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Author Topic: 2017: Spirit and Global Spirit Tour  (Read 71700 times)

Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #735 on: 19 October 2017 - 22:30:35 »
2017-10-13 - APM (US) - Dinner Party Download

https://www.dinnerpartydownload.org/episodes/397
https://www.dinnerpartydownload.org/episodes/speakeasy-16/

Electro band Depeche Mode on how travel has made their music more socially conscious...

And Depeche Mode takes us back to the time when they, somehow, started a riot.
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #736 on: 19 October 2017 - 22:38:22 »
2017-10-19 - Clarin (Argentina) - "No éramos una banda ambiciosa como U2"

https://twitter.com/Punto_Tiff/status/921034149045075968




https://www.clarin.com/espectaculos/musica/andrew-fletcher-depeche-mode-banda-ambiciosa-u2_0_SJ6uAXB6W.html

Entrevista
Andrew Fletcher, de Depeche Mode: "No éramos una banda ambiciosa como U2"
El músico de la banda británica, que en marzo regresa a la Argentina, opina sobre el contenido político de su nuevo álbum, "Spirit", y sobre el negocio de la música, y revela la fórmula del grupo para seguir unido.
Silvia Maestrutti
Andy Fletcher (56) es el único miembro de la banda británica Depeche Mode que sigue viviendo en Inglaterra; en Londres para ser más precisos. Martin Gore reside en Santa Bárbara, una exclusiva ciudad balnearia a dos horas de Los Angeles, y Dave Gahan lo hace en Nueva York.
Vestido de negro, tal cual sube al escenario, Fletcher le comenta a Clarín que le sigue sorprendiendo ver en Los Angeles a tanta gente con ropas oscuras y evitando el sol, cuando muchos suponen que la ciudad fomenta el estilo de vida playero californiano al estilo de los Beach Boys.
Para el momento de la entrevista, unos meses atrás, ya se sabía que este mes iban a realizar la inédita proeza de hacer cuatro shows en el Hollywood Bowl (ver recuadro). Quizás esto les sume votos, cuando en diciembre se decida si van a entrar el año que viene al Rock and Roll Hall of Fame, donde están nominados junto a Bon Jovi y Radiohead.
“Tenemos una relación espléndida con esta ciudad. Han estado con nosotros desde que empezamos a venir y tocábamos en lugares pequeños”, reconoce Andy.
En otra habitación del Hotel Four Seasons, Dave Gahan le dice al semanario local que se quedó con buenos recuerdos de cuando vivió en la ciudad, en el período en el que estuvo casado con la publicista de la banda, por 1989. De cómo iba todo el tiempo a ver bandas como Jane’s Addiction y Guns N’ Roses. El clima rockero lo llevó a excesos y por eso decidió mudarse. Gahan lleva ahora dos décadas sobrio; y uno puede imaginar en Andy al amigo que se va a quedar esperando que se te pase la resaca para seguir haciendo cosas juntos.
Fletcher fue el fundador de la banda, por haber sido compañero de colegio primero de Vince Clark y luego de Martin Gore. Fletcher y Clarke empezaron a los 16 con una banda que llamaron No Romance in China, con la que querían parecerse a The Cure. En el '80 armaron Depeche Mode con Martin Gore y Dave Gahan. Clarke se iría al año y terminaría fundando Erasure.
Dice Andy que no se ven mucho con Vince, que quizás este año se choquen en algún lado. Ambos están de gira con sus bandas, siempre ocupados. Pero no hay mala onda, asegura.
Le encanta ir a Buenos Aires, solo como DJ o con la banda, como lo hará en marzo, en el marco del Global Spirit Tour, donde están presentando su último álbum, Spirit, que tiene al menos cuatro canciones (escritas por Martin Gore) bastante politizadas, en las que parecen estar llamando a la acción. Algo que Andy disputa.

-35 años, 14 álbums, cuatro Hollywood Bowls. ¿Ese era el futuro que imaginaban en los inicios?
-No éramos una banda muy ambiciosa. No éramos como U2, que quería ser la banda más grande del mundo. A nosotros no nos pasaba eso. Trabajamos duro. Estoy muy orgulloso de que hayan transcurrido 37 años y todavía seamos populares. Sacamos un buen disco, estamos de gira... Es un sueño hecho realidad.

-Hablando de U2 , el tono político de algunas canciones de "Spirit", es algo que uno hubiera esperado más de Bono que de Depeche Mode.
-No estoy seguro de eso. Creo que siempre escribimos canciones políticas, sólo que usamos analogías sexuales o religiosas para hablar de esos temas importantes. Lo que pasó acá es que cuando Martin escribió estas canciones, hace más de dos años, estaba muy enojado con el mundo. Y ahora todo está peor (se ríe).

-Dice Dave que su hija Rose lloró cuando ganó Trump. ¿Te pasó algo así con tus hijos?
-Viviendo en Londres, nosotros tuvimos nuestra propia crisis: el Brexit. Un masivo cambio constitucional. Debería haber sido una votación 70 a 30 o 60 a 40 para cambiar algo tan grande, pero ahora tenemos una situación donde el 50 por ciento de la población quiere quedarse en la Unión Europea y la otra mitad quiere irse. Es de locos.

-En uno de los temas nuevos ("Poorman") hablan contra las corporaciones, pero algunos críticos dicen que ustedes también son una corporación. ¿Qué contestan a eso?
-Creo que estamos hablando de grandes corporaciones, como Apple y todo eso, que no pagan impuestos. Para hacer negocios en este país tenés que tener una corporación, aunque sean dos personas.

-¿Y dónde está la revolución?
-Eso nos preguntamos (ríe). Nuestras letras son sardónicas. No es que literalmente estamos llamando a que se suban al tren, y que esperamos que se suban.

-Supiste ser manager de la banda, ¿Cómo ves el negocio de la música hoy?
-No muy bien. Se le hace muy difícil hacer dinero a las bandas jóvenes. Las compañías discográficas no te apoyan, y lo que ganan esas compañías es muy poco, porque no se venden discos. Promover tu música en las redes o en You Tube está bueno para promocionarla, pero no va a hacer que dejes tu trabajo diario.

-¿En qué estado encontrás a la música electrónica?
-Hay mucha buena y alguna mala, como en toda música.

Para ser el miembro que es considerado el “vocero oficial” de la banda, Fletcher habla poco. Cuenta que para el último disco ("Spirit es un nombre fuerte, tiene mucha energía” dice del título) conocieron a un productor que los enamoró con su sonido, y que además es multi instrumentista, James Ford; y que llegaron al estudio con las canciones ya escritas por Gore o Gahan por separado. Que ahí es donde empiezan a trabajar en equipo. “Eso es lo que hacemos en las bandas electrónicas; no tenemos roles fijos, todos ayudamos a armar ese sonido”

-Se dice que, siendo un trío, te ha tocado desempatar varias veces.
-En Depeche Mode somos una democracia. Si alguno se pone muy inflexible terminamos diciéndole: "OK". No tenemos dramas.

-¿Cuál es el secreto para haber llegado tan lejos juntos?
-Desde hace 20 años trabajamos en ciclos que tienen cuatro años. Hacemos un álbum, lo promovemos, salimos de gira y luego nos tomamos una pausa de un año y medio, donde podemos hacer nuestros proyectos paralelos. Yo salgo de gira como DJ, por ejemplo. Y nos dedicamos a nuestras familias.

-Has ido a la Argentina como solista y con la banda. Ahora vuelven en marzo. ¿Cuál es tu experiencia con Buenos Aires?
-Cuando voy como DJ puedo apreciarla más. Es una de mis ciudades favoritas.


Depeche Mode en el Hollywood Bowl
Entre la gloria del pasado y la vigencia del presente
Tras cubrir el territorio norteamericano y Europa, el Global Spirit Tour llegará al estadio Único de La Plata el 24 de marzo de 2018, después de pasar por la ciudad de México, Bogotá, Lima y Santiago de Chile.
La escala de esta gira mundial en Los Angeles, donde tienen muchísimos fieles seguidores, pasará a la historia porque Depeche Mode se acaba de convertir en la primera banda en hacer cuatro shows consecutivos (todos con localidades agotadas) en el famoso Hollywood Bowl.
El tradicional escenario de shows veraniegos, con capacidad para 17.000 espectadores, despidió en septiembre a Tom Petty, quien hizo tres recitales inolvidables una semana antes de su muerte repentina.
En las algunas de las noches en las que tocó Depeche, lamentablemente no en la tercera que es a la que accedió Clarín, Gaham homenajeó a otro caído, David Bowie, con una dulce versión de Heroes, que quizás repita en Argentina.
El hit Everything Counts, de 1983, es de los más viejos que claramente disfrutan tocar, como ocurre con Black Celebration. En la onda nostalgia, la primera despedida se produce con el tema central del disco que hace 30 años los estableció en Inglaterra y los convirtió en novedad en USA: Never Let Me Down, de Music For The Masses (1987).
En el inicio, mientras Gahan le da un tono dramático al nuevo Going Backwards, desde las pantallas, el fotógrafo y director Anton Corbijn propone una suerte de homenaje a Jackson Pollock y Andy Warhol.
La banda sacrifica algunos de los tantos hits que podrían seguir tocando porque prefieren darle lugar a los temas del álbum que están promoviendo, Spirit. Entre ellos, Where’s the revolution, que inaugura una estética con cosas de The Wall.
Se agregan a la lista las principales canciones de los discos Violator (1990), Songs of Faith and Devotion (1993) y Ultra (1997). El público, que no es del todo joven ni es del todo viejo, disfruta con lo que ha ido a escuchar y sabe de memoria.
Personal Jesus es el inamovible cierre de la noche, como en toda la gira. La gente queda tan arriba tras la descarga final de adrenalina de Dave Gahan, que por un largo rato se queda esperando en vano un nuevo regreso. Dice Fletcher que, aunque en el escenario parezca que se está comiendo al mundo (fiel discípulo de Jagger, a quien imitaba de chico), Gahan siempre está nervioso antes de salir a escena.
La gente responde a todo lo que el cantante propone, ya sea cuando se contorsiona en la pasarela o se mete entre el público y posa épicamente para las fotos de sus enamorados fans. Pero ese amor incondicional no es menor cuando es el guitarrista y principal compositor, Martin Gore (ojos delineados y uñas pintadas de negro), el que toma el micrófono y canta dos clásicos de Ultra (Insight y Home) y la vieja Shake The Disease.
Entonces, el peso de los egos parece quedar perfectamente balanceado en escena. El dúo tiene sus momentos, y los cuida y respeta. Desde lo alto de su tarima, el tecladista Andy Fletcher no pide protagonismo, pero también lo tiene. Todos ahí saben que hace 37 años que equilibra y colorea las melodías (y los humores) de una banda que sigue vigente.
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #737 on: 30 October 2017 - 00:01:32 »
2017-10-29 - Timothy Saccenti on Twitter:

[It seems that Timothy Saccenti has now deleted this tweet/video, however a fan has copied it on YouTube: https://www.youtube.com/watch?v=Zeab8pkO4Hs.]

https://twitter.com/timothysaccenti/status/924677280680603648

Martin Gore of Depeche Mode testing our Oculus system for the first time ;D
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #738 on: 07 November 2017 - 21:04:53 »
2017-11-06 - Pro Sound (US) - Delicate Balance: Building On A Deep Sonic Legacy With Depeche Mode On Tour

https://www.prosoundweb.com/channels/live-sound/delicate-balance-building-on-a-deep-sonic-legacy-with-depeche-mode-on-tour/

Delicate Balance: Building On A Deep Sonic Legacy With Depeche Mode On Tour
An inside look at the touring and production elements Britannia Row Productions utilizes for one of the biggest tours of the year.
By Greg DeTogne

If it’s true that there is no history, only autobiography, the UK’s Depeche Mode wrote its own songbook on the wings of electronica, influenced in measures by techno-pop, new wave, and various shades of avant-garde, industrial rock, and even a little heavy metal.
The band’s sound is rich, varied, atmospheric, and contextually deep. Bringing it to life on this year’s Global Spirit Tour, which launched back in May and will conclude in March next year with a final stop in Brazil, has been an unerring episode played out nightly in front of multi-generational fans hooked on an incredible legacy as well as the music itself, which has sold over 100 million records worldwide.
With Britannia Row Productions (Twickenham, UK) serving as the tour’s sound company of record, front of house engineer Antony King presides over a sprawling control landscape that incorporates dual Solid State Logic L500 Plus digital consoles. His counterpart, monitor engineer Sarne Thorogood, pushes faders from behind a Midas PRO X and does his part to, as he puts it – using a phrase many impart jokingly (but probably actually embrace at least to some degree) – “make everything louder than everything else.”
Joining King and Thorogood on the Global Spirit Tour are crew chief Terence Hulkes and systems tech Richard Trowe. Following dates in late October in Portland and Western Canada, the show left for Europe with stops slated for Dublin, Paris, Moscow, and a host of other major cities.

Putting It Together
This time out Depeche Mode plays a heady mix of material from its latest album, Spirit, as well as a little of everything else from lesser-known cult favorites to covers like David Bowie’s “Heroes.” With founding members Martin Gore, Dave Gahan, and Andy Fletcher all onboard for the duration once again, drums are manned by Christian Eigner, while Peter Gordeno contributes keyboards, bass, and backing vocals.
The size and scope of the show are demonstrated by an input count balancing nicely at 100. Within that number, Eigner’s drum kit seems as if it has limitless free-ranging tendencies, sucking up 30 channels all by itself.
A trio of keyboards is kept at hand for Gordeno, and include a classic Moog that is used to build some of the band’s trademark bass lines. Fletcher brings two more keyboards to the mix, as does Gore, who also adds guitar parts via four outputs from his Kemper/Rivera amps.
Essentially inseparable for the last 25 years or so, at this point Depeche Mode and Britannia Row are as directly associated in the collective consciousness as Prestone and antifreeze.
Regularly finding itself around the world in stadiums and other leviathan venues, the tour turned to the Brit Row inventory for a global PA that arrived in the form of 14 L-Acoustics K1 boxes per side, each supplemented with four K2 down fills.
Fourteen more K1s plus six K2 down fills are deployed for side hangs, with four delay hangs rounding things out, each comprising 12 more K1s.
A solid low-end contingent comes courtesy of 46 KS28 subwoofers. A dozen of them are flown per side next to the K1s, and among the remaining count six stacks of three reside at the front of the stage in a sub-arc array.
Serving as front fills, three ARCS enclosures (also from L-Acoustics) are positioned atop the outermost KS28 stacks. Four more sets of two Kara boxes, each on the innermost KS28 stack, further bolster front fill needs.

Stretching Out
Antony King comes off as affable and animated, a condition that perhaps, he posits, is a result of moving his home base of operations from his native and rainy UK to sunnier Los Angeles. A tour visionary of sorts who can readily describe a future in detail where trucks drive and load themselves, the PA is flown by drones, and gear is ordered online from the sound reinforcement division of Amazon, he grounds himself in the here-and-now at FOH with his pair of SSL L500 consoles running in Expander mode.
Basically “stretched” like a limousine to operate as a single console, the twin desks afford King with the ability to place a greater number of faders under his command as well as an opportunity to let crew chief Hulkes jump into the act on the second surface, where he can re-patch things in real-time, manage broadcast feeds, and do any one of a number of things to bring better efficiency to the show, all while freeing King to bring more focus to his mix.
The SSL L500s are fed by SSL ML 32.32 stage boxes using a redundant, MADI-based optical connection. To keep things simple, bulletproof, and to avoid the prospect of having to employ an analog split, Sarne Thorogood’s Midas PRO X (which works in conjunction with four Midas DL 431 stage boxes providing 96 available analog inputs) captures its signals from the analog mic amp splits found on the SSL stage boxes.
In the quest to keep his main mix clear and coherent, King leans heavily on his input channels, VCAs, and SSL Stem Groups, using the latter both as aux buses with their own independent processing paths, and as sub-mixed sets of around 16 stems for video and broadcast feeds.
“With these live SSL boards,” King states, “there really are no limits. The consoles will do anything I want them to. With other desks you get fixed numbers of channels and auxes. There’s none of that here. If anything, initially I felt limited by having no limitations. I had to re-think and adjust accordingly to all this freedom.”
Processing found within the SSLs looms large, with internal reverb being used freely along with the onboard bus compressors, Enhancer, and VHD Saturator. Gating and dynamics falls within the jurisdiction of SSL’s standard live channel processing, and with two insert points, King can run his outboard gear on one and his internal FX on the other.
When it comes to outboard racks, he’s locked and loaded with many old favorites, led by a pair of big, four-engine TC Electronic 6000s he applies to a wide cross section of vocals. An ardent believer in the notion that there’s no substitute for a Yamaha REV 7 for drum sounds, he asserts that “no one has ever made a plugin to replicate it properly yet.”
TC’s D-Two is also at hand for vocals, along with a Manley VOXBOX used expressly for Gahan’s vocals, and a Warm Audio WA76 on Gore’s. He calls upon a GML 8900 from George Massenburg Labs for master left-right compression.

Sonic Presence
The process of gathering input onstage is a task dominated by beyerdynamic from stem to stern without exception. Starting with six channels of TG 1000 wireless transmitters topped with V70 capsules used for vocals, the theme continues with hardwired versions of the same mic popping up at multiple keyboard stations.
In-ear monitoring systems are the norm onstage – with the exception of an abstaining Andy Fletcher ¬– and 10 channels of Sennheiser 2050 transmission are the order of the day along with 20 receivers, all of it supported by a pair of Sennheiser AC 3200 antenna combiners and a pair of helical antenna systems. Ear buds are universally UE18+ Pro models from Ultimate Ears.
“The wireless systems are super-robust,” reports Thorogood, who’s originally from New Zealand. “They have an extremely large frequency range, so you never find yourself in a position of being forced to ‘fit in’ somewhere you don’t want to be or shouldn’t be. With the onboard scanning offered, if you run into interference you simply scoot around the trouble and move on.”
Adding the benefit of old-fashioned sonic presence (plus a place for IEM holdout Fletcher to listen in), stereo d&b audiotechnik M2 mixes span across the three keyboard positions. Four double-M2 mixes are also deployed along the stage edge, while a pair of ground-stacked SB28s from L-Acoustics stand on each side.
Q-SUBs from d&b can be found at the drum riser, and as a final complement, another M2 mix lies just offstage, used as needed for musical direction. Backline techs are all on IEMs with their own mix.

Extending The Excitement
“The term ‘legacy’ is often bandied about too casually when speaking of bands like this,” King notes while taking a moment to reflect during Depeche Mode’s historic four-night run at the Hollywood Bowl in October. “But on this tour it truly has depth and meaning, especially in a sonic sense.
“There’s a need for us to be true to what they’ve created over the last four decades in the studio,” he continues. “Conversely, it’s equally important that we extend the live excitement to the crowd uniformly in these large spaces.
“It’s a delicate balance, then, preserving that studio integrity that fans expect, all while firing up the crowd with a live energy that includes huge drums the likes of which you’ll never find in a studio. To pull it off each night is a challenge, but fortunately we have the skills, talent, and gear to make it recognizable on all levels. This is one helluva crew.”



2017-11-07 - Depeche Mode - French festivals Announced For Summer 2018

http://depechemode.com/article/french-festivals-announced-for-summer-2018
https://www.facebook.com/depechemode/posts/10157009033505329

FRENCH FESTIVALS ANNOUNCED FOR SUMMER 2018
DM to headline four French festivals in Summer 2018
DM are pleased to announce that they will be returning to Europe in Summer 2018 to headline the following French festivals:
July 7, 2018 - Main Square Festival - Arras, FR
July 9, 2018 - Beauregard Festival - Herouville-St-Clair, FR
July 12, 2018 - Musilac Festival - Aix-Les-Baines, FR
July 19, 2018 - Vieilles Charrues Festival - Carhaix-Plouguer, FR

More details to follow!
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #739 on: 10 November 2017 - 22:14:28 »
2017-11-10 - Depeche Mode - DM To Headline Tinderbox Festival!

http://depechemode.com/article/dm-to-headline-tinderbox-festival
https://www.facebook.com/depechemode/posts/10157023954755329

DM TO HEADLINE TINDERBOX FESTIVAL!
DM are excited to announce that they will be headlining the 2018 Tinderbox Festival in Odense, Denmark on June 28, 2018.
More details to follow!
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #740 on: 12 November 2017 - 04:04:02 »
2017-11-11 - RTS (Switzerland) - Interface

http://www.rts.ch/play/tv/interface/video/on-air-retour-sur-les-interviews-de-depeche-mode-et-robert-smith-des-cure?id=9077340&station=a9e7621504c6959e35c3ecbe7f6bed0446cdf8da

Dans On Air, Christophe Schenk nous parle des rencontres avec les stars de la New wave.
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Re: 2017: Spirit and Global Spirit Tour
« Reply #741 on: 12 November 2017 - 19:59:42 »
2017-11-11 - NBC7 (US) - SoundDiego

[We are looking for a recording of this episode.]

https://twitter.com/sounddiego/status/929535752895107075
https://twitter.com/sounddiego/status/929599517107814400

Relive Depeche Mode's recent @MattressFirmAmp show on tonight's episode of SoundDiego TV!
Coming up on SoundDiego TV tonight: Depeche Mode, LIGHTS, New Politics, Rob $tone, Public Service Broadcasting + more!
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #742 on: 14 November 2017 - 00:02:50 »
2017-11-13 - Depeche Mode On Facebook:

https://www.facebook.com/depechemode/posts/10157038324985329

A note from DM:
Just announced! DM will be headlining the Volt Festival in Hungary on June 26, 2018! More details at https://volt.hu
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #743 on: 14 November 2017 - 21:20:48 »
2017-11-14 - Billboard (US) - 'Friction Is What Keeps Them Creative'

http://www.billboard.com/articles/business/8038225/depeche-mode-manager-jonathan-kessler-interview

Depeche Mode Manager Jonathan Kessler: 'Friction Is What Keeps Them Creative'
by Richard Smirke

The press shy Kessler talks exclusively with Billboard about the band's longevity, those "experimental" years in the mid-'90s and more ahead of being honored at the sixth annual Artist & Manager Awards.
In 1986, a 22-year-old Jonathan Kessler -- fresh from graduating from the business school at the University of Pennsylvania -- began working for Depeche Mode as an accountant during the British band's Black Celebration tour. Over the next seven years, as the group went from strength to strength, releasing a string of classic albums along the way, Kessler's responsibilities steadily grew until in 1994 the New York-born executive, still aged under 30, became Depeche Mode's first ever official manager.
It's a position that he continues to hold to this day, having steered the band to over 100 million record sales and cementing Depeche Mode's status as one of the biggest touring acts in the world. This year the group, numbering Dave Gahan, Martin Gore and Andy Fletcher, released its 14th studio album, Spirit, and began its record-breaking Global Spirit Tour. Having sold out stadium and arena dates around the world, including four nights at Los Angeles' Hollywood Bowl, 2018 sees the tour move onto South America. 
"This is a band that continues to grow and have huge appeal internationally," the publicity-shy Kessler -- who has also worked with Sting, Neil Young, Tracy Chapman, Rod Stewart  and The Weeknd -- tells Billboard ahead of being honored at the Music Managers Forum and Featured Artist Coalition's sixth annual Artist & Manager Awards, held tonight (Nov. 14) in London.

Billboard: Going back to the start of your association with Depeche Mode, how did you make the leap from tour accountant to band manager?
Jonathan Kessler: I came out of business school and almost fell into the music business. It was not really my driving passion then. I started to work with Depeche purely as a tour accountant and as I started to do more and more with them my role increased. I would ask, 'Who's taking care of this? Or who's taking care of liability insurance?' Often no one was, so I started taking care of it. [Becoming manager] was the obvious evolution really. It was just a question of when could I bring up the M word. Because they were self-managed and they prided themselves on that -- but they weren't really. So, it just was a discussion between us to say, 'This is what I'm doing. Let's call it what it is and formalize that relationship.' Obviously, through the years a certain level of trust had grown between us. That doesn't appear right away. I remember when I first started to work them they were a very insular band. They were understandably scared of foreigners and strangers – as is true of many bands in their infancy.

Has your foregrounding in business been an important factor in helping grow them into one of the world's biggest touring acts?
Definitely. 35 years ago, the world of touring was like the Wild West. There were very loose deals in place with promoters, which were settled on the night of the show. A lot of my role then was trying to figure out what was what. Who was taking what and were the promoters that we were doing business with taking advantage? That's changed quite a bit in today's day and age. It's become a lot more corporate. A lot more sanitized and properly run financially, to a certain extent. 

What do you regard as being key to Depeche Mode's rise to stardom and lasting popularity?
At the start, it was the creativity of the band. The music that they were creating was forging new ground. One thing as a band that we are very strict at maintaining to this day is being true to ourselves and doing what we want to do. I kept that going and as we progressed together I gave them the space to just focus on the music, while I take care of everything else around them. In a band that stays together that long and keeps developing often differences between members occur. There's many stories of bands not getting along and not being able to settle those differences. And so, like in any dysfunctional family, those things have to be mediated. I think I've played a large role in helping that flow through.

As a manager, how do you help overcome those differences and ensure the group stays together?
When the differences are meaningful and pertain to important things artistically they should be expressed and confronted head on. That friction is what makes a band creative, keeps them on edge and keeps them developing and looking to do new things. Yet, often some of the differences or challenges that occur between them aren't that meaningful and get blown out of proportion. One needs to play those down and allow the ones that are serious to live and be attacked. You can't sweep everything under the rug. Eventually it is going to explode and combust. So that was really a role where I could step in and try and broker to allow things that were meaningful to play out. That continues to be the case.

The band's past problems with drug and alcohol abuse has been well-documented, particularly Dave Gahan's struggles with heroin addiction in the mid-1990s. Did you fear for their future during that time?
Those are just life problems. I refer to them now as the experimental years. I think that's a nice way of putting it. They were their experimental years and thank God that they lived through them and made it… As with any dysfunctional family, it has its moments of difficulties and challenges. But in essence [all three members] have a great relationship. There's a huge amount of respect, love and kinship between them. When you spend that much time together in a high-pressure cooker environment obviously things will get tense and difficult at times. It's inevitable. The challenge is just don't let it overflow, right?

The Global Spirit tour looks set to be the band's biggest ever. How has the band continued to grow its live business when so many of their peers from the 1980s have faded?
The live show itself is just fantastic. Dave is really one of the best frontmen and he and Martin play off each other wonderfully. The fan base is very dedicated. It takes ownership of the band, stays very loyal and therefore comes back. We are now seeing the second generation of fan's children [coming to shows]. There was also a lot of hard work done in our early days of touring in different territories. In the early days, we went to the Eastern European territories a lot and to this day that's one of the biggest markets for us. We played Berlin on the East side when the wall was up. We often played countries often like Czechoslovakia and Yugoslavia when it was still Yugoslavia. And in those markets, we now have an incredibly fruitful touring business. This is a band that continues to grow and have huge appeal internationally.

You rarely give interviews and have continually remained behind the scenes throughout your management career. Is that through personal choice? 
It's definitely a conscious decision. It's not at all a reflection of my character. I'm actually quite flamboyant. But I do think that it really is about the band. I have nothing but admiration for their tenacity, perseverance and above all their creativity and artistic ability. The songs that they write, the music they create and their tenacity to keep going at it is formidable. They deserve the attention as they're the ones on the stage. It's their names on the marquee -- and it always should be. Not mine. I'm just there to push it forward and help them facilitate what they want to do.

Spirit has received some of the band's best reviews in years. Were you and the band pleasantly surprised by the critical and commercial success of the record?
The nice thing that has happened along this route is that we have continued to go up at a 45-degree angle. Recently we have taken a leap off that 45 degrees and taken a higher rise up. What's also nice to see is that the band is being recognized for being pioneers in the synthesizer and remix world. Even in the U.K. press, which is perhaps the hardest barometer, they are receiving their deserved credit finally. But it really does stem from staying true to what we do and not trying to appeal to the trends of today.

Do you have a favorite album or period in the band's history?
Personally, no. I just think it's a nice evolution. I recently saw Billboard listed the top 20 hits and I was shocked by how many there were. I guess when you're in it every day and in the mud and the thick of it, you sometimes don't quite realize the big body of work they have created. It's hit after hit after hit.

Given the complexities of the modern music business, do you think that the role of a music manager is more important than ever today?
I think it has become more elevated, yes. You have to be more of a quarterback yourself, as opposed to the record company or the promoter. We have a fantastic partnership with Sony. A fantastic partnership with Live Nation and Sony/ATV Music Publishing. But you still have to develop your own opportunities. It's a busier, louder, noisier world today than it was 30 odd years ago and you have to try to cut through the clutter of everything that's out there. One of the biggest challenges we have is just how do we let people know that we are releasing a new record and are still touring.

Following the success of Spirit, have thoughts already turned to the next album?
Right now, we're just focused on touring and we have a hell of a lot of touring still to do. We have weeks of touring in Europe plus another month of touring in South America, plus more to come. So that's pretty grueling and taxing. The band plays for over two hours every night. It's never a dialed-in performance, so that's where all the energy goes right now.

This year saw Depeche Mode celebrate their 37th year together. Can you envisage them reaching them reaching their 50th anniversary?
I don't see why not. They're in their mid-fifties and young and healthy. We'll see. They never say. 'We're going to go on [till a certain date]'. It's always a question of, 'Let's just see what happens and not plan for the future.' And inevitably Dave or Martin will send the other a piece of music, they get smitten by it and it all starts again.
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #744 on: 16 November 2017 - 22:06:18 »
2017-11-16 - Depeche Mode on Facebook:

https://www.facebook.com/depechemode/posts/10157052508930329

Three new festivals have been added to the Global Spirit 2018 festival tour!:
OpenAir St. Gallen Festival - St. Gallen, Switzerland - June 30, 2018
Open'er Festival - Gdynia, Poland - July 5, 2018
Mad Cool Festival - Madrid, Spain - July 12-14, 2018 (date TBA)
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #745 on: 23 November 2017 - 01:35:03 »
2017-11-22 - BBC (UK) - BBC Music and BBC Two present The Year In Music 2017

http://www.bbc.co.uk/mediacentre/latestnews/2017/the-year-in-music

BBC Music presents The Year in Music 2017, a one hour special for BBC Two on Friday 8 December at 9pm, hosted by Claudia Winkleman with guest presenter Clara Amfo, which will feature this year’s BBC Music Awards.
Produced by BBC Studios, musicians and broadcasters will talk about the musical year, giving their views on the highs and lows in the world of music over the last 12 months, including the greatest performances and the biggest stories.
Contributors include Stormzy, Foo Fighters, Nile Rodgers, Rag'n'Bone Man, Liam Gallagher, Dua Lipa, Sampha, George Ezra, Blossoms, Nick Grimshaw, Mistajam and Jo Whiley, amongst others.
The studio-based show will feature a specially shot performance by nominee, Rag'n'Bone Man, with interviews and films focussing on the biggest events that had everyone talking in 2017.
Claudia Winkleman says: "I can’t wait to take a look back and celebrate a great year in music with the very brilliant Clara."
Clara Amfo says: “2017 has been a huge year in music for both fresh and established artists, I’m really looking forward to hanging out with Claudia to look back at what it has given us, before we enter in to what I’m sure will be an even bigger new musical year.”
Within the show, the 2017 BBC Music Awards will be presented to this year’s winners. The Awards consist of four categories, with three of the winners being revealed during the show. The BBC Music Introducing Artist of the Year will be announced in the coming weeks.

The categories and nominees are:

[...]

Live Performance of the Year:
Boy Better Know - Glastonbury
Depeche Mode - Glasgow Barrowlands, 6 Music Festival
Foo Fighters - Glastonbury
Katy Perry - Radio 1's Big Weekend 2017
Chic feat. Nile Rodgers - Glastonbury
U2 - The Joshua Tree Tour 2017
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #746 on: 24 November 2017 - 22:51:29 »
2017-11-24 - Depeche Mode - Global Spirit Tour to wrap in Berlin in 2018

http://depechemode.com/article/global-spirit-tour-to-wrap-in-berlin-in-2018

GLOBAL SPIRIT TOUR TO WRAP IN BERLIN IN 2018
Final shows at the Waldbühne in Berlin on July 23 and 25!
DM has just announced that they will wrap up the Global Spirit Tour in 2018 with two special shows at the Waldbühne in Berlin on July 23 and 25!
Tickets on sale Monday, November 27 at 10am CET.
More details: https://www.livenation.de/artist/depeche-mode-tickets
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #747 on: 28 November 2017 - 22:25:12 »
2017-11-28 - Depeche Mode on social media:

https://twitter.com/depechemode/status/935571165011050496
https://www.instagram.com/p/BcDHE5elbPO/?taken-by=depechemode
https://www.facebook.com/depechemode/posts/10157104128375329

The @latroit remix of "You Move", from the "Going Backwards" single, has been nominated for "Best Remixed Recording" #Grammy / @RecordingAcad ! Congratulations to Dennis White/Latroit.
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #748 on: 04 December 2017 - 23:50:54 »
2017-12-04 - Depeche Mode - Depeche Mode To Headline Isle Of Wight

https://www.facebook.com/depechemode/posts/10157134420050329
http://depechemode.com/article/depeche-mode-to-headline-isle-of-wight

DEPECHE MODE TO HEADLINE ISLE OF WIGHT
Depeche Mode are pleased to announce that they will be the Saturday headline band at the 2018 Isle of Wight Festival. The show will be June 23rd, 2018. For more details and tickets, please go to http://isleofwightfestival.com
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Offline Angelinda

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Re: 2017: Spirit and Global Spirit Tour
« Reply #749 on: 05 December 2017 - 22:08:41 »
2017-12-04 - Radial (Canada) - Radial Backstage with Depeche Mode

https://www.youtube.com/watch?v=eWN6JWhCCKk



On Depeche Mode's 2017 tour, guitarist Martin Gore decided to try out some Radial gear. This includes the JX44 guitar signal distro, JR5 remote, and the SW4 for switching to the backup Kemper®. When we stopped by they decided to try out the Firefly tube DI on Martin's bass as well.

Thanks to the band, the crew and guitar tech Jez Webb for chatting with us!



2017-12-05 - DG Entertainment (Argentina) - Juana Molina to be support act

[This information was already revealed yesterday when billboards were hung up in Argentina with this information.]

https://www.facebook.com/events/310373692709140/permalink/409724326107409/
https://twitter.com/DGEArgentina/status/938126453014745088

Juana Molina será la artista nacional encargada de abrir el escenario del Estadio Único para Depeche Mode!!
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.