Buy Depeche Mode Tickets

Originally a product of Britain’s new romantic group, Depeche Mode went on to become the typical electro-pop band of the 1980s; one of the first acts to set up a musical identity based completely around the use of synthesizers, the group began their existence as a bouncy dance-pop outfit but slowly developed a darker, more dramatic sound which eventually positioned them as one of the most successful different bands of their era.

The roots of Depeche Mode dated to 1976, when Basildon, England-based keyboardists Vince Clarke and Andrew Fletcher first joined to form the group No Romance in China. The Depeche Mode band proved short-lived, and by 1979 Clarke had formed French Look, another duo feature guitarist/keyboardist Martin Gore; Fletcher soon signed on, and the group rechristened itself Composition of Sound. At first, Clarke handled vocal chores, but in 1980 singer David Gahan was brought in to total the lineup; after one final name change to Depeche Mode, the quartet jettisoned all instruments exclusive of their synthesizers, honing a slick, techno-based sound to showcase Clarke’s catchy melodies.

After building a following on the London club scene, Depeche Mode debuted in 1980 with “Photographic,” a track included on the Some Bizzare Album label collection. After signing to Mute Records, they issued “Dreaming of Me” in early 1981; while neither the single nor its follow-up, “New Life,” caused much of a stir, their third attempt, “Just Can’t Get Enough,” became a Top Ten U.K. hit, and their 1981 debut LP, Speak and Spell, was also a success. Just as Depeche Mode appear poised for a major commercial breakthrough, however, principal songwriter Clarke abruptly exited to form Yazoo with singer Alison Moyet, leaving the group’s future in grave doubt.

As Gore grabbed the band’s song writing wheel, the remaining trio recruited keyboardist Alan Wilder to fill the technological annulled created by Clarke’s departure; while 1982’s A Broken Frame deviated only somewhat from Depeche Mode’s earlier work, Gore’s threatening songs grew more assured and sophisticated by the time of 1983’s Construction Time Again. Some Great Reward, issued the following year, was their artistic and commercial breakthrough, as Gore’s dark, kinky preoccupation with spiritual doubt (“Blasphemous Rumours”) and psychosexual manipulation (“Master and Servant”) came to the fore; the egalitarian single “People Are People” was a major hit on both sides of the Atlantic, and typified the music’s turn toward more manufacturing textures.

1986’s atmospheric Black Celebration continued the trend toward grim sad, and further established the group as a major commercial force. After the superb single “Strangelove,” Depeche Mode issued 1987’s Music for the Masses; a following sold-out tour yielded the 1989 double live set 101, as well as a concert film directed by the legendary D.A. Penne baker. Still, despite an huge fan base, the group was considered very much an underground cult phenomenon prior to the let go of 1990’s Violator, a Top Ten smash which spawned the hits “Enjoy the Silence,” “Policy of Truth,” and “Personal Jesus.”

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With the different music boom of the early ’90s, Depeche Mode emerged as one of the world’s most successful acts, and their 1993 LP Songs of Faith & Dedication entered the charts in the number one slot. However, at the peak of their success, the group started to unravel; first Wilder exited in 1995, and then Gahan was the subject of a failed suicide attempt. (He later entered a drug rehabilitation clinic to battle an addiction to heroin.) After a four-year layoff, Depeche Mode — continuing on as a trio — released 1997’s Ultra, which feature the hits “Barrel of a Gun” and “It’s No Good.”

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