World Violation Tour

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The World Violation Tour was a 1990 concert tour by English electronic group Depeche Mode in support of the act's seventh studio album, Violator , which was released in March 1990. It was estimated that by the end of the tour, Depeche Mode had toured to 1.2 million fans.

  • 1 Tour details
  • 2 Support acts
  • 4 Tour dates
  • 5 Remaining contents of the tour
  • 6 Musicians
  • 7 Bibliography

Tour details [ ]

The band rehearsed for the tour in Pensacola, Florida, the same city where the tour kicked off. It was the first time the band has performed live in the state, and the band received some flak from locals who didn't understand their appearance ("I've been called a faggot about twenty times today, mostly from guys leaning out of trucks. This is sort of a backward place, isn't it?" noted Alan Wilder).

The tour kicked off with a North American leg in late May, finishing up in early August in Los Angeles at Dodger Stadium. The North American dates were met with high demand with sellouts in Dallas, Chicago, Orlando, Tampa and Miami; 42,000 tickets for the concert at Giants Stadium in East Rutherford, New Jersey had reportedly been sold within four hours of going on sale, while the Dodger Stadium shows had sold out on the first day of sale. Later in the month, the group played a sole date in Australia, in Sydney, prior to a six-date tour of Japan in September. Following the Japanese dates, the band commenced a European tour, beginning in Brussels in late September. The leg included three dates at the Palais Omnisports Bercy in Paris, where the group performed to approximately 50,000 people. The jaunt lasted two months and concluded with the final show of the tour in Birmingham, U.K, in late November.

The projections were made by Anton Corbijn, whose work was projected on large video screens. The tour required approximately 100 stage crew and 11 articulated lorries to transport the stage set.

The performance of the group's cover of "Route 66", which was originally recorded with lead vocals by Martin Gore, was sung live by lead singer Dave Gahan on this tour.

Industrial band Nitzer Ebb opened for the band in North America. Rolling Stone magazine called out the tour as one of the highlights of the 1990 summer music scene, saying "These British synth poppers offer post-industrial melancholy you can dance to. And their misery certainly loves company – on their last tour, they sold out the Rose Bowl."

Support acts [ ]

  • Jesus And The Mary Chain
  • Electribe 101

Setlist [ ]

  • "Kaleid-Crucified" (Intro)
  • "World in My Eyes"
  • "Shake the Disease"
  • "Everything Counts" (Tim Simenon/Mark Saunders Remix)
  • "Master and Servant"
  • "Never Let Me Down Again" (Split and Aggro Mixes)
  • "Waiting for the Night"
  • "I Want You Now" (Acoustic)
  • "Here Is the House" (Acoustic)
  • "Little 15" (Acoustic)
  • "World Full of Nothing" (Acoustic)
  • "Blue Dress" (Acoustic, only performed at San Diego and Paris)
  • "Sweetest Perfection" (Acoustic)
  • "Policy of Truth"
  • "Enjoy the Silence" (with bits from the 'Bass Line' remix)
  • "Strangelove"
  • "Personal Jesus" encore 1
  • "Black Celebration"
  • "A Question of Time" encore 2
  • "Behind the Wheel"
  • "Route 66" ( Bobby Troup cover )

Note: Setlist additions featuring multiple songs are options which were rotated between dates.

Tour dates [ ]

Remaining contents of the tour [ ].

Even though the tour is one of the most popular among fans, Depeche Mode never released any official content from the World Violation Tour for commercial purposes.

For a fan question, then-member Alan Wilder stated that the reason behind that was the fact that there was too little time lapsed from Music for the Masses Tour to release a new live EP from the tour, as the previous one was filmed and was released on the famous 101.

The lack of commercial release doesn't mean that there is no professional recording from the tour. Two concerts of the American leg of the tour, one in San Francisco and one in LA, were recorded by the staff of the stadium. The second one was even released on a small series promotional CD in Latvia, with as many as 250 printed copies.

The band thought for more than a decade that there were only short scenes filmed from the tour by TV channels. But the previously mentioned LA tour has a whole length video recording as well, which still waits to be fully released, as the band only issued 90 seconds long parts of each song on their website in 2012. They recalled the discovery that way.

Musicians [ ]

  • Dave Gahan – lead vocals
  • Martin Gore – guitar, samplers, percussion pads, lead and backing vocals
  • Alan Wilder – samplers, percussion pads, drums, backing vocals
  • Andrew Fletcher – samplers, percussion pads, backing vocals

Bibliography [ ]

  • https://dmlive.wiki/wiki/Category:1990_World_Violation_Tour
  • https://en.wikipedia.org/wiki/World_Violation_Tour
  • 1 Alan Wilder
  • 2 Devotional Tour
  • 3 Dave Gahan
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The World Violation Tour

World Violation Tour - USA & Canada 1990 Andy Fletcher, Dave Gahan, Martin Gore, Alan Wilder Opening Act(s): unknown-->

World Violation Tour - Australia & Japan 1990 Andy Fletcher, Dave Gahan, Martin Gore, Alan Wilder Opening Act(s): unknown-->

World Violation Tour - Europe 1990 Andy Fletcher, Dave Gahan, Martin Gore, Alan Wilder Opening Act(s): unknown-->

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Video: Depeche Mode shares rare footage of 1990 ‘Violator’ show at Dodger Stadium

As we’ve noted before , pro-shot footage of Depeche Mode’s  1990  World Violation Tour long has been a Holy Grail for fans. And while the band itself apparently didn’t film the tour, the first of DM’s two epic shows at Los Angeles’ Dodger Stadium in August 1990 was filmed by the stadium’s crew — the tape of which remains in the band’s possession.

Depeche Mode previously has hosted this footage on its website , but now the band has just uploaded it — roughly 90-second clips of each song performed on Aug. 4, 1990 — to Vimeo, which means we can share it all with you as well. Now who’s going to launch a petition to get the full concert posted and/or released on DVD as well?

Check out the footage below, along with a note from the band about its origins.

Video Recorded: August 4th, 1990 Video Director: Dodger Stadium crew Video Source: NTSC VHS tape Fans have wanted a good recording of this tour for over a decade, but that has been virtually impossible to come by. While audience recording bootlegs (of fluctuating quality) have surfaced of this tour, there has never been anything of true quality that has been available to the fans. While on a week long break in England back in 2002, the band’s webmaster raided their office in London. Among the treasures discovered was a videotape with a very simple, hand-written label (“Dodgers 080490”). Dust covered, and sitting in the office since the end of the tour, this tape would have surely been lost and/or forgotten, if the webmaster had not “borrowed” it from the offices. The video featured here was recorded “live to tape”. All effects, camera changes, and recorded audio was recorded in a raw, “one take” mix. As such, some camera angles, and audio flaws, might pop up from time to time. For such a historic document, we don’t think the occasional flaw (or old “video toaster” effect) will distract from the performances. Voted by you, the fans, as the most desired live concert in the Archives Concert Series, here are excerpts from the World Violation Tour, exclusively from depeche mode dot com. SPECIAL NOTE: The audio for these clips is a raw, unmixed soundboard feed.

PREVIOUSLY ON SLICING UP EYEBALLS

  • Depeche Mode signs to Columbia Records for release of new album in March
  • Depeche Mode debuts new untitled song in Paris with in-studio video — hear it here
  • Depeche Mode: New album cross between ‘Violator,’ ‘Songs of Faith and Devotion’
  • Depeche Mode tour 2013 : Rumored European dates surface on eve of press conference

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25 Comments

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Ah the irony of Dave having to grunt, groan, moan, and “c’mon” during the intro to Enjoy the Silence. :-)

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UGH! Why didn’t that tech genius Barassi deinterlace the video??! This looks terrible!!!

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You know we want to buy this. First time I saw Mode was during this tour. DVD it already.

“Shut up and take my money”.

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I was at this show! Fantastic! And Electronic opened…one of their only live gigs ever…and a fantastic but short set from Nitzer Ebb. Can’t believe it’s been 23 years!

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I was there for both nights, Rob, and I have to agree with you as to how cool it was to see Electronic and Nitzer Ebb. Of course, DM put on the greatest concert those two nights … ah, fond memories. I’d love to own this show on BluRay!

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I was there as well! Although I believe it was on the second night.

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As I said on the Depeche-Mode.com forum, the video is “as is”. If the video is ever released, color correcting, deinterlacing, and other items will be done to the video. For the web, you get it “as-is”. Next time, ask before flaming. Choose to be informed, over being a flaming troll. :)

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A great show/tour and I think I speak for every DM-fan out there: We want the whole concert as it is. Even if it´s stripped down as this one:)

@Barassi: This video had to be digitized at some point from the VHS (so it’s not really “as-is” in the first place) and it would have been trivial to deinterlace during conversion.

It is neither “trolling” nor “flaming” to express this criticism of the video.

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Is there also footage of the performances by Electronic and Nitzer Ebb?

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Awesome. Thanks Daniel.

Oh and +1 for any future DVD release.

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Brings back memories of own swapping of fan-shot videos. The rawness didn’t matter as it added to the atmosphere.

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I was at this concert and my memories of it are so fuzzy! I got various bootlegs of it but SO nice to see the videos! Thank YOU and HAPPY NEW YEAR!

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http://img.photobucket.com/albums/v230/lemac16/avatars%20and%20forums/whoa.jpg

Seriously though, this is some killer footage.

LOL!!!!!! I mean YIKES!

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Very good news. Maybe “MUTE or They” have also the raw video material on tape 16mm or even 35 mm. For the 16 mm you can scan for 2K resolution. It would really be amazing to see Dodger Stadium concert on Blu-ray, even in the format frame 3:4. “MUTE or They” record label, we count for you…

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One of these days hopefully they’ll release this on DVD or blu-ray. People have been begging, pleading, pining and petitioning for this on some kind of digital format since…well…forever now. I always thought a limited edition release of this concert would be the way to go. Fancy, deluxe packaging, ltd. numbered editions and all. Regardless, I’m beginning to think any form of release of this concert may never happen. The “rough mix” of the footage – note there isn’t any crowd noise – is probably one of the biggest obstacles. No crowd noise on a live recording is…well, weird…just give the “Violator Live” album that’s floating around a listen. Not to mention making sure all the folks – camera men, sound people and all – are properly credited and compensated. Those are just two issues that immediately come to mind. Lots of hurdles to jump if it were ever to be relased =( However, The Depeche camp could make a small fortune on the release of this concert footage (if done right) and it continues to seem to be ignored. It blows my mind.

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This tour at Red Rocks was my first ever DM concert, road trip awesomeness! They should clean it up and release it! :)

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Saw this tour in Vancouver, BC,,,,, Nitzer Ebb, another all time personal fave, opened. I was 18. As these extremely rare videos show,,, It was indeed, perfection.

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Wish there was live footage of electronic.

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I was at this show and finding this has made me so happy!!! brings back great memories

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I went to the Loa Angeles Depeche Mode Convention at The Palace in Hollywood in 2000 and 2002 and met KROQ’s Richard Blade who was the host of the convention. The dj in charge of playing all their music and rare videos happen to show this tape on the big screen for everyone to see. He showed “Everything Counts” “Behind The Wheel/Route 66” in full, it showed the date in opening credits reading 8/4/90 it looked like this same tape pro shot but was not multicam it was directly in front of the stage centered. So I believe they have multi versions of this tape for each camera the stadium crew were filming with. They then put them all together and created the multicam tape. The Dj looked like Daniel Miller of their record company I should have asked him about this when I had the chance and I probably would have got hooked up lol I did ask some of the vendors selling all their merchandise,memorabilia,records,live bootlegs which they had a grip for sale if they had any of the two shows from Dodger Stadium on tape or cd they didn’t have anything on them and replied most of The World Violation Tour Bootlegs were not good quality which are up for grabs now online for free. If they can show the vid to fans at the convention I don’t see why they just don’t release it in full,or put it up for full viewing on the bands website? The band has many proshots on the site in the archives that also include The Music For The Masses Tour 88 at the Rose Bowl,Ultra Party 97 London,Ultra Party 97 at The Shrine,KROQ Acoustic Xmas 98,these are all proshots also and never have been released in full neither.So the band has tons of rare tapes of all their tours and just refuse to release them.

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This was my first music concert and I was blown away ! Fresh out of High School and skipped work to go to this concert and it will forever live in my memory. It’s true what they about your first concert you will never forget it especially if it’s Depeche Mode !

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To discuss Depeche Mode with other fans, please consider joining the official Depeche Mode Discord server or independent fan server Discord for the Masses . To coordinate site work, we recommend the Depeche Mode Live Editor Discord group .

Violator is the seventh studio album by Depeche Mode . It was released on 19 March 1990 by Mute Records . The album was a commercial success, and regularly features on lists of the greatest albums of all time by publications such as Q , Spin and Rolling Stone . Preceded by singles " Personal Jesus " and " Enjoy The Silence ", Violator reached number two on the UK Albums Chart, and was the first Depeche Mode album to chart inside the top ten of the Billboard 200, peaking at number seven.

It was supported by the 1990 World Violation tour .

  • 1 Track list
  • 3.1 Wherehouse record store incident
  • 4 Statistics
  • 5.1 A Recoil Retrospective – Violator editorial
  • 8 References
  • World In My Eyes
  • Sweetest Perfection
  • Personal Jesus
  • Waiting For The Night
  • Enjoy The Silence
  • Policy Of Truth

For a full list of songs, singles , and B-sides produced for this album, see the list of Violator songs .

  • Personal Jesus – 29 August 1989
  • Enjoy The Silence – 5 February 1990
  • Policy Of Truth – 7 May 1990
  • World In My Eyes – 17 September 1990

Marketing and promotion

Wherehouse record store incident.

Indicative of their increasing popularity at the time of Violator' s release, the group were infamously forced to evacuate a March 20th in-store signing at Los Angeles-based Wherehouse Records when the event (expected to only draw a few thousand fans) produced an estimated turnout of 20,000, with an in-store capacity of only 150 [1] . Due to the sheer number of people present at the signing, several suffered minor injuries as a result of being slammed up against the store windows. The ensuing disorder at the group's withdrawal resulted in a near riot, requiring the assistance of one hundred Los Angeles police officers outfitted in riot gear as reported by the LA Times. [2] Music journalist Ted Mico described the chaos in the August 18th issue of Melody Maker :

DM Live

[...] Modettes were spread over six square blocks and literally ground the entire city to a standstill. Nothing like this had happened in L.A. for years – even when U2 shot their video for 'Where The Streets Have No Name' on a Downtown roof. Depeche Mode bigger than Jesus? Not quite, but they'd give Bono a run for his money and are taken as seriously and followed as fanatically here as The Cure or New Order are in Britain. [3]

Approximately 25,000 copies of a promotional cassette were reportedly produced at Daniel Miller 's direction as an apology to fans who were inconvenienced or suffered minor injuries as a result of the incident. [4]

A Recoil Retrospective – Violator editorial

"A riot in the streets of L.A. at the Wherehouse record store on La Cienega. The scene was set for the release of an album that was to become Depeche Mode's most commercially and financially successful to date. A record that was to prove its considerable significance to the music scene for many years to come."

Press statement – March 1990

"Yesterday in Los Angeles, British band Depeche Mode broke all previous records when they made an appearance at one of the biggest record stores in the world. Some 5000 fans had camped outside the store for 4 days with the queue extending for nearly 2 miles. By the time the band arrived, there were more than 17,000 screaming fans outside, with The Beverly Centre opposite invaded by fans trying to get a better view. The LAPD closed down the event after 90 minutes because they felt the band's lives were in danger. 200 Police units including helicopters and mounted officers in full riot gear tried to calm the fans down. Eventually, the Police moved the band out of their hotel under escort. The Police Chief told us 'this is our biggest Police operation since the Presidential visit.'"

In many ways it was the crowning glory for a band who epitomised everything that rock and roll should be, elevating them to the official position of stadium act. The compelling quality of Martin 's words was matched by the innovative and assured approach to the music, helping to set Violator apart from other releases that year. While their once popular contemporaries (born from the explosion of early 80's synth rock) had fallen by the wayside, Mode had endured the rigours of the decade and developed to represent the only true sound of its kind.

The unique blend of dark, sensual imagery and electro 'savoir-faire' ensured that the album was a welcome relief to the ears and stood out clearly amongst the melee of fledgling dance acts and washed-up soft rockers. This is not to say that Violator was the pure analogue beast that it has long been revered as and without wishing to offend those austere devotees who would balk at the mere mention of the word 'guitar', Alan reminds us:

"There are plenty of live drums in the form of loops on Violator and a whole range of different acoustic instruments as well as the electronics. I think this album represented the perfect combination of played and programmed sounds."

The bulk of Violator was recorded at Puk Studios in Denmark and introduced a significant newcomer to the previously closed-rank world of Depeche Mode production. Former ' Stripped ' remixer, Flood had already worked with fellow Mute acts Nitzer Ebb, Nick Cave and Erasure when Daniel Miller suggested a meeting at Martin's house.

"This scruffy, bespectacled, rather unlikely looking bloke rolled up, raided the 'fridge a couple of times, slouched down on the sofa, pontificated for a bit and thus – a new production team was born."

At the initial recording session in Milan, the new partnership set to work on Martin's demos which were beginning to have diminishing influence on the final results.

"There were no hard and fast rules – sometimes the songs drastically changed from the demo and sometimes they were pretty similar. Martin didn't like to explain his songs to anyone and, knowing that, the other group members would rarely ask him what they were about. It's clear to me that the ambiguity of his words and the subversive quality of some of them (with their possible dark meanings) is what makes them interesting. It is also probably right to say that from Violator onwards, the final results bore less resemblance to the original demos than ever."

It would be fair to attribute this to Alan and Flood whose dominance of the studio was quick to develop and ultimately provided a lasting and fruitful liaison.

"Flood and I worked well together. Our styles complimented each other – my musical angle coupled with his technical prowess. He was undoubtedly an important factor in the development of the Violator and Songs Of Faith And Devotion albums." [5]

We've never jumped on any bandwagons or tried to go along with the trendies. Even though we're into our second decade, it still seems very fresh. We never wanted to be big for five minutes and that's it. Plus, we've changed, and all the changes have been natural. No one has ever pushed us in any direction – we do exactly what we want, the way we want. There's still that naivety of learning, of trying to better ourselves, and it's all done with an intense energy, a power and urgency that's lacking in so many other bands around. We're off in our own little world, really. [6] — Dave Gahan – Sky , March 1990
Over the last five years I think we'd perfected a formula; my demos, a month in a programming studio, etc. etc. We decided that our first record of the '90s ought to be different. [7] — Martin Gore – NME , February 1990

dm violator tour

[...] That's how we made the group work at that time, by accepting that we all had different roles and not actually all trying to do the same thing. So we ended up with this unwritten agreement in the band, where we'd all throw together a few ideas at the beginning of a track. Then Fletch and Mart would go away, and they'd come back after we'd worked on it for a while to give an opinion. [8] — Alan Wilder – Depeche Mode: A Biography – Steve Malins (2001)
Everybody was feeling each other out, because they wanted to try working in a different way. The idea was to work hard and party hard and we all enjoyed ourselves to the full. [8] — Flood – Depeche Mode: A Biography – Steve Malins (2001)
Usually we begin the making of a record by having extensive pre-production meetings where we decide what the record will actually sound like, then go into a programming studio. This time we decided to keep all pre-production work to a minimum. We were beginning to have a problem with boredom in that we felt we'd reached a certain level of achievement in doing things a certain way. [7] — Alan Wilder – NME , February 1990

dm violator tour

Wilder and Gore describe early song impressions and explain the humour behind the album title in an interview for the February 1990 issue of NME :

Wilder : [...] I felt that the last few records have been, well not exactly too lush, but certainly too dense. This feels much more direct. Gore : I've only played it to a few people but their reactions have been really good and I don't think they were just being nice. A lot of them have commented on how up it is. Wilder : It's no bad thing to be dark once in a while. Radio 1 don't particularly want to play us but they're forced to because of our following. It's good that there are a few bands like us to counteract all that 'jolly-jolly-party-Kylie'. Gore : Our problem is that we've never been banned, just relegated to the evening shows. We did have a few problems with ' Personal Jesus ' but in America they took it as a religious tribute. Ha! It seems you can get away with anything if you've got nice pop tunes! [7]

Wilder and Gore continue:

Gore : We called it Violator as a joke. We wanted to come up with the most extreme, ridiculously 'Heavy Metal' title that we could. I'll be surprised if people will get the joke. However, when we called an album "Music For The Masses", we were accused of being patronising and arrogant. In fact it was a joke on the uncommerciality of it. It was anything but music for the masses! Wilder : There's much more humour than we're given credit for. Perhaps it's just that ours, or particularly Martin's is a little specialised. [7] — Alan Wilder, Martin Gore – NME , February 1990

dm violator tour

... Sometimes we'd stop in the middle of mixing and say, 'No, no, no, Dave's gotta re-do it.' …there may have been a couple of synthesizer parts Martin wanted fixed, or we were going, like, 'Ah yeah, this is not really working like this, we gotta change that.' So then we switched to recording mode…Then I had all kinds of ideas on effects that I wanted to add to the track, where I recorded some of my own vocals doing, like, weird vocal effects…or percussive vocal things that I added as layers. [9] — François Kevorkian – DubSpot , Francois K. Fireside Chat

Wilder describes the origin of the various percussion sounds throughout Violator :

On 'Violator', did you use any drum machines in particular or are they all samples? I've found getting hi-hats and crashes to sound good through a drum machine very difficult. I've used Boss, Alesis and others and they all sound weak, thin and well.... like a drum machine. Wilder : Are you surprised? Part of the reason drums from drum machines sound that way is because of the lack of human feel. No two snare beats sound the same when played by a drummer – I like that. That's why I prefer to use lots of drum loops with all the feel (and flaws) of the original performance. Most of the drum sounds on 'Violator' were sampled (apart from obvious electro sounds) but the rhythms were still programmed. Some hi-hat patterns (' Policy ' for example) were played and sampled as loops and in the case of ' Halo ' and ' Clean ' it's all loops. Again, I prefer the looped parts because of the performance element. [10] — Alan Wilder – SHUNT ARCHIVES Q&A : DEPECHE MODE : VIOLATOR

Wilder states that Violator was the last instance where he made extensive use of programmed percussion parts in response to a fan question:

When did you stop actually programming pattern-by-pattern drum machines? Wilder : The last time I did that to any great extent was during the making of 'Violator' even though there are 'live' drum loops on that album as well. Since then, the majority of drums have come in the form of loops although I still might programme certain percussion parts, hi-hats and cymbals. [11] — Alan Wilder – SHUNT ARCHIVES Q&A : DEPECHE MODE : VIOLATOR

dm violator tour

We called it "Violator" because we wanted a very heavy metal title. The last album, Music For The Masses , was another sarcastic title which no one understood, it doesn't really matter because we know we're being sarcastic. The Germans especially didn't get Music For The Masses at all, because over there we really are music for the masses, and they don't understand sarcasm – they were saying 'Oh, so what is this, you are making commercial music?'! I think people miss the humour in the band because unless you're a real devotee you don't look that seriously at groups, you just glance at a video on Top Of The Pops and make a snap decision about whether or not you like it. Over the years Martin's studio at home has got progressively better and better so the demos he was producing and giving to us were very good quality. If you listen to a song, say ' Strangelove ' which was a very full demo, after about 20 plays the direction in which you're going to go is pretty much fixed. We were basically re-recording Martin's demos with better sound, better production and Dave's vocals. For this album we said to Martin, just present the demos on acoustic guitar and organ, only lyrics and chords, so we could decide the direction of songs as a group. It was a conscious decision to make this album different from the previous ones. It's also the first time we've used a producer rather than an engineer/producer. It was definitely more enjoyable making this album because we went to Milan right at the beginning. We just went out, partied, and didn't get any recording done, but we had a good time and it cemented the spirit of the whole album. It was very much a group feeling. [12] — Andrew Fletcher – Record Mirror , March 1990

dm violator tour

I came in to the production of Violator when there was one song finished and the rest of the songs were kind of half way through but had no vocals. I didn't see Dave really much involved in the creation of the sounds or the directions of the songs. He would come in and sing and did a fantastic job but wasn't really involved in the creativity of the material. He was very positive on his part and very supportive in what we were doing. I think the team work really worked. There weren't many conflicts. Because they had developed a style and a sound and they knew it had functioned previously on different albums like Black Celebration and Music For The Masses . They had proven that the team worked and there weren't any reasons to change it. In other scenarios I worked in this wasn't the case. Other bands operate very differently and that's why Depeche functioned so very well in the studio. There were never any doors closed. It was quite the opposite. The more you could bring in ... you know, I could turn to Alan and Flood saying 'What about this? What about this sound?' ... the more excited the whole crew became." [...] Sometimes Martin would come in saying, 'I don't like this' and 'I don't really like that', and then we would work on things to get a different version but he would trust a lot in the three of us, Alan, Flood and myself. And Fletch as well, y'know. Fletch would come in, say his thing but leave it to us because he knew something good would come out. [13] — Steve Lyon – depechemodebiographie.de, June 2013

Bruce Kirkland in the July 1990 issue of Rolling Stone : "It's Depeche Mode's time, and the industry is finally catching up." [14]

  • The total number of live song plays from Violator is 4190, making it the most-played Depeche Mode album with the highest number of live song plays. This figure is found by summing the number of individual live performances of each album track performed as Depeche Mode.
  • ↑ Source: OC Weekly – " POORMAN’S RADIO DAYS: RECOUNTING THE DEPECHE MODE RIOT OF 1990 " – September 2019
  • ↑ Source: JOHN H. LEE, LA Times – March 21 1990 – Depeche Mode Fans Become Unruly at Store
  • ↑ Source: Melody Maker , 18th August 1990 via SacredDM (now defunct).
  • ↑ Source: Spin magazine, July 1990 issue
  • ↑ Source: Source: SHUNT ARCHIVES EDITORIAL : 1998 ARCHIVES : DM Singles 86-98 : VIOLATOR
  • ↑ Source: Paul Lester, Sky , March 1990 via SacredDM (now defunct).
  • ↑ 7.0 7.1 7.2 7.3 Source: Stuart Maconie, NME , February 17 1990 via SacredDM (now defunct).
  • ↑ 8.0 8.1 Source: Steve Malins (2001). Depeche Mode: A Biography
  • ↑ Source: Francois K. Fireside Chat
  • ↑ Source: SHUNT ARCHIVES Q&A : DEPECHE MODE : VIOLATOR
  • ↑ Source: SHUNT ARCHIVES : GENERAL MUSIC, page two
  • ↑ Source: Lisa Tilston, Record Mirror , 17th March 1990 via SacredDM (now defunct).
  • ↑ Source: depechemodebiographie.de – Interview with Steve Lyon, June 2013
  • ↑ Source: Jeff Giles, Rolling Stone , 12th–26th July 1990 via SacredDM (now defunct).
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Depeche Mode’s ‘Violator’ at 30: Artists Share How It Impacted Them

When Depeche Mode introduced electric guitars into their music on 1987's Music for the Masses , it opened up the English synth-pop pioneers to a whole new realm of possibilities and a more…

By Ron Hart

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Depeche Mode

When Depeche Mode introduced electric guitars into their music on 1987’s Music for the Masses , it opened up the English synth-pop pioneers to a whole new realm of possibilities and a more rock-oriented fanbase.

By 1990, however, the simple yet effective guitars played by chief instrumentalist Martin Gore on songs like “Personal Jesus” and “Policy of Truth” helped make their album Violator the band’s commercial and creative breakthrough, establishing them as a crossover success on par with U2 and The Cure, a feat that didn’t seem possible when the band debuted in America with the goofy, bouncy single “Just Can’t Get Enough” just nine years earlier. Violator peaked at No. 7 on the Billboard 200, with “Enjoy the Silence,” “Personal Jesus” and “Policy of Truth” hitting the top 30 of the Billboard Hot 100.

Venesti, Nacho & Maffio Bring 'No Es Normal' to Top of Latin Airplay Chart

The guitars have stuck around for nearly every album they’ve released since, most prominently on 1993’s Songs of Faith and Devotion and the excellent Spirit , the last proper DM studio LP from 2017. And it’s no secret lead singer Dave Gahan has been delving deep into his love for the blues as the de facto lead singer for the English production team Soulsavers (replacing their previous collaborator Mark Lanegan) over the course of the duo’s last pair of LPs. Depeche calling their 2013 album  Delta Machine was a confirmation that their roots in Son House are as powerful as their origins at the plastic feet of Kraftwerk.

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Violator remains, 30 years on, the band’s most definitive statement. The short documentary released about the making of the album is called If You Wanna Use Guitars, Use Guitars,  and that’s precisely what Martin Gore, David Gahan, Andy Fletcher and former member Alan Wilder achieved in the studio with the man they call Flood at the controls on this exceptional crossover pop classic (the 30th anniversary of which is being commemorated by Rhino Records with a collector’s edition deluxe box set containing ten 12″ vinyl discs showcasing the singles, “Personal Jesus,” “Enjoy The Silence,” “Policy Of Truth,” “World In My Eyes” and all the rare remixes and b-sides that come along).

Let’s go on a journey back through time. Eighth grade. Marilyn Manson puts out “Personal Jesus” — I am immediately very into it. I’m animatedly singing its praises at school when one of my classmates interjects and says, “Uh, that’s a cover. It’s by Depeche Mode.” Sure, he pronounced their name as “Depetchy Mode,” but he was correct. I’d heard of them, yet somehow one of their biggest radio hits had totally missed my radar. I went home and downloaded Violator on Limewire (those were the days) and listened to it all. I learned that I’d definitely heard “Enjoy the Silence” before. I loved the forthright, brooding declarations of Dave Gahan. And the synth arrangements made me realize that maybe Trent Reznor wasn’t the only person capable of perfectly producing and utilizing those kinds of effects. As an adult, having a copy of Violator on vinyl became necessary as soon as I had a record player. It’s been out for thirty years?! Happy birthday, Violator , you’re a real one. – Rae Amitay, Immortal Bird

I feel like Violator was the perfect gateway record for someone who is largely into guitar-driven music in a sense. I feel like it was the beginning of them showing an interest in a bluesier sound despite the fact it’s a largely electronic record. But it’s something that’s super present now on their latest albums. Some of it is just straight up blues guitar, like on Delta Machine, which fully expands the umbrella of their definition. The thing I love most about Depeche Mode when I go back and listen to their records is how they’ve always served as a barometer for whatever new style of electronic music was at its moment. If you listen to Speak & Spell early on, it’s like all this late late ’70s monophonic synthesizer stuff, and it has such a distinctive sound to it. Then you flash forward ten years later to Violator and it’s all this FM and sample-based stuff, and I can only imagine at the time how cutting edge that shit was. Not even just in technology, but to bring it into the context of what a pop record was and it’s wild to think about now. – Neon Indian

I grew up in a small town in the Midwest. Before the internet… Outside of my grandfather being way into old country, I didn’t have much of a musical family. Fortunately, I had a cousin go off to college which meant I eventually got my hands on one of her mixtapes. This was probably 91-92, so we had The Cure’s “Lovesong,” Nirvana’s “Smells Like Teen Spirit” etc., and the lone synth band, Depeche Mode. Gore’s songwriting and Gahan’s vocal immediately struck me. Dark, brooding melody wasn’t something I had much experience with by that point. This would eventually become a lifelong obsession and possibly a formula to my detriment as a novice songwriter. Black Celebration through Ultra are still timeless, constant plays in my record collection, but Violator will always be the standard, the gateway, not only to the band’s discography, but to my fascination with the electronic/synth-based genre as a whole. – Jeff Wilson, Chrome Waves

It’s the height of summer, around 34 degrees. Seven bodies laid out on the grass somewhere in Cologne. It’s 2017 and it’s been four days since we lost the keys to the tour bus. Inside the tour bus is all our passports and belongings. We have one phone with charge between us. The phone has no data and the only album downloaded onto it is Violator . When “Sibeling” comes round for the 4th time that day I hear someone mumble ‘I feel like we’re going to die here.’ We all nod in agreement. But then the album replays and we all start enjoying ourselves again. Someone’s made friends with some locals and managed to get us some free beers. We laugh about the fact that the only album we have is Violator and the first words of the first song are literally “Let me take you on a trip.” We’ve made the joke before but it feels wrong not to mention it every time. “Personal Jesus” seems to be our favorite, and some of us get up and dance like something out of Midsommar . Someone returns with a bottle of Campari just as “Blue Dress” begins. Cigarette rations are passed around. Soon “Memphisto” will come round and we will all be aware that the strange journey is about to begin again. I haven’t listened to the album since. – Diva, Jadu Heart

I was 12 years old when Violator was first released, but I have a vivid memory of seeing the video for “Enjoy the Silence” on television at the time (probably on The Chart Show) . Even at such a young age I remember being mesmerized and it really connected with me. Apart from it being one of the greatest songs of all time, the imagery of Dave as the King wandering in the mountains was a strange mixture of escapism and melancholy which always stayed with me.

When I was in my teens I started to discover Depeche Mode’s album catalogue properly, mostly in reverse order, and Violator was, and still is, a hugely inspiring album for me. I think the synth pop’ tag is often misplaced when it comes to Depeche Mode. Violator is an incredibly soulful album. The intriguing, sometimes provocative, lyrics, the sexiness, the dark euphoria and crisp production, and, of course, the melodies and ‘hooks’ make it a compelling listen from start to finish. It sounds like nothing else that was released in 1990, and much like Dave in the mountains, it stands alone and majestic, transcending the era it was released in. – Maps

To write this story I just put on the Violator album to get back in touch with the feelings I had when I first popped the cassette tape into the stereo of my 1968 green Volkswagen Bug on March 19, 1990. The Bug had a pretty amazing speaker system, my dad had installed it as it was his car before he gave it to me on my 16th bday. He had bought a Delorean and didn’t need the VW anymore! For the record my dad would play Jean-Michel Jarre and Kitaro as we drove in his Delorean down the coastline from San Francisco to Big Sur, and he would tell me how the future of all music would be electronic.

I had graduated high school in 1989, and by 1990 I was completely immersed in my college dreams and getting out of the bay area. This record was the soundtrack to me exploring my future to be. I remember the cassette I bought, it was purchased at Tower Records on El Camino in Mountain View, Calif, now better known as the Silicon Valley. I purchased it on cassette specifically so I could listen to it as I drove around. I had my mall job at Nordstrom, I had my boyfriend in Redwood City, I had my drives over the mountains to Santa Cruz, drives with my dad in his Delorean, (he would play my music). I had my drive in the middle of the night when I would sneak out of my window to meet my friends (“Waiting for the Night”). This album got me into my soon to be adulthood, it gave me the power and the attitude to fearlessly explore myself (“Personal Jesus”), dissolving my insecurities around exploring sexually, (“World in my Eyes”). Interesting fact, Gareth Jones (Depeche Mode, Erasure, Grizzly Bear) would later mix my first EP In the Light . He actually recorded “Stripped,” I didn’t realize that when we covered it. We decided to do a Depeche Mode cover because they’ve always been one of my favorite bands and I don’t think they’ve been given enough credit. When we played a live radio session in for Xray FM in Portland OR, not knowing who they were, EMA the artist was there shadowing the engineer at the studio. We did our “Stripped” cover and Erika (EMA) came running out of the sound booth “OMG, I just opened for Depeche Mode on a world tour, that song is so in me from that tour, I can’t believe you just played it!” I love my connection to them, it feels really magical to me.  – Shana Falana

My vocal style ultimately owes more to Dave Gahan than anyone, probably. That little melodic figure in “Clean,” where he dips low on “…what is in my own *hands*,” I end up accidentally jacking that over and over again in my own songs. When I was nine, “Enjoy the Silence” was all over the radio, and it was the first music ever to give me goosebumps. It didn’t even occur to me that I could get the album and listen to the song whenever I wanted. I somehow thought that buying albums was some rebellious thing only badass teenagers could do, something I couldn’t ask my parents about. I thought my only option was to secretly tape it off the air. So I would wait for long stretches for the song to come on Z100, with this tiny red mini-boombox my parents had, my finger on the record button. I couldn’t catch a full take of the song for weeks, and when my parents saw what I was doing, they offered to take me to Sam Goody and get the tape. I was ecstatic. And I wasn’t even prepared for the other eight pitch-black tracks, every one as gripping as “Enjoy.” – Charlie Looker, Psalm Zero

Violator is one of my personal top 5 albums of all time. I was a kid at summer camp when it came out and one of my friends gave me the tape. I had just moved to a new town, very shy, didn’t know anyone, fighting with my mother and in full pre-teen angst mode so this album could not have been more perfect. It was on repeat that entire summer and fall as I sang along with Dave, out of my vocal range, alone in my room. The unique melodies, progressions and arrangements affected me deeper than I was aware of at the time. The lyrics were for the most part mysterious poetry and it didn’t matter if I understood fully the context. I somehow understood the transmission completely. As a whole album it just flows. These songs lay dormant inside me until I started singing, writing music and playing synthesizers years later. I believe I am unconsciously always striving to create music as deep and interesting and essential as the perfection that is Violator . When I listen now it makes me happy to think about how something so creative and somewhat experimental in pop music became so popular. – Monika Heidemann, Phenomenal Handclap Band

Violator has always been my favorite Depeche Mode record. It felt darker and more dangerous than their previous work yet still sleek and keeping their pop sensibilities in place. Violator was a huge influence on my project with James Dewees, Death Spells.” – Frank Iero, My Chemical Romance

“Silence” is just one of those perfect songs that can’t age. The beat, the lyrics, that haunting vibe that you can’t help but dance to. I remember hearing it for the first time as a kid, my mom blasting it on the car stereo and me just begging her to play it again and again. I think I drove her crazy that summer. – Nicole Mercedes

My first introduction to Depeche Mode was a Depeche Mode 101 VHS lent to me by my geography teacher. I quickly fell in love with the band and their minimal, powerful imagery. Violator was no exception. A truly classic album in every sense of the word. – Matthew “Murph” Murphy of Love Fame Tragedy, frontman of The Wombats

I can’t hear this record without conjuring up images of my parents’ musty basement. Shots of vodka. Cordless telephones. The sentiment of youth. Head out the car window, hair blowing in the breeze down a winding country road. Freedom. It’s sexy nostalgia. Perhaps the perfect make-out record. With an undeniable rhythm that calls to the whole body. Perhaps something I’m always returning to in my own work. – Lou Canon

When I was coming up, I’d go to these new wave dance parties. They always had some dumb name like “Shakin’ To Be” or “Boys Don’t Jive,” that kind of thing. But what’s in a name, you know? What I mean is, whenever they threw one, I was there. For us, they were real-deal heaven, a degenerate Shangri-La, “120 Minutes” with booze and make-outs. It’s where I first heard Violator — more specifically, “Policy Of Truth.” Look, I don’t know if it was drugs or lust or youth, but when you dance to that record in a dark room with someone you really want to kiss, it cracks you in half. And lifts the dust—for a little while anyway. Here’s the thing, if you need it super abridged, listen to :48-1:07. If you’ve got a bit more, listen to 2:54-3:34. But mostly, listen to the whole thing, Side A, Side B, top-to-bottom. When you come back, good and cracked, all this sentimental rambling will make a lot more sense. Or it won’t. Either way, there’ll be a strange ease in your next footstep. Mine, too. – James Alex, Beach Slang

Violator changed everyone’s perception of Depeche Mode, in some ways, it was the beginning for the band. This album gave them a real gravitas, with more provocative, lustful and supposedly filthy subject matters, I think people were shocked into wanting to be that brave and outspoken too. The album stirred people up, the new desire for the band evident in the hysteria and ‘rioting’ at their L.A. signing. This album was the moment their real purpose, importance and worth as Artists’ was cemented. The songs are well-crafted, confidently simple and earnest, and people fed off of that.  – Sarah Palmer, Fassine

From a songwriting perspective,  Violator  taught me the importance of layering melodies, and using sounds differing timbral qualities. There’s this collective feeling of sparseness that sucks you into the rhythm first, but underneath the hood it is this masterpiece of intricate countermelody and syncopation without ever sounding busy. My favorite track is “Policy Of Truth” – it’s one of those songs that can make any house party feel like a darkened gothed-out disco — which is you know,  the only way to disco. – Art d’Ecco

My band played many TV shows in Europe in the mid-80s with DM when they were the Dagenham pop band and I kind of lost focus on them as they moved over to the States. The next time I saw them was in Toronto in 1990 and I expected the gig to be in a big club; but oh no….. they were playing the Violator tour to a sold out 30,000-seater Skydome. It absolutely blew my mind at what a huge sounding, rocking mega-band they had become. And this album’s collection of songs sounded massive!

Lastly on a somber note, I saw them play in London in 2017 and on the way home from the show our train was stopped because of an incident; eventually an hour later we were all marched off and discovered that that was the night that there had been 8 fatal stabbings around London Bridge. Violated!  – Nick Feldman, Wang Chung

I remember my first AIM screen name I ever chose: EnjoyTheSilence. The first time I heard Depeche Mode was on the radio driving through the deserts of Tesuque, New Mexico as a single-digit child. “Enjoy the Silence” came on, and I was completely consumed by the darkness and subdued quality that resonated within the reverb of the Moog synth against Dave Gahan’s voice and Martin Gore’s amazingly tasteful and reserved guitar notes. Fast forward a few years, 1997 – I was in Mazatlan, Mexico with my family and I saw their music video for “It’s No Good” on Mexico’s MTV. I remember taking my dad (for his birthday) to see Dave Gahan play at the Hammerstein Ballroom with my first paycheck I earned working in a musical instrument store as a 16-year-old. A few years later and my dad bought a guitar (he’s a drummer) and I remember teaching him how to play the guitar lead for ‘Home’ on his shiny new candy apple red Strat. If there’s one thing I learned from Martin Gore, it’s that less can be more, and you can get a great deal of connective musical resonance through fewer notes. Here I am, all these years later, and Depeche Mode still affects the way I write music, be it for personal use or professional for composing. – Jesse Zuretti, guitarist of Binary Code and composer for Marvel Entertainment

Violator is an innovative record made by true inventors of the craft. Hearing “Personal Jesus” more and more as time goes by reminds me that no matter what a band may achieve you always have to write a song the way music is made, sitting down with people you ride or die for and creating something together that only the power of the people combined can make. Watching videos of David command the stage is an intense experience – so much swagger and “it” factor, it’s impossible to not fall in love with everything he is. I learn something new every time I watch a Depeche Mode performance or listen to the records. Being a drummer, I’m always drawn to rhythm. The way they use rhythm as a concept on Violator is an unmatched challenge amongst its peers.

Every spot of sonic atmosphere is occupied and for me it always engages every bit of interest. There’s so much to analyze I’m still bowing down to the execution of all these ideas. Violator is truly a defining record of its time and still stands strong and respected today. – Lars Oslund of New Primals

Violator is the album from my teenager years that I know by heart. But only now can I see why it has been such a big influence on me until this day. Only now, looking back to that Lithuania of the 1990s, just before the country’s independence, to my hometown of Panevėžys, where at that time the local “mafia” was higher than any authorities… There was MTV and David Gahan in that king costume, dragging his chair… And there was me, a teenager in his room… In some way this album was like a preparation for our freedom to come. –  Giedrius Kiela, Solo Ansamblis

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  • Song played from tape Kaleid Play Video
  • World in My Eyes Play Video
  • Halo Play Video
  • Shake the Disease Play Video
  • Everything Counts Play Video
  • Master and Servant Play Video
  • Never Let Me Down Again Play Video
  • Waiting for the Night Play Video
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  • Enjoy the Silence Play Video
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dm violator tour

IMAGES

  1. Depeche Mode World Violator Tour Total Live

    dm violator tour

  2. "Everything Counts" (Violator Tour Mix) at Depeche Mode Convention 2022

    dm violator tour

  3. Depeche Mode Violator World Tour Music Concert Poster

    dm violator tour

  4. violator-tour

    dm violator tour

  5. DM Violator with DM Logo Digital Art by Luc Lambert

    dm violator tour

  6. The sweetest perfection: Why Depeche Mode's 'Violator' album remains

    dm violator tour

VIDEO

  1. Techno (Peak Time / Driving)

  2. HELLDIVER 2 W a t c h

  3. Violator

  4. Stripped (Instrumental WWT Live 1990)

COMMENTS

  1. World Violation Tour

    Poster advertising the Depeche Mode concert held in Gothenburg, Sweden. The World Violation Tour was a 1990 concert tour by English electronic group Depeche Mode in support of the act's seventh studio album, Violator, which was released in March 1990. [1] It was estimated that by the end of the tour, Depeche Mode had toured to 1.2 million fans.

  2. Depeche Mode World Violation Tour in Frankfurt 1990 FULL CONCERT

    Depeche Mode World Violation Tour in Frankfurt 1990 Full Concert. Live at Festhalle, 14.10.1990.00:00 Kaleid03:18 World In My Eyes08:26 Halo13:11 Shake The...

  3. Depeche Mode

    The World Violation Tour was a 1990 concert tour by English electronic group Depeche Mode in support of the act's seventh studio album, Violator, which was r...

  4. World Violation Tour

    The World Violation Tour was a 1990 concert tour by English electronic group Depeche Mode in support of the act's seventh studio album, Violator, which was released in March 1990. It was estimated that by the end of the tour, Depeche Mode had toured to 1.2 million fans. The band rehearsed for the tour in Pensacola, Florida, the same city where the tour kicked off. It was the first time the ...

  5. Depeche Mode "World Violation Tour" 1990

    Depeche Mode news, catalogue, discography, lyrics, world tour information, tv shows, books, fanzine, history, discussion, chat, online audio and video. ... HOME COMMUNITY CHAT Catalogue Discography Tours Music: DEPECHE MODE TOURS: Depeche Mode 'World Violation Tour' 1990: Name tour: World Violation Tour. Tour dates: Start: 28 May 1990 / End: 27 ...

  6. Category:1990 World Violation Tour

    The World Violation Tour was an international tour undertaken by Depeche Mode in support of their seventh studio album Violator.. As of September 2023, no film footage or audio from the World Violation tour has been released in an official capacity. Alan Wilder states in a Q&A on the official Recoil project website that, with the release of 1989's 101, the band felt it was too soon to produce ...

  7. Depeche Mode WORLD VIOLATION FULL CONCERT BEST AUDIO!

    Depeche Mode World Violation Full Concert Best Audio available.Buy official Depeche Mode items here: Español: https://amzn.to/2Y6Lj24Deutsch: https://amzn.to...

  8. The World Violation Tour

    World Violation Tour - USA & Canada 1990 Andy Fletcher, Dave Gahan, Martin Gore, Alan Wilder. May 28th, 1990. Civic Centre, Pensacola. no ticket. no setlist. no photos. May 30th, 1990. ... depeche mode dot com | facebook | twitter | instagram. Go back to the top of this page. ...

  9. Video: Depeche Mode shares rare footage of 1990 'Violator' show at

    As we've noted before, pro-shot footage of Depeche Mode's 1990 World Violation Tour long has been a Holy Grail for fans. And while the band itself apparently didn't film the tour, the first of DM's two epic shows at Los Angeles' Dodger Stadium in August 1990 was filmed by the stadium's crew — the tape of which remains in the band's possession.

  10. Depeche Mode's 1990 Concert & Tour History

    Depeche Mode gained prominence in the 1980s with albums like "Black Celebration" and "Music for the Masses." Their 1990 album "Violator" is often seen as a turning point, featuring hits like "Enjoy the Silence" and "Personal Jesus." Through the years, they've continued to evolve their sound while maintaining a dedicated fan base.

  11. Violator

    Violator is the seventh studio album by Depeche Mode. It was released on 19 March 1990 by Mute Records. The album was a commercial success, and regularly features on lists of the greatest albums of all time by publications such as Q, Spin and Rolling Stone. Preceded by singles "Personal Jesus" and "Enjoy The Silence", Violator reached number ...

  12. Depeche Mode Setlist at Dodger Stadium, Los Angeles

    Get the Depeche Mode Setlist of the concert at Dodger Stadium, ... CA, USA on August 4, 1990 from the World Violation Tour and other Depeche Mode Setlists for free on setlist.fm! setlist.fm Add Setlist. Search Clear search text. follow. Setlists; Artists ... Violator 7 Black Celebration 4. Music for the Masses 4. Construction Time Again 1. Some ...

  13. Depeche Mode's 'Violator': Artists on Its Impact

    03/19/2020. David Gahan of Depeche Mode performs live at Nippon Budokan in Tokyo on Sept. 11, 1990. Koh Hasebe/Shinko Music/Getty Images. When Depeche Mode introduced electric guitars into their ...

  14. Violator (album)

    Violator is the seventh studio album by English electronic music band Depeche Mode.It was first released on 19 March 1990 by Mute Records internationally, and by Sire and Reprise Records in the United States.. Preceded by the singles "Personal Jesus" and "Enjoy the Silence" (a top-10 entry in both the United Kingdom and the United States), the album propelled the band into international ...

  15. Depeche Mode

    Depeche Mode - World Violation Tour (1990, Festhalle, Frankfurt, Germany)(1990-10-14)Setlist:01. Kaleid [0:00:00]02. World In My Eyes [0:03:18]03. Halo [0:08...

  16. What was the World Violation tour like? : r/depechemode

    The backdrop of the stage was a massive red rose from the album cover with Depeche Mode and World Violation on either side of the rose 🌹 that dropped to start the show showing 2 big tv screens right and left flashing dm images and vids for the first time. ... Saw the World Violator tour in Phoenix on a very hot July night. Still amazing 🤩

  17. Depeche Mode Average Setlists of tour: World Violation Tour

    2. 1 Encore. 6. This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you. View average setlists, openers, closers and encores of Depeche Mode for the tour World Violation Tour!

  18. When the World Violation Tour came to London

    On this day in 1990, Depeche Mode's World Violation Tour rolled into the UK capital for the first of three nights. Nine months on from the release of Violator, this was the first "home-town" gig for the band after almost half a year on the road. The first two gigs, Monday 19th and Tuesday 20th of November, were quickly sold out and a ...

  19. Depeche Mode

    Violator was the first Depeche Mode album to enter the Top 10 of the Billboard 200, reaching Number 7 and staying 74 weeks in the chart. ... During the last two legs of the tour Depeche Mode headlined a number of festivals including the Coachella Valley Music and Arts Festival and the O 2 Wireless Festival.

  20. Why hasn't Depeche Mode released a concert on video from the ...

    In addition, according to Brat, there exist many, many excellent quality soundboard recordings of the tour, but the band has decided to keep them under wraps because their quality is not on par with 101 or SOFAD Live. I think with time, we will get a legit World Violation live album, but I think we will never get an actual DVD. 6. Anonymous375298.

  21. Depeche Mode

    Setlist:0:00:00 Crucified - Kaleid*0:03:16 World In My Eyes 0:08:31 Halo 0:13:11 Shake The Disease 0:18:24 Everything Counts (Tim Simenon / Mark Saunders Rem...

  22. Review: Depeche Mode light up Kia Forum on Memento Mori tour

    Depeche Mode lit up Kia Forum on their Memento Mori tour. See the recap, photos, and setlist from the December 10, 2023 performance. The electronic icons returned to LA to conclude the third leg ...

  23. Depeche Mode

    Depeche Mode - World Violation Tour 1990 [Audio] 1:45:01; DM Live Violator Tour, Lp. "Policy of truth, Enjoy the silence". 14:29; Lists Add to List. Depeche Mode - Violator Live by larsandrea1969;

  24. Depeche Mode en Madrid: este dúo está muy vivo

    Tras esta parada en Madrid, que se repetirá el jueves 14 de marzo, Depeche Mode atracará en el Palau Sant Jordi de Barcelona el día 16 y en el BEC! de Bilbao el 21 de este mismo mes. EFE