Condemnation  later when he is joined by Gahan for the first encore, while Policy Of Truth , another new entry, doesn’t surprise when it half steals the show.

Sublime set

There are tracks that are starting to grate, maybe, but for every John The Revelator , there’s an Enjoy The Silence just around the corner. And have I had enough of Just Can’t Get Enough ? Yes, very probably, but you’re not going to get that past the many thousands who disagree with me tonight. Nor are they wanting to hear Memento Mori album highlights like Before We Drown , and People Are Good in its place, like me, although I suspect the latter would bring the house down in a similar fashion.

There are other highlights from that album, though (and to my mind one of their strongest recordings). My Cosmos Is Mine is still one of the finest ways to open a gig, My Favourite Stranger rocks better live than as a recording, and Ghosts Again is simply sublime.

Get our Depeche Mode special

Imperious hits

But, let’s face it, it’s the swaying of Never Let Me Down Again , the emotion of World In My Eyes – now a permanent reflection on Fletch – and the searing power of Stripped that take us to our highest of highs. By the end of it all, as we stomp through Personal Jesus , even the £27.50 Gordon Ramsey burger doesn’t leave a bad taste in my mouth – whoops, there I go again. And as I complain – yet a-bloody-gain – to a friend on text about prices, he does counter with ‘at least they are the actual band playing live in front of you – in the future you’ll pay the same to see a tribute act or holograms’. And he’s right, of course.

Behind the machines and imperious hits, tonight the Depeche Mode of 2024 – and yes I really did write those words – are more human than ever. Genuine smiles, genuine warmth, and totally ruling over us all.

Speak To Me (instrumental outro) My Cosmos Is Mine Wagging Tongue Walking In My Shoes It’s No Good Policy Of Truth In Your Room (Zephyr Mix) Everything Counts Precious My Favourite Stranger Strangelove (Martin solo acoustic) Heaven (Martin solo acoustic) Ghosts Again I Feel You A Pain That I’m Used To (Jacques Lu Cont Remix) World In My Eyes Black Celebration Stripped John The Revelator Enjoy The Silence

Condemnation (Acoustic) Just Can’t Get Enough Never Let Me Down Again Personal Jesus

For tickets and tour dates click here

Read more: Top 40 Depeche Mode songs

• Depeche Mode
• Live Review
• martin gore

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Depeche Mode

Memento mori tour 2024.

• Date 29 Jan , 2024

Event Starts 7:30 PM

• Doors Open 6PM
• Availability On Sale Now

Want to add something extra special to show night? We've got you covered.

Whether you're looking to party in our super-suite Beautiful North, indulge in something more intimate with your own private suite experience, or enjoy the best views with our gallery boxes, we have the hospitality package for you. 

Enjoy the Champagne Experience in our AO Electric Lounge. More than just tickets to a show, our VIP experience includes a pre-show glass of champagne in the AO Electric Lounge and seats with the best views of the stage.

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Event Details

With over two million tickets sold to date on the Memento Mori Tour, and following sold-out shows across North America and Europe, the Depeche Mode Memento Mori Tour 2024 hits the UK with support from Nadine Shah !

Following global stadium and arena shows through 2023, there are 29 new European dates that will extend the tour into 2024 - giving more fans the chance to experience the raw, emotive power of the Memento Mori Tour, hailed by Rolling Stone as “a stunning celebration of life and music.”

Having sold more than 100 million records and played to more than 35 million fans worldwide, Depeche Mode remains an ever-evolving and singularly influential musical force.

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