Makeness releases new single, “Loud Patterns,” on new label – Secretly Canadian.

Makeness Signs To Secretly Canadian
& Shares New Single “Loud Patterns”
Listen Here

November/December North American Tour Dates With Jungle

Up and coming Scottish producer Makeness, aka Kyle Molleson, has signed to Secretly Canadian and debuted his new single, “Loud Patterns.”

“Loud Patterns” is framed by thundering, low-end frequencies that capture a raw, frenetic energy. It offsets this abrasive shell with intricate synthetic soundscapes and vocal melodies, teasing elements from his forthcoming record. This marks Makeness’s first new music following support slots with Holy F**k, Midland and Avalon Emerson and June’s self-released Temples Works EP.

From the expansive electronica of his debut four track Rogue EP in 2015 — a record that drew comparisons to Jon Hopkins — to 2016’s collaboration with Tri Angle Records’ Adult Jazz, and the post-punk flecked disco of single “Other Life,” Makeness has always been keen to explore new landscapes. “Loud Patterns” is a testament to this exploratory spirit and with it, his continued musical evolution.

Starting next month, Makeness will support Jungle on a two-week North American tour. These shows mark Makeness’ first time performing live in the states. A full list of dates is below.

Listen To Makeness’ “Loud Patterns”:
Makeness Tour Dates:
Sat. Oct. 28 – Amsterdam, NL @ London Calling
Fri. Nov. 3 – Leeds, UK @ Beacons Metro
Tue. Nov. 28 – Toronto, ON @ Mod Club
Wed. Nov. 29 – Montreal, QC @ Corono Theatre
Thu. Nov. 30 – Boston, MA @ Paradise
Sat. Dec. 2 – Brooklyn, NY @ Elsewhere
Mon. Dec. 4 – Washington, DC @ 9:30 Club
Wed. Dec. 6 – Miami, FL @ The Ground
Thu. Dec. 7 – Los Angeles, CA @ El Rey Theatre

Neon Coven covers Depeche Mode.

October 12th, 2017  –  Neon Coven, the new industrial rock band from Los Angeles, CA, featuring Jacob Bunton (AdlerLynam) and Ace Von Johnson (Faster Pussycat) has released their take on Depeche Mode’s “Never Let Me Down Again” today.  Produced by Bunton, the song is available on the band’s official YouTube page:
Neon Coven is comprised of Anthony Montemarano (vocals), Jacob Bunton (bass), Ace Von Johnson (guitar), and Kyle Cunningham (drums).
From Los Angeles, CA, Neon Coven abandoned much of the ethos of the tradition of heavy rock to create an intellectual and theoretical sound, linked to an emphasis on anthemic, synth-heavy dance-rock.  The band’s debut EP Risen was released in February via New Ocean Media. The EP can be streamed at this location:
For more  information, check out the band’s Web Properties:

LCD Soundsystem – American Dream

As the story goes, LCD Soundsystem’s James Murphy (lead vocalist and jack-of-all instruments for the band) had no plans to make this record. He was content to stay in retirement after the band closed the door on their legacy with a massive sold-out show in New York City. He couldn’t stop writing songs, however, and all of that creative energy had to go somewhere. It went into the band’s newest record, and one of the best records of the year, American Dream.

The themes are American Dream are familiar ones to LCDSS’s work – love, aging, trying to stay hip, partying, and emotional disconnect in the digital age. The first track, “Oh Baby,” has Murphy pleading for a lover to come back to him as synths beats bubble underneath his vocals. The wicked bass and beats on “Other Voices” underlie the scathing message directed at adults acting like spoiled children instead of sticking up for themselves and others. “Time isn’t over and times aren’t better so it’s letting you down. You keep dragging back to it, keep going back to the well,” Murphy sings before telling us that we’re still babies and pushovers. Vocalist / keyboardist Nancy Whang claims, “It sounds like the nineties.” at one point. We’re back to the emptiness that decade only twenty years later. The final verse is particularly damning: “You’re just a baby now. You should be uncomfortable. Fake like you mean it.”

“I Used To” is a classic example of Murphy realizing he’s an aged hipster and remembering when he thought he was going to change the world (which, in some ways, he has). It’s a track Gary Numan would love, as it sounds like early Tubeway Army material but with vocals more soulful than robotic. The best lyric is “Oh sure, we’re talking tough, yeah, we’re talking tuff, but on suburban lawns in prone positions.” “Change Yr Mind” has LCDSS verging into post-punk with Murphy’s chop guitar work and the snappy beat. Murphy laments his younger days of being Joe Cool with self-introspective lyrics like “I’m not dangerous now, the way I used to be once. I’m just too old for it now, at least that seems to be true.”

“How Do You Sleep?” has Murphy wondering about a former lover who warned him about cocaine even as she was diving into addiction and left him stuck hanging out with “vape clowns.” It’s almost a goth track with its deep bass and Pat Mahoney’s tribal drumming. It’s a stunning piece that I’m sure is a highlight of their current live shows.

“Tonite” is one of the wittiest songs Murphy’s ever written as he salutes and takes down modern pop music (and growing older) at the same time with wicked beats and synth work. His lyrics are brilliant and include gems like “You’re getting older – and there’s improvement unless you’re such a winner that the future’s a nightmare,” “You’ve lost your Internet, and we’ve lost our memory,” and “…embarrassing pictures have now all been deleted by versions of selves that we thought were the best ones.”

“Call the Police” was one of the first songs off the record. It’s soaring synths and Go-Go’s bass propel Murphy’s lyrics about fake rebellion and forgotten passions (“The old guys are frightened, and frightening to behold. The kids come out fighting and still do what they’re told.”).

What is the “American Dream” alluded to in the album’s title track? It’s love. In particular, love that is often right in front of us but we choose to ignore out of fear it will be painful or difficult or might lead to further responsibility. The track is vintage synths, finger snaps, and Murphy’s passionate vocals (“So you kiss and you clutch; but you can’t fight that feeling that your one true love is just awaiting your big meeting, so you never even ask for names. You just right through them as if you already came.”).

“Emotional Haircut” sounds like a forgotten Love and Rockets track with Murphy’s savage guitar work and Mahoney’s wicked drumming. Murphy sings about knee jerk reactions to tragedies and then not being able to move past them at a later date (“You got numbers on your phone of the dead that you can’t delete and you got life-affirming moment in your past that you can’t repeat.”). The album’s closer, “Black Screen,” is almost a darkwave track as Murphy remembers a lost friend or lover who might be dead or simply taking a vacation from the worldwide web. In this day and age, both are equal for many.

LCD Soundsystem wants us to remember that the American dream is achievable if we remember that it’s not about money. It’s about love, helping the little guy, acknowledging our rough past, and not repeating the same mistakes. The nation will be better off if we at least try.

Keep your mind open.

[Don’t wait.  Subscribe tonight.]

Slow Magic – Float

I’d heard a few singles from Slow Magic‘s album, Float, and I was intrigued with his neat mix of electro, house, and ambient sounds.  I’m happy to say that the entire album is as good as I’d hoped.

Opener “Valhalla” (the drinking hall in the heaven of the Norse gods) starts subtle like a Valkyrie’s caress after death and then it fills with thundering drums and multilayered rhythms that snap you awake from anything fuzzing up your mind.

“Mind” (with Kate Boy on vocals) is probably already tearing up dance clubs in various remixes with its futuristic house beats.  “Skeleton Pink” somehow moves fast (with its beats) and slow (with its synths) at the same time.  “Shivers” brings in a heavy hitter with none other than MNDR on vocals (#swoon) for a big and bold track.

“Drum” loops distorted synths and electronic beats into a groove that you can’t get out of your head.  It might be your new favorite track for sprint workouts.
“Belong 2 Me” (with Peter Silberman taking up the vocals this time) takes you from the racetrack of the previous song to the race’s afterparty complete with premium cocktails in the VIP lounge and a killer dance floor for the people who aren’t too cool to dance.  “Diamond Ring” is a brief moment of synthwave before the grand house track “Wildfire.”

The beats on “=” (“Equals”) are so savage that the song almost sounds like an early 1990’s hardcore rave track.  Things are a bit quieter on “<3” (“Less than three,” “Heart,” or “Love,” depending on your choice), almost like you’re walking out into a morning rain after an all-night rave.  “Light” (featuring Tropics) reminds me of some of Bayonne‘s songs with its echoing vocals backed by poppy and fuzzy synths.

“Midnight Sun” sounds like something from a late night 1980’s sci-fi adventure comedy – and I mean that in the best possible way.  The closer, “Relent,” is a simple, lovely piano piece that leaves you wanting more by the end.

Float is a good debut.  I wouldn’t be surprised to see Slow Magic playing EDM-themed festivals in 2018.

Keep your mind open.


Another nice new single from Kllo – “Dissolve.”

Kllo Shares New Single “Dissolve”
Listen Here

Backwater Out October 20th On Ghostly International

World Tour Begins This Month

Photo by Hayley Louise Brown
Kllo are sharing their new single, “Dissolve,” via Consequence of Sound. It’s taken from their debut album, Backwater, coming out October 20th on Ghostly International. “Dissolve” complements the series of previously released singles “Virtue,” “Downfall,” and “Nylon,” which have garnered praise from The New York Times, Pitchfork, Stereogum, NYLON, XLR8R, Paste and more.

“‘Dissolve’ was triggered by overhearing a bad Skype call in our hotel lobby in cologne,” Kllo says. “The lack of intimacy led to a heated conversation. As soon as we went back to our hotel, I picked up the microphone and sang one of the lines i overheard and it went from there. There’s a huge disconnection when speaking through a screen, things can easily be misinterpreted.”

Listen To Kllo’s “Dissolve”:
Kllo – an electronic pop collaboration between Melbourne cousins Chloe Kaul and Simon Lam – waded in figurative backwater for much of 2016 amid an extensive world tour. These were exciting times; the duo’s Well Worn EP furthered the promise of 2014 EP Cusp, receiving millions of streams and landing Kllo on festival stages as well as Artists-to-Watch lists. Nonetheless, the stretch kept them far from home, isolated and vulnerable, treading through perpetual uncharted territory while yearning for the comforts of the familiar.

As a result, Kllo’s full-length debut depicts inner adjustment to outer change. Songs were written partially on the road and developed back at Lam’s bungalow, a haven that harbors creative spontaneity and catharsis.

“It’s the first time we hadn’t felt like kids anymore,” says Kaul. “We were really able to dive in deeper and bring out a lot more of us into the music.”

Kllo first emerged with a sound beyond their years; fully formed, fusing elements of R&B, UK garage, and 2-step. Well-versed students of artists like James Blake, Lauryn Hill, and The xx, the duo extend an amalgamation of established pop elements with modern sensibilities and wide-eyed sincerity. Backwater arrives as a refined, coming-of-age account. The LP format finds Kllo with more room to breathe and sync their rhythms with emotions. Kaul’s smoky voice emanates with assurance and leisure. Lam’s production invents brooding, steely undercurrents hemmed with charming crescendos.

Kllo have officially come out the other end of the stilted estuary with twelve compositions cultivated to feel timeless and crafted, and equally current. The duo’s second release on Ghostly International — and their most realized work to date — Backwater celebrates the ephemeral and the enduring changes in emotion, the downfalls and the dissolves. It’s an album that parts course with its flow, and flourishes in a lowland.

This month, Kllo begin their world headline tour in support of Backwater. They kick it off in North America where they’ll perform material from Backwater live for the very first time. Kllo’s last North American dates were in Winter 2016 supporting RÜFÜS DU SOL with a pair of one-off headline shows including a packed house at Baby’s All Right in Brooklyn for their New York City debut. This time around they’ll headline multiple nights in NYC including brand new venue Elsewhere. A full list of dates is below.

Listen To Kllo’s “Dissolve”:

Watch & Listen:
“Downfall” video –
“Downfall” audio –
“Virtue” video –
“Virtue” audio –
“Nylon” audio –

Kllo Tour Dates:
Oct. 18 – Chicago, IL @ Schubas (
Oct. 20 – Detroit, MI @ El Club (
Oct. 27 – Vancouver, BC @ Waldorf (
Oct. 28 – Seattle, WA @ VERA Project (
Nov. 1 – Los Angeles, CA @ The Resident (
Nov. 2 – San Francisco, CA @ Bottom of the Hill (
Nov. 4 – Brooklyn, NY @ Elsewhere (
Nov. 5 – New York, NY @ Berlin (
Nov. 12 – Madrid, ES @ Costello
Nov. 13 – San Sebastian, ES @ Dabadaba
Nov. 14 – Barcelona, ES @ Sidecar
Nov. 16 – Paris, FR @ Supersonic
Nov. 17 – Rotterdam, NL @ V11
Nov. 18 – Brussels, BE @ Les TransArdentes at Palais 12
Nov. 20 – Amsterdam, NL @ The Sugar Factory
Nov. 23 – London, UK @ XOYO
Nov. 24 – Bristol, UK @ The Louisiana
Nov. 25 – Manchester, UK @ The Soup Kitchen
Nov. 27 – Glasgow, UK @ Broadcast
Nov. 28 – Edinburgh, UK @ Sneaky Pete’s
Nov. 29 – Leeds, UK @ Headrow House
Nov. 30 – Nottingham, UK @ The Bodega
Dec. 3 – Berlin, DE @ Badehaus
Dec. 4 – Cologne, DE @ Yuca
Dec. 5 – Hamburg, DE @ Haekken
Dec. 8 – Sydney, AUS @ Oxford Arts Factory
Dec. 9 – Perth, AUS @ Jack Rabbit Slim’s
Dec. 14 – Brisbane, AUS @ Woolly Mammoth
Dec. 15 – Melbourne, AUS @ Corner Hotel
Dec. 16 – Adelaide, AUS @ Fat Controller
Praise for Backwater:

“’Virtue’ is a sterling new single… Ms. Kaul has an oozy, aspirated voice, and smears it tactfully atop Mr. Lam’s euphoric, quick-stepping production, which bridges fiery garage and joyous disco.” – The New York Times

“Once things get started on ‘Virtue’ it’s like a sonic boom. Heavy bass blasts find a home next to frantic dance beats and Kaul’s cooing, serene vocal delivery.” – Stereogum

“In its slow build and beauty, ‘Downfall’ feels like having ascended a ladder to a particularly gorgeous vantage point, and enjoying the journey on the way there, too.”

“Ecstatic and melancholic by turn, ‘Virtue’ is a striking introduction to the duo’s most cohesive body of work yet.” – NYLON


Lindstrom releases “Tensions” from his upcoming album of space disco.



(above image by Lin Stensrud)

“More long and futuristic cuts from the Norwegian producer who can make Daft Punk and Terry Riley fans dance into the afters.” – New York Magazine Fall Preview 2017

“’Shinin’ is filled with a captivating melange of synths and a shuffling drum beat. Hall’s rich croon matches the track’s cosmic vibes though her lyrics about hanging at the park with a new flame help ground ‘Shinin’ in the real.” – Rolling Stone

“[Lindstrøm & Hall’s] partnership is capable of creating moments of genuine inspiration; at one point near the track’s final stretch, they weave in a sort of ululating vocal loop that sounds like Hall singing an arpeggiation. . .  set against the backdrop of Lindstrøm’s sheeny production, it totally works, and injects just the right amount of weirdness into this otherwise crystalline track.” — Pitchfork

Norwegian producer Lindstrøm will release his fifth solo album and first since 2012, It’s Alright Between Us As It Is, on October 20th via Smalltown Supersound. After presenting debut single, “Shinin” feat. Grace Hall, one of three guest vocalists on the album alongside Frida Sundemo and Jenny Hval, who “lends her haunting, whispered vocal to his twisted, dark disco” (MOJO), Lindstrøm now shares “Tensions.” It’s “classic Lindstrøm…enveloping electro-disco that seems to build and build until dizzy with joy” (Uncut). The album, presented as one continuous stream of nine interlocked tracks, aggregates all the best elements of his long and varied career and newly reveals Lindstrøm to be a commanding mood sculptor.
The “Tensions” 12”, which also features a remix by Will Long, is available for purchase now.
Listen to Lindstrøm’s “Tensions” –
Pre-order It’s Alright Between Us As It Is

Purchase “Tensions” 12 —

         Lindstrøm Tour Dates:       
Fri. Aug. 25 – Niort, FR @ Jeudis Niortais – Les Jardins François Mitterand
Fri. Sep. 1 – Randaberg, NO @ Randaberg Kulturhus
Sat. Sep. 2 – London, UK @ Village Underground
Sat. Sep. 16 – Bucharest, RO @ DokStation at Control Club
Thu. Nov. 9 – Brooklyn, NY @ Good Room
Fri. Nov. 10 – McDade, TX @ Sound On Sound Festival
Sat. Nov. 11 – Chicago, IL @ Smart Bar

Download hi-res press images of Lindstrøm and album art –

(It’s Alright Between Us As It Is cover art)

She-Devils – self-titled

She-Devils(Audrey Ann Boucher and Kyle Jukka) self-titled record is a lovely blast of electro dream pop that we need more of in this world right now. The opener, “Come,” is a slightly trippy seduction and (“Don’t try to resist me,” Boucher sings) I think a salute to orgasms. It’s the best song about such subjects since Frankie Goes to Hollywood sang about them. The follow-up, “Hey Boy,” mixes shoegaze and electro so well that you can barely tell where one influence ends and the other begins. I like the low-tuned guitar throughout it by Jukka, and Boucher’s voice is playful and a little bit dangerous. It’s the kind of track the Dum Dum Girls used to make.

“Make You Pay” feels like something out of a shoegaze sweat lodge as Boucher sings about exacting revenge (via firearm) against her cheating lover. In “Darling,” however, she professes her love again as the guitars shuffle like a soft shoe dancer around her. “How Do You Feel” and “Blooming” are ethereal dream pop songs in which Boucher questions both her lover’s intentions and her desires. “I can’t do anything for you,” she sings on “You Don’t Know.” Her lover doesn’t know what love is, so she can’t help him see what’s bugging her.

On the weird and wonderful “The World Laughs,” Boucher boldly proclaims “I want to go inside of you…” Well, well, well. The guitars sound almost like something from a reggae record that’s been left out in the Jamaican sun too long. Trust me, it’s pretty neat. “Never Let Me Go” and the closer, “Buffalo,” are haunting love songs with Boucher’s vocals coming at you like incense smoke down a dimly lit hall and Jukka’s instrumentations ranging from Angelo Badalamenti influences to hints of psychedelic-era Brian Wilson.

This is the kind of album that makes you want to hear the next sooner rather than later. Improving on this already fine record will mean something stunning in the future.

Keep your mind open.

[Hey, boy, don’t forget to subscribe before you go.]

Slow Magic releases another hot single – “Drum.”

Slow Magic Shares New Single “Drum”
Listen Here

New Album Float Out October 6th On Downtown/Interscope

Catch Him On Tour Now

Slow Magic is sharing a new single, “Drum,” from his new album, Float, coming out October 6th on Downtown/Interscope.

“I spent a week in Stockholm last summer recording the drums for the whole album,” he explains. “I always play drums live along with the songs, but Float is my first time recording live drums directly. I decided to keep it simple, just two toms and one cymbal. I wanted to capture the simplicity and limitation of using only a couple of drums.”

“After recording the drums, the record really came together and started sounding complete,” he continues. “A few months later at home I was listening back to the drum mixes and started building something completely new with them. That’s what ended up being the song ‘Drum.’”

“Drum” follows previously released singles “Mind” (feat. Kate Boy) and “Light” (feat. Tropics), both of which are sampled on “Drum,” along with every other song from Float. “I wanted to make a song that reminded people of their animal instinct.”

Slow Magic is currently touring the world in support of Float headlining his biggest rooms yet. “I’m planning a lot of new things that I haven’t done before. There will be a completely revamped live show with a ton of new music. I’m hoping people that have been to my show and people that never have will all feel like they are experiencing something they never have imagined.” A full list of dates is below.

Listen To Slow Magic’s “Drum”:

Listen To “Light” Feat. Tropics:

Listen To “Mind” Feat. Kate Boy:

Slow Magic Tour Dates:
9/13 – Paris, France @ Batofar
9/14 – Milan, Italy @ Circolo Magnolia
9/15 – Rome, Italy @ Monk Club [tix]
9/19 – Amsterdam, Netherlands @ Sugar Factory [tix]
9/20 – Brussels, Belgium @ Beursschouwburg [tix]
9/21 – Liege, Belgium @ Reflektor [tix]
9/23 – London, UK @ Oslo [tix]
9/24 – Copenhagen, Denmark @ Lille Vega [tix]
9/27 – Stockholm, Sweden @ Debaser [tix]
9/28 – Berlin, Germany @ Gretchen [tix]
9/29 – Barcelona, Spain @ Razzmatazz [tix]
9/30 – Madrid, Spain @ Costello Club [tix]
10/25 – Austin, TX @ Empire Control Room [tix]
10/26 – Dallas, TX @ Trees [tix]
10/27 – Houston, TX @ White Oak Music Hall [tix]
10/28 – New Orleans, LA @ Varsity Theatre [tix]
10/29 – Atlanta, GA @ Masquerade (Hell Stage) [tix]
11/2 – Philadelphia, PA @ Trocadero [tix]
11/3 – Brooklyn, NY @ Elsewhere [tix]
11/4 – Washington, DC @ U Street Music Hall [tix]
11/5 – Boston, MA @ Royale [tix]
11/8 – Montreal, QC @ Theatre Fairmount [tix]
11/9 – Toronto, ON @ Horseshoe Tavern [tix]
11/10 – Detroit, MI @ The Magic Stick [tix]
11/11 – Grand Rapids, MI @ The Stache [tix]
11/12 – Minneapolis, MN @ Triple Rock Social Club [tix]
11/15 – Chicago, IL @ Bottom Lounge [tix]
11/16 – Kansas City, MO @ The Record Bar [tix]
11/17 – Englewood, CO @ Gothic Theatre [tix]
11/18 – Salt Lake City, UT @ Metro Music Hall [tix]
11/30 –Vancouver, BC @ Venue [tix]
12/1 – Seattle, WA @ The Showbox [tix]
12/2 – Portland, OR @ Wonder Ballroom [tix]
12/3 – Eugene, OR @ WOW Hall [tix]
12/6 – Arcata, CA @ Arcata Theatre [tix]
12/7 – San Francisco, CA @ Warfield Theatre [tix]
12/8 – San Diego, CA @ The Observatory North Park [tix]
12/9 – Santa Ana, CA @ The Observatory [tix]
12/10 – Los Angeles, CA @ The Novo [tix]

Slow Magic online:

Kauf’s new single, “Limestone,” is out now.

Limestone Artwork

Insomniac shares ‘Limestone’

The next single from Kauf’s Regrowth LP, Limestone, has been premiered by Insomniac as their track of the day and by KCRW on Morning Becomes Eclectic!

“The chorus comes from something my boyfriend and I have proudly said to other people—that ‘we never fight,’ which is true. We don’t yell or get into big, heated arguments, but that’s definitely not the only sign of problems in a relationship….and the line ‘tongues tied in the limestone’ specifically refers to how your whole romantic history, and even before that with your family and friends etc, can all contribute to an inability to be fully honest sometimes” – Kauf.  Read more over at Insomniac
Listen Here – Spotify has supported the release by adding it to their massive Chill Vibes playlist.  If you’re a Spotify user, please save the track to a playlist to help boost its rank.

The album is finally all set for release on Oct. 13th!  We are happy to announce that Kauf’s own label, One Half, has partnered with INgrooves for distribution and is looking forward to releasing other artists in the near future.

You can pre-order Regrowth and pre-save it on Spotify HERE!
500 limited copies of deluxe double vinyl with bonus remixes from Fort Romeau, Ambassadeurs and Thomaas Banks, 1000 limited CDs, and tees are available on Bandcamp – cover art by Kauf through a process of hand painting a sculpture he created. All merch includes a digital copy of the album.

If you’re in the LA area, come check out Kauf’s album release show @ The Echo on Oct 10th.

Remixes of Limestone to come from Baile and Thomaas Banks of Psychemagik as a follow up to his otherworldly remix of Relocate.  Thank you all for your patience and support as we finalized everything for this release.  We are very excited to share so much new material!

Vinyl Pre-order

Live: Depeche Mode and Warpaint – Toronto, ON – September 03, 2017

The calm before the storm at Air Canada Centre in Toronto, Ontario.

Somehow multiple decades have gone by without me catching electro legends Depeche Mode live.  The dates finally worked out, and my wife and I were able to see them and shoegaze / post-punk newcomers Warpaint at Toronto’s Air Canada Centre.

Warpaint impressing a lot of us.

Warpaint played a good set of crisp post-punk with snappy bass lines and even snappier drumming (which would be a theme for the entire night).  I’d heard a lot of good things about them, and they didn’t disappoint.  I need to find more of their material.

Looking down the “Barrel of a Gun” with Depeche Mode.

Out came Depeche Mode to the Beatles’ “Revolution,” a major theme for their new album – Spirit.  They rolled into “Going Backwards,” “So Much Love,” and “Barrel of a Gun” (which included a snippet of Grand Master Flash’s “The Message,” which cracked me up).

“World In My Eyes”

The crowd (which filled the stadium, apart from the unsold / unused seats behind the stage, by the way) jumped to its feet when they broke into “World In My Eyes.”  It was a reminder of not only their electro prowess, but how much influence they’ve had on Trent Reznor.  An acoustic version of “Question of Lust,” sung by Martin Gore, was a crowd favorite, and the follow-up of “Home” was excellent.

Depeche Mode never letting us down.

“Where’s the Revolution?” – the first single off Spirit – was another standout and essentially the band’s rallying cry for fans old and new to stand up against The Man. “Everything Counts” is also staggeringly relevant for these times, even though it’s decades old by now.  It preceded “Stripped,” “Enjoy the Silence” (which  was almost entirely sung by the now-bonkers crowd), and “Never Let Me Down Again” – which was better live than I even hoped it would be (and drummer Christian Eigner was absolutely slaying his kit by this point).


The encore started with “Somebody,” included a nice cover of David Bowie’s “Heroes,” and finished with big hits “I Feel You” and “Personal Jesus,” which had everyone raising their hands to “reach out and touch faith.”

“Personal Jesus”

It was long overdue, but very welcome.  My wife immediately listened to their new album as soon as we got back from the show.  She woke up the next day with Depeche Mode songs in their head, and I’ve had “Never Let Me Down Again” stuck in my brain for days.

Thanks for the fun, DM and Warpaint.

Keep your mind open.