On a rainy night in Manchester, Depeche Mode roll into town for what seems like the first time in a long time. In fact if I’m right, the last time I saw them was 2001 in this very venue. That was weird night, the band were great but I lost my phone and wound up in A&E. Maybe that’s tarnished my feelings toward the Arena, I’ve never been fond of it, but it’ll be interesting to see how it responds to having competition in the city, with the soon to open Coop Live vying for these big shows. Maybe they’ll get the ticketing sorted out after spending £50m on a refurb. Mine doesn’t work meaning I miss the band coming on as I visit the box office. All this certainly doesn’t tarnish my love of Depeche Mode though. I don’t think anything could. As I walk in to the first song, I’ve got to admit it’s quite a buzz walking down through the seats to the floor as they play ‘My Cosmos is Mine’, everyone transfixed. I feel like a boxer setting an ominous tone prowling to the ring. Another new one ‘Wagging Tongue’ follows and I’ve got to say they sound incredible. Gahan’s voice rich and powerful. Nothing quite prepares you for the big numbers though, the first of which is ‘Walking in My Shoes’. It’s spine tingling, every bit the stadium monster that DM unleash with seeming ease. Gahan holds the mic to the sold out crowd for the chorus and the response is instant and adoring. We’re off to the races. ‘It’s No Good’ follows from Ultra, that marked that last tour I witnessed. The deep synth wobble unpinned with those thunderous drums. They sound absolutely massive up there. The stage design is worth noting too. A giant outlined M behind them plays host to a myriad collection of video and lights. From donkeys on a picture perfect beach to Gahan’s snake hip dance moves. There’s a mix of the entire catalogue, but it’s the songs from Violator that get the loudest roars, like ‘Policy of Truth’. Its line “Never again is what you swore the time before” feeling pertinent in these times as it reverbs around this cavernous building. ‘In Your Room’ is given a different spin, its sounds good giving Gahan verses to croon, before it erupts with Gore hitting those angelic backing vocals. It feels like they’ve really gone out their way to appease a fan base that bridges generations and as if on cue ‘Everything Counts’ teases its entry with Gahan whipping up the crowd. Arms are aloft, phones are out as the years roll back, the outro sung joyously by thousands as they orchestrate from the stage. “So much better than London” Gahan applauds, which of course goes down well. This song though, there’s a lot in there, it feels like the perfect overview of their sound, from synth pop to stadium rock. The camera op has a lot of fun on ‘Precious’, but it doesn’t grab the crowd and the chatting starts. Several people get hushed and look arsey at me, but I don’t care. I paid to hear the band, not you, fuck off. There’s some great songs on the new album, but Speak to Me’ wouldn’t be high on my list to hear live. I’ve got to say though, being in the room with it, it feels monumental. Gore takes the vocals for a stripped back ‘Stangelove’ and almost everyone shuts up. This is the interlude part of the set for many though, who seem a little off put by the tender moments of ‘Heaven’ with just Gore and the piano. It’s lovely though and he really does sound wonderful. Easily matching Gahans presence, which is no easy thing. Gahan soon returns though, down to just the waistcoat for the final outing of Memento Mori ‘Ghosts Again’. Corbin’s stark and stylish video projected behind them. It’s still dark, but there’s a bright pop sheen. It’s like if the Pet Shop Boys tried to give something edgy a go. They’re just settling us back in, before the terrifying ‘I Feel You’ tests the foundations. It’s dirty apocalyptic guitar struts and Gahan sings from the pulpit like we’re all in some dark and deprived megachurch. I could do without ‘A Pain That I’m Used To’, but it does have its moments. But speaking of moments, I’ve not heard ‘Behind the Wheel’ in bloody years and it feels like a real treat. It’s broody synth aptly dedicated to Martin Fletcher. I’m spread thin, but I really must listen to this band more often. There’s some real gems. ‘Black Celebration’ sticks with the theme, as they cruise the goth wave, with the devilish ‘Striped’ following and toying with us as we catch our breath. The stage is bathed in red and Gahan looks to be reveling in the spectacle he’s creating. It’s great to see them still loving this. Still living this. After ‘John the Revelator’, ‘Enjoy the Silence’ takes us into the encore, but to be honest it already feels like they’ve given us enough and I could enjoy the silence. They’re generous lads though and they return with ‘Waiting for the Night’ leading us back in. It’s haunting melancholia sounds gorgeous with Gahan and Gore’s duet over those soft synth lines. The phone lights are out. Although amusingly (only to me) not quite as many as at Rocky Horror the other night. A fan down the front called Joanna gets serenaded with Happy Birthday and looks tickled pink, as you would be, before Gahan declares “Alright let’s have some fun” as the party kicks off to ‘Just Can’t Get Enough’. It does feel a bit isolated in this set, but a hit’s a hit and they do it proud, plus the crowd absolutely love it, much to the clear delight of Gore who looks ecstatic. ‘Never Let Me Down Again’ is much more my speed though. What a fucking banger. They have been all night, but the band are totally locked in. Tight control and utterly euphoric. I know where we’re headed, but the opening lines of ‘Personal Jesus’ are still breathtaking. It’s set up perfectly and predictably goes off! 2 hours of near perfection, building to a blistering crescendo. For a sombre song it’s bonkers and brilliant to watch the entire floor go crazy. The years roll by, but Depeche Mode just get better and better. “That was absolute class” someone says to me as we’re fighting our way back out into the night. I couldn’t agree more.
