After two decades as a band, Depeche Mode refuses to die despite the departure of original member Alan Wilder and the agonizing, drawn-out recording of Ultra, their follow-up to Songs of Faith and Devotion while Gahan wrestled with his demons. That's what makes their appearance in Zaragoza, Spain, before 8,000 spectators four years after that ill-fated tour less like a return to the past and more like a hero's welcome.
When the house lights go out the instrumental "Painkiller" floods from the speakers and the towering initials D.M. light up behind the dark figures of Martin Gore, Andy Fletcher and Dave Gahan as they enter. A deafening roar greeted the band, but was soon drowned out by the frantic pounding rhythm of "Question of Time" with its taunting lines: "It's just a question of time and it's running out for you It won't be long until you'll do exactly what they want you to."
From where I stand about twenty-five feet from the stage it's the start of two solid hours of people pressing in around me, carrying me upwards with them when they began jumping, and the irritating sound of the guy behind me singing off-key in a thick Spanish accent to every song from start to finish. I know it would be a long night when he began imitating the keyboard break after the first verse of "World In My Eyes," ba-bop, bop, bop...
Depeche Mode boasts of a strong local following in Spain. They recorded Songs of Faith and Devotion in Madrid and did a superb job capturing both the religious roots of Spanish culture in their songwriting and the country's arid landscape in the video of the album's first single "I Feel You." What's more, Spanish groups like O.B.K. from Barcelona write hit songs with an uncanny resemblance to Depeche Mode's sound and aren't embarrassed to admit the huge influence Martin Gore and company have had on them.
By the fourth song, "It's No Good" from 1997's Ultra, Martin Gore comes out from behind the keyboards to pick up his canary yellow Les Paul while the single's video plays behind him. All around me people are chanting "Mar-teen...Mar-teen" in honor of the man who Gahan says is like the scriptwriter and director of the "movies" he gets to star in. After "Never Let Me Down," and "Walking In My Shoes," we get to hear the new single from The Singles ´86-´98 "Only When I Lose Myself," which just appeared in video form on Spain's 40 Principales a few days ago.
Without a doubt the standout tracks of the evening come when Gore sings on "Question of Lust" in the loneliness of the spotlight, and right after when Depeche Mode are joined by backing vocalists Hildia Campbell and Samantha Smith on "Condemnation" and "In Your Room." Although Depeche Mode have been accused of being too dark and depressing, the warmth they create as the crowd looks on in silence is a reminder they use all the colors on their palette when they write. The moment is so striking that when Campbell and Smith close out the song both Gore and Gahan are still looking stage left in admiration of the singers's tremendous performances they've just witnessed.
Audience participation among Spanish audiences is practically a given and so Gahan, dressed in a sharp looking vest and pinstripe pants, turns the mic toward the spectators on "Useless," "Enjoy the Silence," and "Personal Jesus." I can't tell you how painful it is to see everyone singing along to a song as critical as "Personal Jesus" in a country where the only Jesus most people know is a dead figure on a crucifix. Martin Gore's lyrics point a finger at the televangelist who promises to put the gullible caller in touch with "your own personal Jesus" and to "make you a believer." I'm reminded of how this generation is not looking for six easy steps to peace with God, but real people who are transparent about their own personal struggles and doubts. Honesty is "in" and attractive packaging is most definitely "out."
The set closes to the dark, industrial and slightly psychedelic "Barrel of a Gun," one of four songs from their last studio release Ultra: "A vicious appetite visits me each night and won't be satisfied, won't be denied" can only conjure up questions of what Gahan must be thinking as he anticipates the parties that will surely come when they conclude the European leg of their tour next week and his response to the drugs someone might offer him.
Just when it seems like the show will end on a serious note with the intensity of "Stripped" and "I Feel You," Depeche Mode veers in another direction entirely and ends with "Just Can't Get Enough." It's a song that in the words of Nick Duerden (Q, November 1998) "is Depeche Mode from another era, back when Vince Clarke wrote the songs and the only drugs they'd do were aspirin." The entire venue goes loco. Even the boyfriends and girlfriends high above us decide it's time to get on their feet and dance, dance, dance. I have to admit as I'm being lifted up and down with the people around me the cheesy keyboard sound Depeche Mode is laying down makes me feel like it's the Eighties again. Dave Gahan and Company might bear the scars from toying with temptation, but they've yet to retreat from mocking the very vices that still surround them.
Set List
