Showing posts with label Glasgow. Show all posts
Showing posts with label Glasgow. Show all posts

Tuesday, 6 February 2024

A MEMENTO: DEPECHE MODE, OVO HYDRO GLASGOW 31 JANUARY AND 3ARENA DUBLIN 3 FEBRUARY

 




When I was at the Twickenham show last Summer, I was struck by how much of a celebration it was; the whole crowd was enjoying itself and within that crowd, me and my 6 friends were having a great time too. The gig experience was enhanced because of that. After all, sharing good times with your friends and a band you all love, one that you have all loved for more decades than you might care to admit, is a wonderful thing. Ahead of the two gigs last week in Glasgow and Dublin, I wanted to aim for the same experience and hopefully enjoy myself just as much. As it turned out, I had a better time than ever and enjoyed two of the best Depeche gigs I've seen.

Wednesday 31 January - Ovo Hydro, Glasgow


I live in Glasgow, so any Depeche Mode gig that doesn't involve trains or planes is no bad thing. I went to the concert as part of a gang of ten, two of whom (hello Heidi and Carolyn) were seeing Depeche Mode for the first time. As you might imagine, I'd sent them a Spotify playlist with explanatory notes just to make sure they knew what was in-store. It's one of the "perks" of knowing me.


Another perk is that you get a free t-shirt. I realise this increasingly sounds like I have to bribe people to be my friend, so let's move on.


Thanks to a ticket buying cock-up on my part, my wife and I ended up with VIP tickets. Basically, that means that we paid twice the price out friends did and ended up standing with them anyway albeit we at least had something they didn't - a Depeche Mode toilet bag featuring a candle (above) and an eye mask (that and toilet bag below). It also has a lanyard in it too with text on the back making it abundantly clear that wearing it entitles you to no perks at all. 


Believe it or not, it's not the only Depeche Mode candle that I own. I think the one below might be a bit more in demand however.


Anyway, to the concert itself. Nadine Shah was superb. I must admit that I'd not heard much of her work before but I was converted immediately. She was a great fit as a support act and if you get the chance to see her on her remaining support slots on this tour, make sure you do.


The Hydro in Glasgow can sometimes sound a but crap but there we're no issues at all last Wednesday. Depeche sounded superb. It was great to see the lights and backdrops for the first few songs indoors too as, until last week, I'd only seen stadium gigs on the tour. The lighting for the opening two tracks My Cosmos Is Mine and Wagging Tongue works brilliantly with those songs.  The first half of the set featured a couple of newish changes. It may be maligned by many people, but Policy Of Truth is a bloody marvellous song and it sounded huge in the Hydro. Before We Drown has rightly gone down well since its introduction to the set in London and it sounds fantastic live. It's great to see the band adding in a brand new track late in the tour. 


Martin's two songs, Strangelove and Somebody, were wonderful but then I always love Martin's mini set. I also love the version of I Feel You they play on this tour. It's shorter than previous versions and that really helps the song retain its punch. 


Behind The Wheel is a welcome addition to the setlist and it's great to see it played with the video on the screens however, I do find its addition at the expense of World In My Eyes a slightly odd one. At last summer's shows, and indeed every show until Behind The Wheel joined the set, World In My Eyes featured a special film that exclusively featured Fletch. It was his favourite song and it gave everyone the chance to pay tribute to him. Personally, I found it very moving each time I saw it and I don't know of any Depeche fans who didn't feel the same. Losing that from the Memento Mori setlist does take something away and that's a shame. Ultimately, the band have paid beautiful tribute to Andy since the album was announced and they may well feel they don't need to keep doing that which is of course entirely their right. Andy's loss was so vast however that it seems a pity that we no longer see that film. While he does of course feature in the Behind The Wheel video, everyone else does too. I don't know, it might be the emotion of both gigs still catching up with me and perhaps this is all just the ramblings of a man who spends too much time thinking about these things. We all still miss you a lot Fletch.


There was one more track I hadn't heard on this tour and it didn't disappoint - Black Celebration. For years, the band haven't quite nailed this but on this tour it is incredible. The new intro really builds the mood and the song is stunning. I went quite berserk when it came on and when they followed it with a thunderous Stripped, I lost my marbles. Two of the finest songs any band has ever written. 


The ones that followed weren't bad either of course. Enjoy The Silence sent the entire arena crazy. My friends were jumping around, singing along and everyone around us was too, even the chap behind us who knew all the words but none of the tune. Never Let Me Down Again did what it always does and the closing Personal Jesus almost took the roof off the venue. Absolutely brilliant. Happily, my friends loved it too from the concert veterans such as the two Johns and Andrew, to the debutants. Sharing that gig in my home town with my closest friends was a glorious experience and, the band never play in Glasgow again, that was fine last visit to the city for them. 

Saturday 3rd February, 3Arena, Dublin



My word, Dublin was good. The 3Arena really is a tremendous place to see a concert. The venue is big but still feels intimate and the sound, always good whenever I've been there before, was incredible this time.  The day before the gig we had a rare old time enjoying a medically unwise amount of Guinness and meeting a few DM fans around the city. That carried outside the gig the next day with the t-shirts again attracting a few hellos. It really is a very odd but lovely experience to meet people who say they love the blog. What started as a way for me to post a few pictures of records really has taken a turn I didn't see coming. On that note, hello to Andy Ryan who we chatted to outside the arena.


The set was the same as Glasgow in the main and that was no problem at all as it was bloody marvellous. Every song sounded incredible and the band were on great form, seemingly more relaxed than normal. 


The encore contained the one change from Glasgow and one change that I had not yet seen on the tour. Instead of Waiting For The Night we got Condemnation which I was particularly pleased with as my tuneless roaring along would attest to.  Once again, the closing Personal Jesus threatened to take the roof off the place. 

Tuesday 6th February, Glasgow

Back in the real world, I've been able to reflect not only on two incredible gigs but also on what made them feel so special. As ever, there is always the feeling that the last leg of any Depeche tour is the last leg they will ever play. They are getting older, as are we, and there is no way that they can do this indefinitely. With the band stripped down to just Martin and Dave now, they may not want to do this again, despite the clear fun they are having every night. No-one outside Dave and Martin know what they want to do of course but I couldn't help feeling that this might be the last big tour, if not the last tour full stop. 

If it is to be the last time, then I got to enjoy two of the last Depeche gigs I will see with my friends having a wonderful time enjoying a band that has been a huge part of our lives. Having a great time with great friends soundtracked by the greatest music I have ever heard is no bad way to spend a few days. 

That's what made Glasgow and Dublin so special. That's what makes Depeche Mode so special.


Monday, 11 February 2019

LADYTRON - LADYTRON


One of the finest pieces of music news I got in 2018 (other than confirmation that the Depeche Mode tour was finally ending meaning I could put the Global Spirit Tour Project to bed and reclaim my life) was that Ladytron were coming back. For reasons I've never been able to understand, Ladytron have never been given the recognition their immense back catalogue deserves - if this album doesn't put that right, I'm officially giving up on holding out any hope for the public's taste in music.

Since 2011's Gravity The Seducer, the members of the band have been off doing their own thing. Helen Marnie's two solo albums Crystal World and Strange Words And Weird Wars were two exceptional albums much loved by this blog, both of which moved away from the dark electronics of Ladytron into a poppier area. On Ladytron, this poppier, lighter feel combines wonderfully with the band's trademark sound, producing an album rich in quality and bursting with wonderful tunes. 

Opener Until The Fire opens the album perfectly with a real statement of intent, leading into the already released The Island. Both The Island and The Animals were issued last year to rightful acclaim, but when you hear them as part of the album, they sound bigger and even better. They, and indeed the whole of this album, seem to suggest that Ladytron have found a new level of confidence, making them sound better than they ever have done. When you compare this album to Chvrches sadly forgettable third album, there is a marked difference.




It no doubt seems over the top to say this, but it's very hard to pick one highlight out from this album because the whole thing is excellent. It's not too often a 13 track album will hold the listener's attention its full duration, but Ladytron manages this effortlessly. Tower Of Glass is a stunning track which, like the album's penultimate track The Mountain, brings to mind Helen Marnie's solo work.  The blazing electronics in Paper Highways are just superb and Mira's lead vocal on the track is sublime. A Mira track is always welcome. At the band's comeback show in Glasgow last year, Black Cat was a standout as it always is. If the band tour this album (and let's hope they do), Paper Highways will doubtless be a similar highlight.

Even though the job of a review is to review the album in some depth, I'm going to ignore that and just once again say that this album is excellent. You really do have to listen to it. Ladytron have been away far too long and not many bands come back after such a break with the same magic they previously had. Ladytron have not only come back impressively, but they've come back sounding bigger and better than they ever have done. Ladytron is an album you really don't want to miss.

Ladytron by Ladytron is out on 15 February on !K7. Find out more at https://www.pledgemusic.com/projects/ladytron

Wednesday, 29 August 2018

DEPECHE MODE LIVE IN SCOTLAND PART 3: 1982

The post Global Spirit Tour Project break is over and it's back to work both in the day job and in the blogging sense. The Live In Scotland series (part 1 here and part 2 here) took a back seat because of the tour but it's now back. This episode looks at the band's three concerts in Scotland in 1982 which includes their first ever trip to my hometown Glasgow. It would not have been possible to write this without the three contributors Robert Weir, Trevor Thomson and Raymond Perry - thank you very much to each of you. Thanks you too to Depeche Mode Classic Photos & Videos for the photos (all theirs unless otherwise credited) and to DM Live Wiki for the links to the live shows. 



Depeche Mode live at Tiffany's, Glasgow, October 19, 1982
In 1982, Depeche Mode played 3 concerts in Scotland, one at the start of the year and two towards the end. For the first time, the band were touring without Vince Clarke. In his place was, of course, Alan Wilder, at that point the Peter Gordeno of his time*, playing with the band while not being a member. He would of course soon join up officially and he would remain a band member until 1995. If the internet had existed in 1982, I presume there would have been as much debate about Vince leaving as there continues to be about Alan leaving now. Anyway, post Vince, Depeche were a three piece band who turned into a four piece band for live purposes. Here is the story of how they rocked or, more accurately, synthed Scotland in 1982.

(* Please note this was a joke. Don't hound me online and send me threatening emails. For the avoidance of doubt, Alan is NOT Peter Gordeno. Peter is far more talented.**)

(**Also a joke. Although Peter is a talented musician. Anyway...enough of this nonsense. One rule of DM blogging, indeed the only rule - never mention Alan. Or joke about Alan. Ok, two rules.)



21 February 1982, Tiffany's, Glasgow

The band's first post Vince tour was known as the See You tour. In case you didn't spot the cleverly hidden reason why it was called that, the band were on the road in support of their first ever Martin Gore written single, the glorious See You. It's a song that still remains the band's biggest selling U.K. single. That's right - it even outsold Soothe My Soul.  The See You tour took in Tiffany's in Glasgow, a venue that hosted many wonderful bands including Yazoo. Around the time Depeche played there, they were in a rose in a crown of punk thorns as you can see:


Tiffany's is now a Genting casino sadly, but back in 1982 it was a much more interesting place. It started life as the Locarno Ballroom in 1926, featuring a sprung dancefloor and a revolving stage among other things. No evidence exists of whether or not that stage was used for the Depeche show. 

The Locarno in 1982
From the first ever Scottish Professional Dancing Championships in 1928 via the Glasgow gang violence of the 50's and 60's, the Locarno turned into Tiffany's and, twice in 1982, it featured Depeche Mode's own professional dancer, Fletch and, thankfully, very little violence. It closed in the late 80's, turning into the casino it still is today. As you can see, while it was open, Tiffany's very much went for a Scottish feel:


At Depeche Mode's show was Robert Weir, now resident in Toronto. I asked Robert what his recollections of the gig were.

"I remember the sound of the synths. It was my first ever concert, and the power of the sound vibrating through me just reeled me in. This was the night I fell in love with electronic music. 

Blancmange were the support and they got the crowd ready for DM. I remember the anticipation in the venue as it filled with dry ice. There were empty synths and a tape machine in the middle of the stage and then the band walked on, coming on to a long intro of Shout and the crowd went nuts. Alan, the new guy, was there. They played an unreleased song, The Meaning Of Love and, in the encore, they covered a Gerry & The Pacemakers song, I Like It - I knew that from my parents record collection.

At the end of the show, I remember not wanting to leave the venue as it had been one of the best experiences of my life. It paid off as one of the bouncers told me to go to the stairs leading up to the balcony so that I could meet the band. I was fourth in line and was star struck. I told them I thought the show was amazing. Earlier. I'd bought a programme which was basically a fold out poster with dates, lyrics and an introduction to Alan. I no longer have it, but Alan and Dave signed it. I told Alan I thought he was great to which he said "thanks" and when I told Dave how much I'd enjoyed the show he said "thanks a lot mate" in a strong Essex accent.

With that, I was ushered along and left the venue a happy man."

The setlist for the Tiffany's gig was:

Shout
I Sometimes Wish I Was Dead
Boys Say Go!
Puppets
See You
Big Muff
Now, This Is Fun
Ice Machine
New Life
Tora! Tora! Tora!
The Meaning Of Love
Just Can't Get Enough
What's Your Name?
Photgraphic
Dreaming Of Me
I Like It

Happily, the concert was recorded for broadcast by Glasgow's Clyde FM. It's a superb recording which you can grab from the ever wonderful DM Live Wiki right here: Tiffany's Feb 82

Listen to it all obviously, but, in particular, listen to See You. The band's equipment clearly couldn't replicate the vocal sample lines, so the band sing them. It's quite wonderful.

The band then left Scotland, returning for...

Depeche Mode live at Tiffany's, Glasgow, 19 October 1982

19 October 1982, Tiffany's, Glasgow

Unlike the last gig at Tiffany's, the band had an album to support with the still brilliant A Broken Frame released on 27 September that year. This isn't an album review thing but never ignore the fact that this maligned Depeche album features genuine greats like Leave In Silence, My Secret Garden, Monument, Satellite, See You and The Sun And The Rainfall. This was songwriting far beyond the years of the then thrust into the spotlight Martin L Gore. Sublime electro goth music (See You aside) that pointed the way to the band they became.

Anyway, back to Scotland. The Depeche show at Tiffany's in the October was markedly different from the February show. The setlist was:

Oberkorn (It's A Small Town)
My Secret Garden
See You
Satellite
New Life
Boys Say Go!
Tora! Tora! Tora!
Leave In Silence
Nothing To Fear
Shouldn't Have Done That
Monument
The Meaning Of Love
Just Can't Get Enough
A Photograph Of You
The Sun And The Rainfall
Shout
Photographic
Dreaming Of Me

Firstly, what a setlist. Secondly - the pop nonsense of A Photograph Of You followed by the majesty of The Sun And The Rainfall and Shout? Bold and genius. I love this era of Depeche Mode.



Anyway, as I mentioned above about Tiffany's, look at this line up around the time this gig took place:


Good grief. I wasn't at any of those shows, let alone the Depeche one, but Robert Weir was. I asked him a few things about Tiffany's.

"On the A Broken Frame Tour at Tiffany's, the support was Matt Fretton. I  loved his song So High immediately. This tour seemed slicker. It had a great tour programme featuring with imagery from the album and pictures of the band. 

I remember the long intro of Oberkorn which was the b-side of The Meaning Of Love opening. Then they went into My Secret Garden before they came on stage with the familiar tape machine centre stage. 

Check shirts were the thing and Dave was dancing all over the stage, seeming more confident than earlier that year. Again, the show was amazing, and I remember being glad they didn't do any cover versions.

All the young dudes
Having shown Glasgow a good time, it was only logical Depeche Mode headed along the M8 to Edinburgh. That could only mean...


20 October 1982, Playhouse, Edinburgh

The Playhouse in Edinburgh is an institution. Opening in 1929, it has hosted Depeche Mode on no less than four occasions, the last being on 17 January 1988 when, oddly, the Music For The Masses tour ended up there. It capacity of 3,059 people makes it an unlikely place for a gig almost exactly five months to the day they'd play the Pasadena Rose Bowl but (1) Britain always had an odd relationship with the band and (2) Britain got Depeche Mode very wrong.

Anyway, here's the Playhouse:



I've genuinely no idea when that picture was taken, but whenever it was, the Playhouse still looks like that right now. And that's right now as in whenever you're reading this - 2018, 2019 or, if Depeche Mode are still a thing then, in 2099. The Playhouse will always look like this.

To the concert then. Interestingly, and no doubt to the fury of whatever passed for forums in those days, the band played the same set they'd played at Tiffany's at the Playhouse. Yes, even way back then, setlist rotation was not really a thing. There are no recordings of these two shows available as I write this. If you have them, please get in touch with me or Matthew at DM Live Wiki as they would be a great addition to the site. If you want to hear this setlist live, check out the superb soundboard recording from the London show on October 25 on DM Live Wiki right here - London, 25 October 1982.

Picture courtesy of Trevor Thomson

Trevor Thomson, whose recollections of the band's 1981 gigs we heard in Part 1, was at the Playhouse gig (see his ticket above). Once again I annoyed him enough to have him tell us a bit more about this gig:

"This was the only time I saw Depeche in 1982. The Playhouse is all seated so it was odd seeing DM in a venue like that however the audience weren't all seated for long. Matt Fretton was the support and was essentially twenty years ahead of his time, singing and dancing along to a backing track, engaging with the front rows of the stalls. 

As far as Depeche Mode were concerned, things had certainly moved on since I saw them in November 1981. They were now playing theatres rather than clubs so they knew they had to put on a show. This fell to Dave who was engaging the audience throughout the show. He'd seemed, if not aloof, then slightly nervous in 1981 but he was much more confident this time. 

Trevor's A Broken Frame programme - picture courtesy of Trevor Thomson

The thrust of Depeche Mode's songs had switched from what was essentially happy, up tempo pop to the more reflective and at times brooding sound of Martin's songs. The songs from A Broken Frame were darker in general, apart from The Meaning Of Love. Oberkorn was dark in an almost Low era Bowie way and even Just Can't Get Enough had a darker edge as they played the Schizo Mix live.

More success for the band meant a theatre, more space on stage, a sit down audience and much better and more impressive keyboards although I was pretty impressed by the machines I'd seen them play before then. There was definitely a change in mood from the 1981 shows. They presented themselves as a shiny pop band but that wasn't reflected in their performance. Dave was a confident broody singer.

I came away thoroughly entertained. I could tell they were already becoming bigger and bit more distant however. It's a massive leap from the front row of two club style gigs to the fifth row of a theatre. Success had put them on the album-tour commercial readmill. They were probably thinking "we have to take this while we can because we don't know how long it will last." They certainly have lasted!"

The badges Trevor bought at the gig - photo courtesy of Trevor Thomson

The show at the Playhouse was featured in the magazine Patches. The band looked tremendously fresh faced on the cover:

Awwwww

I wonder what if the Lacy Fashion section inspired Martin's clothing in 1983? There was also an article telling us a bit about the tour


With Trevor's story of the gig, we can account for one of the 3,059 people there that night. Because I aim to be as thorough as I can, we can also now hear from someone else, Raymond Perry. Raymond is life long DM fan and he and I managed to meet up before the Manchester gig last year. Here's what he recalls of the Playhouse show:

"I'd never been to a gig before as I was only 14, so I didn't know what to expect. The keyboard players appeared through the smoke to the tune of Oberkorn. Dave then appeared and turned on the reel to reel tape recorder, leading the band into the opening My Secret Garden. I thought to myself "these guys are fantastic." They blew me away.

It was a long show and I became a fan for life after it. I started buying their back catalogue including A Broken Frame. It's such a brilliant album - I still love it today.

I used to love the baggy clothes the band wore in those days. I even loved the patterned jumpers too. How times have changed!"

The band's schedule for the day


And that was that. Depeche Mode boarded their tourbus and headed for Newcastle for a gig on the 21st of October. They would return to both the Playhouse and Tiffany's in 1983 on the Construction Time Again tour and we will have a look at that next time.

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Thank you very much to Robert Weir, Trevor Thomson and Raymond Perry for their help putting this together. Thanks too to Depeche Mode Classic Photos & Videos Facebook Group and to DM Live Wiki

Friday, 13 April 2018

HQFU - FOR INHUMANITY



A new HQFU release is always something to be welcomed and Sarah Stanley's new album For Inhumanity, released today, is yet another unmissable 

The album is wholly instrumental, showing off a gentler side to HQFU and this approach was reflects the fact that the album was designed as the soundtrack to the forthcoming Dark Skies Entertainment game Inhumanity, a text based game due for release later this year. For Inhumanity displays many of HQFU's signature traits which fans will recognise, but they're balanced with a more stripped back feel that adds a new dimension to HQFU's sound.

Inhumanity1 is one of the best examples of this with layers of overlapping synth lines building to a joyous finale. It's a wonderful track, as is its Kraftwerk like reprise Inhumanity2, which mixes the classic electro of Computer World with the best parts of Tour De France and that is very much a good thing.

For Inhumanity is certainly an album all HQFU fans will love and it will no doubt attract many people who have somehow missed out on this unique and quite brilliant artist. To celebrate the release of the album, HQFU is having a launch night at Stereo in Glasgow tonight with a live album playthrough accompanied by visuals. Support comes from Bossy Love who are providing a DJ set.

For Inhumanity is available now on all digital platforms. Tickets for the show at Stereo are £4 in advance or on the door



Friday, 16 June 2017

REVIEW: MARNIE - STRANGE WORDS AND WEIRD WARS


As Depeche Mode take a brief pause on their world tour, I can take a brief pause from the Global Spirit Tour Project to write a review of the new Marnie record Strange Words And Weird Wars. Listening to the album, as I have done many times already, I can't help but think she'd make a fine support act for DM's global trek, firstly given how popular she is among the Black Swarm anyway, but secondly because these songs played live would be a great way to open a Depeche show. Perhaps if they get round to confirming a Glasgow show for later this year? It makes sense Martin and co.

Anyway, to the album. This is  Helen Marnie's second solo release and it is a real treat for fans of electronic pop, building on her wonderful solo debut release Crystal World, adding a new layer of crisp pop to great effect. By now you should all know lead single Alphabet Block which kicks off the album and which I reviewed a while ago (review). As part of that review, I had a quick chat to Helen and asked about the new album and during that she said that the new album was "definitely a pop effort"  and that's apparent throughout. As Alphabet Block and the second single, the magnificent Lost Maps, show though, this is more than a straightforward pop album - it's a beautifully crafted, intriguing gorgeously synth laden album that is surely bound to be looked on as one of this year's finest.



Bloom and G.I.R.L.S follow Alphabet Block, a faultless opening trio, with G.I.R.L.S boasting a chorus that even the dead would dance to, before recent single Electric Youth slows things down a little with its mix of 80's power pop and pure synthpop a real joy. The video (below) reflects those influences and, as I'm a huge fan of an HQFU, it's cool to see Sarah Stanley both in the video and as a key part of Marnie's live set up.



A Girl Walks Home Alone At Night and Summer Boys both show off a darker synthpop side and both a re wonderful with Summer Boys sounding like the sort of single Mute would have loved to have released in their early days. The distorted sounding synths on that track are one of those things that, if you're a bit of a synth nerd, are music to your ears. Glorious. The closing track Heartbreak Kid is another standout, containing yet another chorus that's impossible to ignore and impossible to get out of your head.

Like I said earlier, this album is surely going to be considered one of this year's finest. I'm biased of course being a huge Ladytron fan, a Glasgow based blogger who goes on a tad too much about electronic music including of course Depeche Mode and someone who loves Crystal World, but in all honesty, this is a superb album. There's so much incredible music coming out of Glasgow just now but, despite the competition, Marnie has raised the bar. This is an album you don't want to miss.

Strange Words And Weird Wars by Marnie is out now and is available on all the usual digital places. Ignore them though and head to her Bandcamp pages for cd's and a grogeous clear vinyl release. 

Marnie Bandcamp https://helenmarnie.bandcamp.com/
Official site http://helenmarnie.com/

Monday, 27 March 2017

MORE THAN A PARTY: DEPECHE MODE, GLASGOW BARROWLAND, 26 MARCH 2017



Where do I start?

It's very hard to put last night into words. Depeche Mode simply don't play venues like the Barrowlands but for one night only they did. Thanks to BBC 6 Music,  Depeche Mode took over Glasgow and I can say that I was there, I was a part of it. I'll never experience anything like that again.



The whole day had a special feeling to it. I went down to the Barras around 11 am yesterday and met a few members of the Black Swarm who had camped out overnight. Camping out overnight is crazy enough, but camping out overnight in that part of town takes a special kind of bravery. Well done to the Swarm. I hung around for a while, chatted to a few fans and ended up meeting Peter Gordeno. He's a lovely chap. I spoke to a security guy at the venue and he was amazed that fans were camping out for a gig that wasn't even due to start until 9 p.m. He said "Are all you Depeche Mode fans as mental as that lot?" pointing to the overnight campers. As someone who was aimlessly hanging around outside the venue, all I could say was yes.


Fast forward a few hours and me, John, John C and Andrew met up and were ready to begin enjoying ourselves. We headed to the Kilts pre show party and the day properly began. I met so many cool people there, at the gig and at the aftershow party and I don't want to offend anyone by missing them out, so I'll just say hello again to you all here and thanks very much for chatting. Being a relentless self promoter, I had a blog t-shirt on, and it was genuinely moving to have so many people come up to me, say hello and say kind things about all this nonsense. The pre show party was great and it set the scene nicely for what was to come.


In earlier posts about this gig, I said that the Barras is the best venue on earth and last night proved it. The combination of a crowd who were 100% up for it and a band playing what was surely one of the gigs of their lives meant that last night was a gig that I will never forget and it's unlikely to ever be beaten. I can honestly say that it was the best gig I have ever been to and I'm still in a daze as I write this. From the opening roar as the band came on stage, a roar that caused even as experienced a frontman as Dave to pause for a second or two, to the closing perfection of a revitalised Enjoy The Silence, this was a unique and beautiful Depeche Mode experience. World In My Eyes, Walking In My Shoes and Personal Jesus all sounded as good as they ever have done and the band fed off the crowd's energy throughout the show. Martin played a full band version of Home which was spellbinding and the new songs all fitted in perfectly, with Cover Me a gorgeous highlight. It was everything you could have wanted and then some.



I'm so lucky to have been able to get a ticket for this show and I'll genuinely never forget last night. Gigs like that don't happen often and when the best band in the world played the best venue in the world in the city I live in, I can say I saw it. Thank you Depeche Mode, thank you devotees.

Next stop Stockholm.







Thursday, 23 March 2017

DEPECHE MODE GLASGOW BARROWLANDS 26 MARCH - A GUIDE

Sunday 26 March is going to be a landmark day for Depeche Mode fans lucky enough to have got tickets for the BBC 6 Music Festival. The band are headlining the festival, playing at the legendary Barrowland Ballroom which means one of the biggest acts on earth will be playing what I consider to be the greatest venue on earth. The Barras (as it's commonly known) holds a maximum of 2100 people, meaning that this is Depeche Mode's most intimate British gig in years. In my many years of following Depeche around Europe on tours, I never thought I'd get to see them at the Barras. The fact they're playing there hasn't really yet sunk in but it's happening so I'm now in full on gig preparation mode. 

I know that a lot of you who read this blog aren't from Glasgow and that you'll be travelling to the city for the gig. To help you make the most of the Depeche related mayhem that Sunday will bring, here's a guide to what's happening on the day.

Pre Gig Preparation

If you're flying into Glasgow Airport on Sunday, look for the bus into town. The white airport taxis are extortionate. The Airport Express bus will cost you £7.50 for a single journey and it has a really frequent service, even on Sundays:


Once you're in town, it's time to head to the first pre-show meet up. The Kilts who, like me, are Scottish, but unlike me as the name would suggest, wear kilts to every Depeche gig they go to have arranged a superb free pre show party at Solid Rock Cafe at 19-23 Hope Street which is seconds away from Glasgow Central station. It runs from 2pm to 6pm and is free to get in. There will be food, drink and Depeche Mode related tunes played all afternoon. It'll be a great way to start the Barras Celebration (see what I did there?) and I recommend you go. 

There's a Facebook page for the event here - click me 

If you're not on Facebook, here is the venue website - click me Don't let the distinct rock flavour of the site put you off. For one day only, it's a Depeche Mode venue.

The Barras is only a short taxi ride from Solid Rock Cafe. I reckon it'll cost around £6 or so to get you there. 

The Barras



Your taxi will drop you off at the venue and you'll be greeted by an iconic site - the Barrowland sign all lit up and sparkling. If that doesn't get you inspired for the gig, nothing will! There's only one door into the venue which you'll see easily enough. If the scary security let you through, you'll go through a metal detector type thing and then head straight up the stairs in front of you. 

At the top of those stairs, turn left and you'll see a door which leads to the toilets (on the left through the door) and to a corridor leading to a bar. On normal gig nights, the merchandise stand is on the right as you go through the door. I don't know if there'll be any Depeche merchandise on sale on Sunday given that this isn't an actual Global Spirit Tour date. If there is, it'll be there.

To get to the Ballroom itself, don't go through that door on the right. Instead go up the other two flights of stairs, push open the double doors and you'll find yourself in the best venue on earth. There are two bars - one immediately on your left as you go in that sells cans of beer and bottles of water and another fully stocked bar at the far left hand side of the venue. The first bar is more of a table than a bar really. I don't need to point out where the stage is - you'll see that. There are no toilets on that floor so you'll need to head back downstairs to relieve yourself after the pre gig drinks. 

It seems that Depeche are on stage around 9pm. The venue has a curfew of 11 but that doesn't necessarily mean  the band will be on for two hours. Check the official Barrowlands Twitter page during the day for exact stage times - https://twitter.com/TheBarrowlands

Once the show ends, head back down the stairs, out onto the street and head for the aftershow party. You'll want to keep the Depeche mood going I'm sure


Post Gig Celebration

The only place to head after the gig is The Flying Duck at 142 Renfield Street where another free party is taking place. Blasphemous : A Celebration of Depeche Mode is running from 8pm to 1am, promising music by Depeche Mode with a selection tracks popular and rare, remixes and other Mute artists and it's going to be brilliant. If you can get a taxi, it's a short ride from the Barras. It's also walkable too - that'll take about 10 to 15 minutes.

There's a Facebook page for this one too - come here, click me, now

For non Facebookers, here's The Flying Duck's page http://www.theflyingduck.org/

I'll be at all these events because it's going to be tremendous fun turning Glasgow into Depeche Mode city for a day. Me and my fellow gig travellers will be wearing these fetching items


Come and say hello if you see us. One thing though, I'm not offering refunds on any taxi costs that exceed the estimate above ;)




Thursday, 23 February 2017

DEPECHE MODE LIVE IN SCOTLAND PART 2 - GLASGOW BARROWLAND 26 MARCH 2017

This was all going so well. I've done 1981, have interviews underway for 1982-84 and everything was set up for a chronological history of Depeche Mode's visits to Scotland. And then this happened...


Bands like Depeche Mode do not play the Barrowlands. They play the Hydro in Glasgow or the likes of London Olympic Stadium and every single stadium in Germany. The Barras holds 2100 people. That is usually the front two rows of the early access golden super circle in whatever enormodrome the band have pitched up in. Also, the Barras is my favourite venue on earth and is only 15 minutes drive from my house. I've seen hundreds of bands there, most recently The Pixies, and every gig has been a cracker, even the self indulgent Spiritualized show in 2001 which my companions that night still rate as the worst gig they've seen. The Barras is full of musical memories for me and I never expected Depeche Mode would even consider playing there. Yet, on 26 March, that's exactly what they're going to do.

This gig, as you'll see above, is part of the BBC6 Music Festival which is taking over Glasgow for three days starting on 24 March. For the shows at the Barras, capacity is restricted to 1500 tickets and these are available this Friday via the 6 Music website. For a standard gig, 1500 tickets isn't a lot. For Depeche Mode, it's a minuscule amount. If you are lucky enough to get one, you are in for the Depeche gig of a lifetime. If I get one, I'll obviously report back on the gig here - once I've calmed down that is. Good luck in your hunt for tickets.

As an historical aside, this is not the first time the band have played the Barrowlands. As I'll come onto in more depth on what was scheduled to be part 4 of this series, now a frustrating and album order defying part 5, the band played here on 16 October 1984 on the Some Great Reward tour. First hand recollections and more chat about that gig will come in good time. To whet your appetite for that and for Friday's ticket scramble, check out this recording of that 1984 gig courtesy of the ever wonderful DM Live Wiki:


Wednesday, 1 February 2017

EXCLUSIVE - MARNIE INTERVIEW & ALPHABET BLOCK



Helen Marnie's solo work to date is a wonderful thing with her debut album Crystal World and standalone single Wolves both must haves in anyone's collection. Her new solo album Strange Words And Weird Wars, released under her solo guise Marnie, is due out on 25 March and it's been preceded by the gorgeous single Alphabet Block.  The track is as fine an examples of synthpop as you'll hear at the moment, showing the many artists who have been influenced by her solo work and, of course, her work with Ladytron, just how this type of music is done.

Mixing a new poppier direction with shoegaze and dream pop influenced electronics, Alphabet Block is a powerful, mesmerising track that demands repeated plays. The verses and the chorus juxtapose perfectly with the former's darker feel giving way to the shimmering space of the chorus magnificently. As you can hear below, Alphabet Block is a special track and one you're going to love. It's a great taster for the album too and that record is going to be one of the must hear releases this year. You don't want to miss it - once again, Glasgow proves itself to be the new home of electronic music.





I had a quick chat with Marnie to find out a bit more about Alphabet Block.

APA: Welcome back Marnie! Alphabet Block is quite a way to announce your return. Tell us a bit about the song.

M: Thank you. It's great to be back! The song is a co-write with producer Jonny Scott. He produced the album Strange Words And Weird Wars and I've been working with him since I wrote Wolves in 2014. I thought Alphabet Block would be a good album opener, a little sneak peak at what to expect. That being said, the album is quite different to Alphabet Block. AB is a wordy little number, which i would describe as shoe-gaze electropop. I love all the swirling guitars and arpeggiators. Lyrically, it's actually really dark. I wrote it at a time of personal uncertainty. However, I think it does come across as warm and that is due to the instrumentation.

APA: The song has a real classic synthpop feel to it. Does the song represent a move towards a poppier sound generally?

M: I would agree with that, yes. It's funny, when I did my last album Crystal World, a few people advised me not to move in that direction. As in, I'd be wrong to do that. So, this is basically my 'fuck you' to them. Nobody should ever tell me what kind of music I should make. I can make my own decisions and create whatever I want.



APA: Were there any particular influences in mind when you wrote the track? The chorus has a real dream pop feel to it for example.

M: Because the verses are so lyrically full, it was important for me create some space and depth with the choruses. And I did that be introducing that dreamy vocal feel. Elongating the words. Creating more breath and layering the vocals. The guitars also give a sense of space. I like that the song enters like a club track, but then completely changes and transforms into something different.

APA: Looking forward, your second solo album Strange Words and Weird Wars is out in March. Can we expect a similar, more pop focussed approach?

M: I can't tell you how excited I am to finally have the album coming out. It will be over 2 years in the making. And, as seems is usual with me, not everything went as smoothly as i would've wished. It's definitely a pop effort, there is no denying that. But I think there's also a lot more to it than that. It's intelligent, it's melodic, it's not overly produced, it's guitars, it's synths, it's my voice, and it's a good ride. I'm hoping people will be pleasantly surprised.

Thanks very much to Marnie for taking the time to have a chat. As I've mentioned earlier, Strange Words and Weird Wars is destined to be an album that a lot of you are going to love this year. Alphabet Block is a wonderful way to reintroduce yourself to Marnie.

Strange Words and Weird Wars by Marnie is released on 25 March. Alphabet Block is out now.

(c) Almost Predictable Almost 2017. Not to be reproduced without permission.