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[Live Review] Depeche Mode Kicks Off The ‘Delta Machine Tour’ At The DTE Energy Music Theater

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Last night I went to the DTE Energy Music Theater (forever known in my heart as Pine Knob) to see music legends Depeche Mode kick off their N. American “Delta Machine” headline tour. The band, whose influences have stretched beyond what any one can calculate, are known as the most successful electronic group in the world, with over 100 million worldwide album sales. But more importantly, they are a band that I love and, until last night, had never seen live before. And with that experience now firmly tucked under my belt I wanted to share my thoughts on the show.

Make sure to check out my review of the band’s latest album Delta Machine here.

The night opened up with UK indie pop artist Bat For Lashes, an artist that I was also highly keen on seeing. Singer Natasha Khan’s ethereal voice hovered over the crowd, entrancing the audience as the group played through such tracks as “Laura”, “All Your Gold”, and “Daniel”. Unfortunately I missed the first few songs of her set, something I sorely regret. The group puts on a hypnotic show and I eagerly await their return.

Then came Depeche Mode. When the lights went down announcing the entrance of the group, the Detroit audience, comprised of adults, teenagers, and adults with their teenage children, burst into a massive roar. The group came out to a seizure-inducing amount of cellphone camera flashes, immediately entering “Welcome To My World”. Each member stoically stood their ground, their presence pulsating outwards with every beat. Singer Dave Gahan began sliding and sinuating his way around the stage, his vocals soaring into the open. The song ended with the audience erupting wildly, their joy and excitement palpable.

The band then weaved their way through the years of their music, from some of their earliest work (“Just Can’t Get Enough”) to their newest material (“Heaven”, “Soothe My Soul”, “Angel”, “Should Be Higher”) and everything in between. The night was a celebration of the band and their history, a way to connect to audiences, new and old.

Gahan’s seductive sways and savage pelvic thrusts elicited moans and screams of wonton lust. More than once, the three women in front of me grasped each other as they watched him gyrate back and forth. And when Martin Gore took the center stage to sing “Higher Love” and “But Not Tonight”, the audience ate it up, pouring out their love for him with waves of appreciation.

The stage show was fantastic, the back video screen a huge, slightly misshapen Star Of David that featured ultra crisp visuals (ranging from adorable dogs during “Precious” to a Clive Barker-esque mass of bodies during “Enjoy The Silence”). There were five light fixtures that raised and lowered throughout the night, bright bulbs that spelled “D M” on the edge.

The sound was almost perfect but there were times when I couldn’t hear Martin Gore’s guitar work (something I’m very fond of). Interestingly I could understand nearly everything Gahan sang but his chatter between songs was far less coherent.

My personal favorites of the show were “Precious”, which is one of my favorite tracks from one of my favorite albums (Playing The Angel), and “Enjoy The Silence”, which saw the crowd interacting and moving in a way I’d never seen before. Tens of thousands of arms waved back and forth as people sang at the top of their lungs. It was clear that the band was thriving on this, each of them wearing huge smiles as they saw their work loved and lauded by so many.

And speaking of the audience, thought it was only the first night, I am very comfortable in saying that Detroit has set the bar very high for the rest of the tour. The crowd was unbelievably present as they cheered, sang, screamed, clapped, danced. More than once I looked around and was just blown away by the sights of these people entirely lost in the moment.

I have been to more concerts than I can count and this easily stands as the best. While the group may be most known for the work in the 80’s, last night Depeche Mode proved that their work is timeless and will resonate and connect with people throughout time.

Depeche Mode live at DTE Energy Music Theater set list:
Welcome to My World
Angel
Walking in My Shoes
Precious
Black Celebration
Policy of Truth
Should Be Higher
Barrel of a Gun
Higher Love (Sung by Martin)
But Not Tonight (Acoustic; Sung by Martin)
Heaven
Soothe My Soul
A Pain That I’m Used To (‘Jacques Lu Cont’s Remix’ version)
A Question of Time
Enjoy the Silence
Personal Jesus

Encore:
Home (Acoustic)
Halo (‘Goldfrapp Remix’ version)
Just Can’t Get Enough
I Feel You
Never Let Me Down Again

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Managing editor/music guy/social media fella of Bloody-Disgusting

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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