Depeche mode 2009 e center attendance license#
One lady even held up a license plate that read DM DVOT. The cameraman swooped around the crowd, showing people looking positively jubilant and dancing to the music.
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“Everything Counts” inspired a singalong as fervent as the one that broke out to “A Question of Lust” with people shouting along to “everything counts in large amounts” as the band made sprightly video game sounds onstage. Gahan returned to the stage with “Where's the Revolution” (a bit too heavy-handed a song for my tastes) and “Wrong.”įollowing those numbers, Depeche Mode closed out their set with four all-time classics: “Everything Counts,” “Stripped,” “Enjoy The Silence,” and “Never Let Me Down Again.” As great as it was to see Gahan showboat, commanding the stage like a goth Joel Grey, it was a refreshing change of pace to see the more reserved Gore seize the stage with such a different approach.
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Backed only by a spare keyboard arrangement, Gore's plaintive and moving vocals inspired the crowd to singalong. In an interesting departure, Gore took up vocal duties for the next two songs: “A Question of Lust” and “Home.” The former was a highlight of the set. They even strike some interesting stage pictures, like the way Martin Gore would sometimes play a guitar shaped like a sparkly silver star or how they introduced “World in My Eyes” by having purple lights overhead shake and tremble like the beams of lights were having a seizure.Īfter “Cover Me” ended, Gahan headed offstage for a bit. Depeche Mode are fierce live, far louder and rocking than you'd ever imagine from listening to their records. That was perhaps the most surprising thing about their set. The two of them danced in a crumbling apartment, their bodies spinning and intertwining and breaking away as Depeche Mode played their cacophonous tune. Jim Louvau The best multimedia moment of the night came during “In Your Room.” Starting off with the image of a woman reclining on a velvet couch getting felt up by a dude with a mohawk, it turned into a ballet. People move about, buying beers and merch, with purpose: They had to pay babysitters so they could be here, they had to take the day off work tomorrow, so you can bet your ass they're gonna groove to some dark jams tonight and get lit. Perhaps it's because the crowd skews older – the average age here has to be early 40s. People look stoked to be here, more so than at most shows I've been to. Walking past the cops lined up at the entrance, the mood changes instantly into one of conviviality inside the venue. I imagine Blue Hat plucking off his cap, revealing a razor blade Scotch-taped to the bald spot on the top of his head. But the guard still insists he take it off. The guard shrugs and flashes him an “I know, right?” grin. “Dude, what could I possibly have under this?,” Blue Hat asks. I'm standing behind a gentleman wearing a blue baseball cap, who's rather nonplussed that the security guard is asking him to take his hat off.
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A swarm of black-clad revelers are amassing at the entrance, eager to get their Wednesday night goth club stomp on. Their dancey yet moody music spills out into the parking lot. Warpaint are already playing inside the venue. Like the finest of ham actors, they know not to let an opportune moment pass them by. The security staff at Ak-Chin is really committed to their roles. I've come to enjoy the security theater that happens outside Ak-Chin Pavilion every time I go see a show there.