depeche mode universe tour

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Depeche Mode: Tour of the Universe – Barcelona 20/21:11:09

Every genre has its towering titans, and Depeche Mode strikes a better claim than any other group to being electronic music’s equivalent to the Beatles or the Rolling Stones. Not only has the Basildon, England ensemble been responsible for turning out some of the genre’s finest singles and albums during its creative apex, running approximately from the early 1980s on through to the departure of Alan Wilder in 1995, but the core trio of Dave Gahan, Martin Gore, and Andrew Fletcher can still fill stadiums these days as well as any rock dinosaurs or triumphant nouveau pop stars. Ever since the 1989 concert film 101 proved beyond all doubt to the wider world that this bunch of skinny synth-playing Brits could deliver an extraordinary live show, Depeche Mode has made sure to make aural and visual documentation of its tours available for commercial consumption.

Depeche Mode’s new live release, Tour of the Universe — Barcelona 20/21:11:09 , is the group’s latest installment in that reliable tradition. Assembled from two shows performed in Barcelona, Spain in support of its 2009 studio album Sounds of the Universe , Tour of the Universe is available in a DVD/2 CD combo set. (For the purposes of this review, only the audio portion will be covered.) The fact that both nights’ setlists could be mixed together without a join being discernible, apart from the abrupt ending of disc one, is a testament to Depeche Mode’s mastery of the craft of live performance.

And Depeche Mode definitely “gives good show” here. Reliably backed by an ebb and flow of traditional and synthesized instrumentation, singer Dave Gahan is always front and center, belting out each tune in his capable brooding baritone, flavored with the occasional crowd-stirring exaltation at the appropriate moments (“Sing it!”). Songwriter Martin Gore gets his customary turn at the mic, having developed an oscillating vibrato (omnipresent on “Jezebel” and always threatening to disrupt the show-stealing rendition of “Enjoy the Silence”) that’s so overdone that one wonders if he’s taking the piss. Naturally, several tunes from the band’s latest long-player are mixed with the fan-favorites and mandatory hits (“Enjoy the Silence”, “Personal Jesus”, “Never Let Me Down Again”) to form the basis of the concerts, although one can’t help but be a little disappointed that no material prior to the 1986 album Black Celebration appears.

The cutoff date for songs performed for Tour of the Universe is justifiable if you consider Black Celebration the proper beginning for the modern, mature Depeche Mode. The band still made killer pop singles packed with hooks after that point (and in fact attained its peak of global popularity afterward), but from that point onwards Depeche Mode became predominantly focused on establishing and maintaining a mood with its carefully concocted soundscapes. Thus Tour of the Universe works almost like an opera: it’s bombastic and upfront, filled with the classic Mode lyrical fixations of guilt and longing, and the songs all function as part of a larger canvas, meaning the weak Sounds of the Universe singles like “Wrong” sound perfectly fine as setup to superior tracks. The set reaches its climax with the forceful execution of the nigh-perfect “you and I against the world” smash “Enjoy the Silence”, wherein the group manages to slip an electro-funk diversion into the song’s outro before returning to the standard arrangement, with the sold-out audience transfixed the entire time. At the opposite end of spectacle, the closing piece “Waiting for the Night” is a surprisingly intimate end to an all-out arena show that nonetheless feels utterly appropriate.

Tour of the Universe is also an illustrative example of the group’s long-harbored rockist tendencies — one would be forgiven if by listening to this set that he wasn’t aware of the fact that Depeche Mode was always at its best as a dance band. This sort of performance environment has always suited rock more naturally than electronica, so Depeche Mode understandably turns up the volume, emphasizes the hooks, and irons out the recording subtleties for grand gestures. What dancey tracks there are — “A Question of Time”, “Fly on the Windscreen” — are few and far between, with “A Question of Time” often relinquishing its body-moving grooves for an intermittent churning rock thrust.

While Depeche Mode only plays up some of its strengths here (and Martin Gore really needs to ease up on the vocal theatrics), Tour of the Universe is a well-executed live recording that’s never dull. Not as mind-blowing as 101 , it is an enjoyable rendering of the band’s material in concert nonetheless.

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Tour of the Universe

• View history

Tour of the Universe was a 2009 – 2010 worldwide concert tour by English electronic band Depeche Mode in support of the group's twelfth studio album, Sounds of the Universe , which was released in April 2009.

The Live Nation-produced tour, which was announced in October 2008 in Berlin, kicked off with a warm-up show in Esch-sur-Alzette, Luxembourg in May 2009. By the end of the year, the tour had reached Europe, Asia, North America and South America.

The concerts in Barcelona, Spain were filmed for the video release Tour of the Universe: Barcelona 20/21.11.09 , which was released on November 8, 2010 in Europe and November 9, 2010 in North America on DVD and Blu-ray Disc.

• 2 Support acts
• 4 Tour dates
• 5.1 Depeche Mode
• 5.2 Backup musicians

Overview [ ]

The tour commenced in May 2009 with a warm-up show in Esch-sur-Alzette, Luxembourg, followed by the first full-fledged date in the Tel Aviv District city of Ramat Gan, Israel. The tour was disrupted as lead singer Dave Gahan was struck by a severe bout of gastroenteritis, which occurred before the band were to take to the stage in Athens. Following subsequent cancellations of eight further shows, the tour was eventually confirmed to recommence in June while Gahan reportedly flew to the United States for treatment; a low-grade malignant tumour in his bladder was found and successfully removed. Although a portion of the cancelled dates were rescheduled, the band's appearance at the Pinkpop Festival in the Netherlands was pulled, while all remaining dates and one of two dates in Leipzig, Germany were cancelled indefinitely due to "scheduling conflicts".

In June 2009, the band played their first show following Gahan's illness in Leipzig, resuming a European leg which eventually wrapped up in Bilbao, Spain. The tour was cut short after Gahan tore a calf muscle, forcing the cancellation of two dates in Porto, Portugal and Seville, Spain respectively.

In July 2009, the group began a tour of the U.S. and Canada. The leg, which featured a headline slot at the Lollapalooza Festival in Chicago, started in Toronto and culminated in Fort Lauderdale, Florida in early September. In August, two dates in California were cancelled after Gahan received doctor's orders to serve a period of complete vocal rest.

In October 2009, the band returned to North America to play four dates in Mexico. The leg continued on to Costa Rica and South America, their first shows in these territories since the Exotic Tour in 1994. The group received attention in the media following the group's performance in Peru after it was reported that Gahan thanked the wrong country. According to reports, Gahan said: "Thank you very much, Chile" towards the end of the concert held in Lima. However, this claim was later disputed by a band representative, who quoted Gahan as saying: "Thank you very much, good night" instead. The leg eventually finished up in Buenos Aires. Later in the month, the act began a European leg of indoor venues, which kicked off in Oberhausen, Germany and culminated mid-December in Manchester, United Kingdom.

In January 2010, the group commenced a third European leg in Berlin. The leg included five shows that were rescheduled following Gahan's illness in the summer of 2009. The tour also included a date as part of a series of concerts in aid of Teenage Cancer Trust, which was held at the Royal Albert Hall in London. During this concert, the performances of "Home", "One Caress" and "Come Back" were accompanied by a seven-piece string section. Additionally, during the encore, former band member Alan Wilder made a surprise appearance onstage, accompanying Martin Gore's performance of "Somebody" on piano. It was the first time Wilder had performed with the band in more than fifteen years, having exited the group in 1995. Speaking about the event, Wilder said that he was "happy to accept" Gahan's proposal to join the group onstage and stated that "[they] were long overdue some kind of reunion of this sort". The entire tour eventually wrapped up in Düsseldorf, Germany in late February, after ten months and 102 shows in 32 countries. In total, the band performed to more than 2.7 million people. As reported by music industry publication Billboard, the tour was one of the most profitable in 2009, ending 20th in the magazine's "Top Tours" list.

Similar to the group's previous tour, Touring the Angel, recordings of some of the tour's concerts were made available on double CD format or as a digital download under the generic name Recording the Universe . A video release of the live concerts held at Palau Sant Jordi in Barcelona, Spain, titled Tour of the Universe: Barcelona 20/21.11.09 , was released on 8 November 2010 in Europe and 9 November 2010 in North America on DVD and Blu-ray Disc. The DVD release was issued in two formats, "Deluxe" and "Super Deluxe", which both include two audio CDs of the live concerts. The "Super Deluxe" edition also includes a second DVD featuring the tour documentary, "Inside the Universe", as well as extra bonus materials.

Support acts [ ]

• Terry Poison
• Yeah Yeah Yeahs
• Polarkreis 18
• Peter Björn and John
• Quiero Club
• The Raveonettes
• Angele Phase
• Feedbackers
• The Horrors

Setlist [ ]

General setlist for

Europe, Leg #2 and #3

• Intro (Excerpt from "In Chains")
• "In Chains"
• "Hole to Feed"
• "Walking in My Shoes"
• "It's No Good"
• "A Question of Time"
• "World In My Eyes"
• "Fly on the Windscreen"
• "Clean" (Bare version)
• "Dressed in Black" (Acoustic)
• "Sister of Night"
• "Insight" (Acoustic)
• "Judas" (Acoustic)
• "One Caress"
• "Home" (Acoustic)
• "Miles Away/The Truth Is"
• "Come Back"
• "Policy of Truth"
• "In Your Room" (Zephyr Mix (With bits from the album version))
• "I Feel You"
• "Enjoy the Silence"
• "Never Let Me Down Again"
• "A Question of Lust" (Acoustic)
• "Behind the Wheel"
• "Photographic"
• "Personal Jesus

Note: Setlists differed between dates, with rotated songs (denoted above), possible minor song order changes and song omissions.

Tour dates [ ]

Musicians [ ], depeche mode [ ].

• David Gahan – lead vocals
• Martin Gore – guitar, synthesizers, lead and backing vocals
• Andrew Fletcher – synthesizers

Backup musicians [ ]

• Peter Gordeno – synthesizers, piano, backing vocals
• Christian Eigner – drums, synthesizers
• 1 Martin Gore
• 2 Alan Wilder
• 3 Some Great Reward

Depeche Mode - Tour of The Universe

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Depeche Mode - Tour Of The Universe: Barcelona 20./21.11.2009 (DVD)

See also (all categories):

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-Sounds Of The Universe - Videos Wrong Peace Hole To Feed Fragile Tension

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• Is Discontinued By Manufacturer ‏ : ‎ No
• Language ‏ : ‎ English
• Product Dimensions ‏ : ‎ 11.81 x 0.39 x 11.81 inches; 9.12 ounces
• Manufacturer ‏ : ‎ EMI
• Date First Available ‏ : ‎ September 23, 2010
• Label ‏ : ‎ EMI
• ASIN ‏ : ‎ B00445JSX2
• Number of discs ‏ : ‎ 4
• #97,696 in Rock (CDs & Vinyl)
• #107,133 in Pop (CDs & Vinyl)

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Media : Tour

Memento Mori 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

Los Angeles, CA (February 16, 2022) - 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 34 new shows, the Rock & Roll Hall of Fame Class of 2020 inductees will now set out on a colossal 80-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 Barclay's 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 public on sale beginning Friday, February 24 at 10am local time. The full listing of dates, cities and venues is 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.

Death Cab for Cutie and Postal Service co-headline a return to early 2000s at Bridgestone

Death Cab for Cutie and the Postal Service delivered co-headlining sets Monday night at Nashville's Bridgestone Arena. The two bands came together to celebrate the 20-year anniversaries of two of their hit albums.

The bands, both fronted by singer and guitarist Ben Gibbard, each played for around an hour, performing songs from albums they released in 2003.

And though the two acts share a lead singer, the night's co-headliners couldn't have felt more different.

Death Cab for Cutie, an alternative rock group from Washington state, features bassist Nick Harmer, guitarist Dave Depper, keyboardist Zac Rae and drummer Jason McGerr. Gibbard formed the band in 1997 and originally intended it to be a solo project before it took off, growing a following of its own.

The band's fourth album, "Transatlanticism," which they celebrated on Monday night, skyrocketed the group to fame with songs "The South of Settling," "Title and Registration" and "Transatlanticism."

Now, the band is best known for the 2005 songs "I Will Follow You into the Dark" and "Soul Meets Body."

Gibbard also created the Postal Service in Seattle around 2001. The indie-electronic music group features singer-songwriter Jenny Lewis and Jimmy Tamborello — also known by the stage name Dntel — an electronic musician and DJ.

Unlike Death Cab for Cutie, which has released 10 studio albums together, the Postal Service has only released one full-length studio album: "Give Up."

The 2003 album includes hits "The District Sleeps Alone Tonight," "Nothing Better" and "Such Great Heights."

The two bands announced their co-headlining tour at the end of 2022, marking what would soon become the Postal Service's first live performances together in over a decade.

The 20th Anniversary Tour: "Give Up" and "Transatlanticism" kicked off in September and was extended into 2024. The bands have hit stadiums from Los Angeles to New York, Georgia and Florida and will continue touring into May.

Opener Slow Pulp, an indie rock band, hit the stage Monday ahead of the co-headliners.

At 8:30 p.m., Death Cab took to the stage, playing the "Transatlanticism"album in full.

An hour later, after Gibbard took just a 15-minute break, the Postal Service performed "Give Up"in full.

Here's a rundown of both sets.

Death Cab for Cutie showcases emo-alt rock and stirring ballads

Death Cab started the evening out with "The New Year." The band wore all black in a simple, uniform look.

The stage was set up like an amphitheater, with a relatively bare arrangement. Aside from some fun strobe lights, the band didn't hide behind fancy sets, pyrotechnics or smoke and mirrors. The evening was intentionally focused on the music.

"We got into your lovely town last night," Gibbard told the crowd. "Lot of bachelorette parties. I was warned ... even more than that. It was a sight to behold."

As the band cycled through the 11 songs on "Transatlanticism," Gibbard grabbed the mic as he crouched down to fans, swayed back and forth and stomped to the beat.

His voice was crisp, clean and expressive. Fans could understand every lyric out of his mouth as he hit each syllable and note with equal importance.

He sang emotively, equally fueling his more pop-punk hits and the slower, stirring ballads.

On "Passenger Seat," Gibbard flipped into falsetto and hit some soft high notes as he was backlit by a blue spotlight. The moody song featured Gibbard with piano accompaniment.

"Expo '86" brought the arena to a stir with pink and white spotlight strobes and rocking bass reverberations as both Gibbard and Depper hit guitar licks.

One of the band's most notable songs of the evening was the album's title track, "Transatlanticism." The tune started with a stripped-back opening, featuring Gibbard, the keys and drums. Slowly, the bassist and guitarist appeared onstage and built upon the song's momentum.

The crowd flashed their phone flashlights and sang along with harmonies from Gibbard and Depper: "I need you so much closer / I need you so much closer ... So come on, come on."

Notably absent from the evening's performance were songs from outside of "Transatlanticism." Hits "I Will Follow You into the Dark" and "Soul Meets Body" were not performed.

The Postal Service delivers electronic-pop bliss

During Death Cab for Cutie's set, the crowd — a mixed bag of millennials and families — mostly sat and enjoyed the tunes quietly. This changed when the Postal Service began their performance.

As electronic riffs filled the arena, the audience stood up and danced and clapped. Members of the Postal Service walked on stage wearing all white, as if to signal to the audience: We're changing it up here.

For those not familiar with the Postal Service, their Nashville set sounded like a combination of LCD Soundsystem, Sylvan Esso and MGMT ... mixed with Death Cab, of course.

They started with "The District Sleeps Alone Tonight," which featured electric riffs and running lights synced to techno pulses.

Nashville's own singer-songwriter Jenny Lewis supported Gibbard on a number of instruments, from guitar to bass, percussion and keys. She also layered some breathy backup vocals and harmonies.

The electronic elements are provided by DJ Jimmy Tamborello, a decorated electronic pop artist who has played with multiple bands and cultivated a solo career as "Dntel." Tamborello's arsenal of synths, drum machines and more had fans jumping along as if they were in a dance club.

Ahead of "Nothing Better," Gibbard said, "This may not sound like it, but this is a country song."

The song, which sounds like a purely indie-electronic hit, is a rich, story-telling duet between Lewis and Gibbard. The lyrics, as Gibbard said, could've been a country song in another universe.

They sang: "Tell me, am I right to think that there could be nothing better / Than making you my bride and slowly growing old together?"

The band's other hits, "Clark Gable" and "Brand New Colony," also stole the show Monday night.

Toward the end of the set, Gibbard said: "When we put these records out 20 years ago, and we came for your town, we played little tiny places. We never in a million years thought that 20 years later we would still be playing these songs, but even further than that, we'd be playing them in an arena in Nashville.

"And the only reason we are here is because of you," Gibbard continued. "Because these records still matter to you. And that is one of the most humbling things for us to experience. And we are so grateful you are here."

Encore: 'Such Great Heights' and Depeche Mode cover

For the encore, Lewis and Gibbard sang "Such Great Heights" with an acoustic twist, inspired by the Iron and Wine cover of the song. The stage was bare as Gibbard played the acoustic guitar and the two harmonized.

Afterward, the other members of the bands filed onstage and combined Death Cab's alternative-indie rock sound with the Postal Service's electronica as they covered Depeche Mode's "Enjoy the Silence."

The cover brought the talents of both bands together effortlessly, tying up the night with the '90s crowd-pleaser.

Afterward, all members of both bands bowed together, expressing gratitude to the Nashville crowd.

Death Cab for Cutie and the Postal Service's Nashville set lists

Death Cab for Cutie:

"The New Year"

"Lightness"

"Title and Registration"

"The Sound of Settling"

"Tiny Vessels"

"Transatlanticism"

"Passenger Seat"

"Death of an Interior Decorator"

"We Looked Like Giants"

"A Lack of Color"

The Postal Service:

"The District Sleeps Alone Tonight"

"Such Great Heights"

"Sleeping In"

"Nothing Better"

"Recycled Air"

"Clark Gable"

"We Will Become Silhouettes"

"This Place Is a Prison"

"Brand New Colony"

"Natural Anthem"

Encore:" Such Great Heights" (acoustic, inspired by Iron and Wine cover), "Enjoy the Silence" (Depeche Mode cover)