depeche mode final tour

Depeche Mode, Still Mourning, Return With Tour and New Album ‘Memento Mori’

By Kory Grow

During the peak of the pandemic, Depeche Mode ‘s members found themselves simultaneously making sense of Covid’s widespread loss while trying to appreciate life in the moment. Those two themes kept popping up when frontman Dave Gahan and singer and multi-instrumentalist Martin Gore were writing lyrics for what would become their 15th album. They embraced this idea by calling the album Memento Mori .

“The direct translation [for ‘memento mori’] is, ‘Remember that you must die,'” Gahan says via phone from Berlin, a few days before the band’s Tuesday press conference announcing Memento Mori . “A lot of the songs are going into that place of reminding ourselves that our time is fleeting, and you got to make the best of it — in a positive way.” Gore says he first heard the Latin phrase from a friend. “I just thought, ‘What a great album title for the songs that had been written already,'” he says.

Before they could get in the studio, though, the title took on far greater meaning for Gahan and Gore. On May 26, Andy “Fletch” Fletcher, who co-founded Depeche Mode and played synthesizers and bass in the group since 1980, died naturally of an aortic dissection. Did they second-guess the title after Fletch’s death? “I think it cemented it, if anything,” Gore says.

“Obviously, everybody will think that all of the songs were quickly written after Andy died,” Gore continues. “But everything was planned and ready to go. Unfortunately, Andy passed away when he was really looking forward to getting started with us. So I like the idea of ‘memento mori’ in a more positive way, in a ‘Live each day and make the most of your time here.'”

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Even now, the two musicians are still making sense of their bandmate’s absence. “You don’t always get to say goodbye,” Gahan says. “With this, it was just one of those things where all of a sudden, Martin and I are sitting in a pew in a church together, and Fletch is not here anymore, just like that.”

“It’s obviously really hard to lose your closest friend,” Gore says. “Andy was there with me from way before the band and I feel like he was the one in the trenches with me the whole way. So it’s very tough.”

But Gore feels his bandmate would have wanted Depeche Mode to continue. “He was always seen as the glue of the band,” he says. “It would’ve been unthinkable for him to think that his death would’ve caused the end of the band.”

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Gahan and Gore didn’t see each other face to face to work on the album until July. The singer feels that if Fletch were working on the album, he’d have joked, “Can we just stop talking about death?” “I missed that in the studio,” the singer says, “and I know Martin did, too. We felt like he was still there with us.”

The group opened the Berlin event with a short montage, showing close-ups of music gear as echoey, undeniably Depeche Mode music plays in the background. The soundtrack had a throbbing, fuzzy synth bass line and operatic vocals. Eventually, the camera pulled out to show the musicians together in the studio. Eventually, Gahan’s voice enters and he sings, “We know we’ll be ghosts again.”

Neither Gahan nor Gore feel ready to name any of Memento Mori’s song titles — days before the Berlin event, they’re not even quite sure what the final titles are for the musical selections they’re playing — but they say the structure of the album as a whole came together naturally. “To me, it’s got a cinematic quality to it,” Gahan says. “It takes you on a bit of a trip, starting in a place where we’re like, ‘This is my world,’ and ending with, ‘How do I make the most of it?'” The music, Gahan says, sounds melancholy but it’s also braided with hope and joy. The record will likely feature 12 songs with a few saved over as extras for a deluxe edition.

When asked in Berlin if the band will be paying tribute to Fletch on the tour, Gahan said the group was still figuring it out but had zeroed in on some of Fletch’s favorite Depeche Mode songs. “He’ll be there in spirit, I’m sure, judging us,” he said with a laugh.

In another light moment, a journalist asked if the band would ever consider doing an “unplugged” tour. “We can’t really unplug because we’re an electronic band,” Gahan said, chuckling. Gore added, “We can try it with battery packs or something.”

In an unusual move for Depeche Mode, the group will start its Memento Mori tour in North America instead of Europe. “I can’t remember the last time we started in America, if we ever have,” Gore says. “I’m sure we did at some point, but it just seemed like something different to do.” (The European leg will begin May 16. Some of the venues the group next year will play include Madison Square Garden, Chicago’s United Center, Twickenham Stadium and the Stade de France.) The band will return to North America in Sept. 2023 for another round of 29 arena shows.

Until then, they will press forward while continuing to grieve their friend and bandmate’s death. “It was very odd coming to Berlin and coming into a hotel where we have been with Andy many times, and just seeing the bar where we’d often seen sitting,” Gore says. “That was a bit of a reality check. Everything that we’re doing from this point forward is different, so we just have to put our heads down and do the best we can.”

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Watch Depeche Mode play the final Memento Mori show in Cologne

This was Depeche Mode’s first world tour since the passing of bandmate, Andy Fletcher.

Image: Jan Woitas / picture alliance via Getty Images

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Iconic electronica band Depeche Mode have completed their Memento Mori world tour. The show, which you can watch in full below, was an emotionally charged final sendoff at the Lanxess Arena in Cologne, Germany on 8 April.

The tour, spanning 112 shows and captivating over two million fans, commemorated the band’s 15th studio album of the same name and marked their first since the loss of longtime bandmate, Andy Fletcher, in 2022 .

• READ MORE: Producer James Ford on working with Depeche Mode for Spirit: “A lot of it felt like marriage guidance counselling”

The setlist for the memorable Cologne performance featured a blend of classics and newer tracks. From the energy of the 1990-launched Enjoy the Silence to the poignant rendition of World in My Eyes , dedicated to Fletcher, each song carried a weight of significance, considering the band has now been going for a whopping 44 years.

In a recent interview with NME , Depeche Mode members Dave Gahan and Martin Gore shared their thoughts on the future following the conclusion of the tour.

Gore emphasized the importance of creating music that resonates with fans, stating, “The most important thing is to be putting out good music and that people like it.” He outlined their post-tour plans, mentioning a break before considering future projects. “Once we finish this tour we’ll take a break, then we’ll see if and when we feel like doing it again,” Gore explained, highlighting the band’s flexible approach to their creative journey.

Gahan reflected on his own journey, acknowledging his initial reluctance and eventual compulsion to rejoin the group. “That is a good word. It was like that; I was compelled. Just when I thought I was out, they dragged me back in!” he confessed, alluding to the magnetic pull of the band’s camaraderie.

The passing of bandmate Fletcher added a poignant layer to their reflections. “Losing Fletch made that feeling more real. Everything will come to an end. I don’t know when that is.”

Monday’s final show of the tour in Cologne is available to watch in full below:

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A death-defying evening with Depeche Mode

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Forty-two years after the release of their debut album, the members of Depeche Mode — well, the surviving ones — are in on the joke of their somehow having become old guys.

As Dave Gahan, 60, and Martin Gore , 61, played their synth-rock classic “Enjoy the Silence” on Tuesday night at the Kia Forum, images of a bejeweled skull rotated on a wall of video screens behind them; later, Gahan noticed the thousands of glowing smartphones in the crowd and said, “Everybody used to have cigarette lighters, but I guess that’s not a thing anymore.”

That Depeche Mode would still be on the road in 2023 — Tuesday’s concert came just days into a lengthy world tour behind the band’s new studio LP, “Memento Mori” — is no great surprise. Rock nostalgia is a huge business, and right now business is good for Depeche Mode, which three years ago was inducted into the Rock & Roll Hall of Fame and which recently had its late-’80s “Never Let Me Down Again” prominently featured in HBO’s hit “ The Last of Us .” What’s more, echoes of the band’s signature style — sleek but hard-hitting, anxious yet darkly ecstatic — are detectable in music by younger acts like the Weeknd and Halsey, the latter of whom was in the audience at the Forum alongside the many OG types who looked like they’d been at Depeche Mode’s legendary Rose Bowl gig in 1988 .

Yet none of that assured that the group would feel as vital as it did Tuesday in a gutsy two-hour performance that didn’t defy age so much as question what age has to mean. “Memento Mori” follows the unexpected death last year of Depeche Mode’s founding keyboardist, Andy Fletcher, and though the material was written before he died (of an aortic dissection), songs like “Ghosts Again” and “Before We Drown” ponder mortality with the same blend of vulnerability and determination that the group once applied to its thoughts on religion, alienation and sexual obsession. The result, paradoxically, is Depeche Mode’s most alive-sounding album in years.

Andy Fletcher, Depeche Mode co-founder and keyboardist, dies at 60

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Dressed in a suit jacket he slipped off after two songs to reveal a vest with no shirt beneath it, Gahan had a Michael Imperioli-in-“The White Lotus” vibe as he crooned through the moody philosophy of the new LP’s “My Cosmos Is Mine” and “Wagging Tongue.” Gore, who wore an ash-colored jacket printed with more skulls, switched between guitar and keyboards and took over lead vocals for “Soul With Me,” a very pretty ballad from “Memento Mori” about “heading for the ever after.”

Against the throbbing bass and blipping synths of “Ghosts Again,” one of several tracks on the album Gore co-wrote with Richard Butler of the Psychedelic Furs, Gahan twirled across the stage like a goth(-ier) Stevie Nicks — a heartening sign that he and Gore are finding some solace in performing these songs suffused with grief.

As strong as “Memento Mori” is, nobody came to the Forum just to hear new stuff. Rounded out by Christian Eigner on drums and Peter Gordeno on keyboards, Depeche Mode luxuriated in the sensual gloom of oldies including “Walking in My Shoes,” “Precious” and “World in My Eyes,” during which a vintage photo of a young Fletcher appeared on the video screen. “I Feel You” was grinding and lascivious, “John the Revelator” funky and clanging; “A Pain That I’m Used to” rode a morbid disco groove that wouldn’t quit.

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Gahan and Gore began their encore with a bluesy acoustic rendition of “Condemnation” before revving up the chipper synth-pop of the band’s first big hit, “Just Can’t Get Enough.” Then they closed with “Never Let Me Down Again” and the happily inevitable “Personal Jesus,” both pumping with fresh blood you hope for their sake is still in supply by the time this tour circles back to Southern California in December for another six (!) arena dates.

“L.A., let’s see those hands,” Gahan told the crowd as the show reached its emotional climax. He took a moment to admire the sea of waving arms, then added, “It never gets old.”

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Depeche Mode Reveals New Album ‘Memento Mori’ and World Tour, Coming in 2023

By Thania Garcia

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Depeche Mode has returned to unveil a new album, “Memento Mori,” and accompanying tours of North America and Europe, all to kick off next year. The forthcoming album will be the band’s 15th studio effort and its first release since the death in May of founding member and keyboardist Andy “Fletch” Fletcher.

“We started work on this project early in the pandemic, and its themes were directly inspired by that time,” said Depeche Mode’s Martin Gore. “After Fletch’s passing, we decided to continue as we’re sure this is what he would have wanted, and that has really given the project an extra level of meaning.”

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“Memento Mori” will be Depeche Mode’s 15th studio album and the follow-up to 2017’s “Spirit.” While there is no official release date for the set just yet, the band’s reps confirm it will be arriving next spring, via Columbia Records.

The “Memento Mori Tour” is the band’s first in over five years, with their most recent trek being the 2017-2018 “Global Spirit Tour.” The Live Nation-presented tour will begin with a special, limited series of North American arena dates starting in late March, and will culminate in New York’s Madison Square Garden on April 14. After that, the band will head out to Europe for their summer stadium tour.

North American shows kick off in Sacramento, California, in March 2023, and take in a handful of cities in the United States and Canada, culminating in a Madison Square Garden concert on April 14. A huge arena tour of Europe follows. Check out the dates below.

European stadium stops include the Stade de France in Paris, Berlin’s Olympic Stadium, Milan’s San Siro Stadium, and London’s Twickenham Stadium. For further information on the tour routing and ticket on-sale dates, fans can visit depechemode.com. See the full listing of dates, cities and venues below.

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Depeche Mode 140,000 devotees in the Olympiastadion Berlin

Depeche Mode are practically permanent guests in Berlin by now. After an unexpected death of keyboardist and founding member Andy Fletcher in May 2022, the two remaining band members Dave Gahan and Martin L. Gore announced their 15th studio album “Memento Mori” and the accompanying “World Tour” at a press conference in the capital of Germany. After 2009, 2013 and 2017, Depeche Mode found their way back to the Olympiastadion Berlin on July 7th and July 9th, 2023.

Two hot summer evenings awaited the approximately 70,000 visitors in the Olympiastadion. However, no sign of summer sluggishness: everyone celebrated and danced and sang loudly with their idols to old and new hits, which ranged from their debut album “Speak and Spell” (released in 1981) to the aforementioned “Memento Mori” (released in March 2023).

Over 40 years of music history that Gahan and Gore brought to the stage along with their long-time touring members Peter Gordeno (keyboards) and Christian Eigner (drums) and thus excited generations of their fans. Only a handful of artists know how to put a spell on a crowd, and Dave Gahan is one of them. Few words, pure presence and personality. Facial expressions, gestures, dances. Sometimes energetic, sometimes lascivious with circling hips. From the outside, it might seem like Martin Gore is stepping into the background, dedicating himself to his instruments in addition to the backing vocals, but comes out all the more intensively when he performs “Strangelove” in an acoustic version, all alone with his guitar, as he did on the second night. Goosebumps.

Depeche Mode performed for a total of 2 hours and 15 minutes or 23 songs each evening, ending both shows with their evergreen “Personal Jesus”. Just today, the band announced that their Memento Mori World Tour will continue in 2024, performing once again in Berlin.

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Dave Gahan Opens Up on the Decision to Continue Depeche Mode After Andy Fletcher’s Death

"Martin [Gore] and I asked ourselves that question for the first time in all those years," he says as they prep a new album and tour for 2023.

By Robert Levine

Robert Levine

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For months during the pandemic, Gahan and Gore had been trading musical ideas by email. “Martin has a studio in Santa Barbara and he would send something to me and I would sing and send it back to him,” Gahan says, sitting in a chair in a backstage room at an old East Berlin theater, dressed in a black suit that makes him look at home there. “And I would send him ideas – usually just me singing a melody and some lyrics and he would fiddle with it and send it back to me.”

Gahan says they planned to start recording at Gore’s studio, with producers James Ford and Marta Salogni, until “I got the phone call.” Fletcher’s death of an aortic dissection came as a shock. “He’s been in my life for 40-odd years,” Gahan says.

“We had a conversation, me and Martin, and I said to Martin, ‘We have to move forward, don’t we?’ And he said yes, without missing a beat, but I could feel a sense of relief, like he was asking that question, too.”

It was the first time Gahan and Gore had truly faced the future of their band, which in 2020 was inducted into the Rock & Roll Hall of Fame. “This is the first time the two of us broached that question: ‘Do we go on or do we end this now?’” Gahan says. “And we said, ‘Let’s at least make this record.’”

The influential electronic outfit will not replace Fletcher. “It’s going to be hard when we go onstage and there’s an empty space where his setup used to be,” Gahan says. DM will continue to tour with multi-instrumentalist Peter Gordeno and drummer Christian Eigner, who have performed live with the band for decades. And after that? “I’ve seen plans for 2024,” Gahan says.

The album itself, which is due out in March, is “atmospheric – the sounds are really interesting,” Gahan says. Lyrically, it’s about how “everything has to end. We all try to avoid that as much as possible but it’s inevitable.”

Even Depeche Mode itself?

“When Martin and I asked ourselves that question for the first time in all those years – ‘Shall we continue?’ – we both decided to,” Gahan says. “It felt like we still have unfinished business.”

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Depeche Mode Announce 29 Additional North American Dates on the Memento Mori World Tour

New Fall Shows Added in the US, Canada and Mexico

Depeche mode’s first tour in over five years kicks off march 23, 2023 in sacramento, ca.

Following the rapturous reception to their new single “Ghosts Again,”  Depeche Mode  have added a new Fall leg of North American tour dates to the Memento Mori Tour, which will support Memento Mori, their forthcoming studio album due out March 24. With the addition of these 29 new shows, the Rock & Roll Hall of Fame Class of 2020 inductees will now set out on a colossal 75-date tour — their 19th tour and their first in over five years.

The Live Nation-presented tour begins March 23 with a limited North American run featuring stops at New York’s Madison Square Garden, Chicago’s United Center, and Toronto’s Scotiabank Arena. The band will then embark on their European stadium tour on May 16, with noted stops including the Stade de France in Paris, Berlin’s Olympic Stadium, Milan’s San Siro Stadium, and London’s Twickenham Stadium. 

Following the end of the European summer run, the newly added tour dates bring the band back to North America in the Fall, with the tour stopping in Mexico City at Foro Sol before returning to the US and Canada. Newly announced tour stops include Austin’s Moody Center, Vancouver’s Rogers Arena, additional New York City shows at Madison Square Garden and Barclays Center, Seattle’s Climate Pledge Arena and more, and concluding with a multi-night run in Los Angeles at the Kia Forum and Crypto.com Arena.

Pre-sales will kick off with a Fan Pre-sale on Tuesday, February 21, with the general on sale beginning Friday, February 24 at 10am local time. For further information on the tour routing and ticket on-sale dates, please visit  depechemode.com . The full listing of dates, cities and venues is also below. On the Memento Mori Tour, the band will once again be partnering with luxury watchmaker Hublot to support charity endeavors tied to the tour.

Reception to the Memento Mori tour has been overwhelming with shows quickly selling out across Europe and North America, and over 1.5 million tickets already sold for the initial 46 shows. The tour is on track to be one of Depeche Mode’s largest to date and is also well on its way to being one of the largest worldwide tours of 2023. The tour will feature Depeche Mode favorites and rarities, alongside new songs from Memento Mori, including the new single ”Ghosts Again,” which has been heralded as “a melancholic and joyful ode” (Vulture), “hypnotic” (Rolling Stone), and “a gorgeous, haunting song” (Revolver). The beautifully stark and cinematic Anton Corbijn-directed video for “Ghosts Again” released on February 9th can be viewed at  https://depechemode.lnk.to/GhostsAgain . 

Having sold more than 100 million records and played to more than 35 million fans worldwide, Depeche Mode remains an ever-evolving and singularly influential musical force. An indelible inspiration to fans, critics and artists alike, Depeche Mode continues to forge ahead, with the Memento Mori album and tour representing the opening of the newest chapter of a peerless and ongoing legacy. 

Memento Mori World Tour 2023 – Leg One

March 23          Sacramento, CA            Golden 1 Center 

March 25          San Jose, CA                  SAP Center 

March 28          Los Angeles, CA            Kia Forum 

March 30          Las Vegas, NV                T-Mobile Arena 

April 2               San Antonio, TX            AT&T Center 

April 5               Chicago, IL                     United Center 

April 7               Toronto, ON                  Scotiabank Arena 

April 9               Quebec City, QC           Videotron Centre 

April 12             Montreal, QC                Centre Bell 

April 14             New York, NY                Madison Square Garden 

May 16             Amsterdam, NL             Ziggo Dome 

May 18             Amsterdam, NL             Ziggo Dome 

May 20             Antwerp, BE                  Sportpaleis Antwerpen 

May 23             Stockholm, SE               Friends Arena 

May 26             Leipzig, DE                     Leipziger Festwiese 

May 28             Bratislava, SK                 Národný Futbalový Štadión 

May 31             Lyon, FR                            Groupama Stadium

June 2               Barcelona, ES                Primavera Sound Festival 

June 4               Dusseldorf, DE              Merkur Spiel-Arena 

June 6               Dusseldorf, DE              Merkur Spiel-Arena 

June 9               Madrid, ES                     Primavera Sound Festival 

June 11             Bern, CH                        Stadion Wankdorf 

June 14             Dublin, IE                      Malahide Castle 

June 17             London, UK                   Twickenham Stadium 

June 20             Munich, DE                   Olympiastadion

June 22             Lille, FR                          Stade Pierre Mauroy 

June 24             Paris, FR                         Stade de France 

June 27             Copenhagen, DK          Parken 

June 29             Frankfurt, DE                Deutsche Bank Park 

July 1                Frankfurt, DE               Deutsche Bank Park 

July 4                Bordeaux, FR               Matmut Atlantique

July 7                Berlin, DE                     Olympiastadion 

July 9                Berlin, DE                     Olympiastadion 

July 12              Rome, IT                       Stadio Olympico 

July 14              Milan, IT                       San Siro 

July 16              Bologna, IT                   Stadio Renato Dall’Ara 

July 21              Klagenfurt, AT              Wörthersee Stadion 

July 23              Zagreb, HR                    Arena Zagreb 

July 26              Bucharest, RO              Arena Națională 

July 28              Budapest, HU               Puskás Aréna 

July 30              Prague, CZ                     Letňany Airport 

August 2           Warsaw, PL                   PGE Narodowy 

August 4           Krakow, PL                    Tauron Arena

August 6           Tallinn, EE                     Tallinna Lauluväljak 

August 8           Helsinki, FI                    Kaisaniemen Puisto 

August 11         Oslo, NO                       Telenor Arena 

– New dates just added – 

September 21            Mexico City, MX          Foro Sol 

September 29            Austin, TX                      Moody Center 

October 1    Dallas, TX                      American Airlines Center

October 4    Houston, TX                 Toyota Center 

October 7    New Orleans, LA        Smoothie King Center

October 10  Orlando, FL                  Amway Center 

October 12  Miami, FL                      Miami-Dade Arena

October 19  Nashville, TN               Bridgestone Arena 

October 21  Brooklyn, NY               Barclays Center

October 23  Washington, DC         Capital One Arena 

October 25  Philadelphia, PA         Wells Fargo Center 

October 28  New York, NY              Madison Square Garden 

October 31  Boston, MA                  TD Garden

November 3               Montreal, QC              Centre Bell 

November 5               Toronto, ON                Scotiabank Arena

November 8               Detroit, MI                   Little Caesars Arena

November 10             Cleveland, OH             Rocket Mortgage FieldHouse 

November 13             Chicago, IL                    United Center

November 16             Denver, CO                  Ball Arena

November 18             Salt Lake City, UT       Vivint Arena

November 21             Edmonton, AB            Rogers Place 

November 24             Vancouver, BC            Rogers Arena 

November 26             Seattle, WA                  Climate Pledge Arena

November 28             Portland, OR                MODA Center

December 1                Las Vegas, NV             T-Mobile Arena 

December 3                San Francisco, CA       Chase Center 

December 6                San Diego, CA             Pechanga Arena

December 10             Los Angeles, CA          Kia Forum 

December 15             Los Angeles, CA          Crypto.com Arena 

Media Contacts

Depeche Mode:

Steve Martin |  [email protected]

Jillian Condran |  [email protected]

Live Nation Concerts:

Monique Sowinski |  [email protected]

Maya Sarin |  [email protected]

Valeska Thomas |  [email protected]

For further information re: Memento Mori, tour updates and more, please go to  depechemode.com

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Package details and tour production subject to change without notice. Tickets will be distributed based on your elected delivery method. Your merchandise items that are included in the package will be available for pickup at the venue the day of the show at the designated VIP check in location (or other designated location at the venue). Pick up on the date of the event only. CHECK-IN LOCATION & TIME INFORMATION WILL BE EMAILED OUT BY [email protected] 3-5 DAYS PRIOR TO THE DAY OF THE SHOW. If you have not received this 3 days before the show please contact us immediately ( [email protected] ). All packages are NON-REFUNDABLE . All sales are final. You must bring a valid PHOTO ID matching the PURCHASER NAME on this order. Those who cannot present a photo ID matching the PURCHASER name on the order will be turned away. You may be required to sign a waiver & release of liability. If you have any questions regarding the ticket portion of your purchase or have not received your confirmation email, please email [email protected] OR CALL 216-420-2272. Depeche Mode VIP Packages CANNOT BE RESOLD . All package elements will be rendered invalid if resold. Please check with the venue directly for any age restrictions. If you have ACCESSIBLE needs: please call or email our customer service representatives as soon as you have placed your order, and we will do our best to accommodate your needs based on availability. If you have any questions about VIP packages please email [email protected] or call 888-458-8297.

Event Details

Following the rapturous reception to their new single “Ghosts Again," Depeche Mode have added a new Fall leg of North American tour dates to the Memento Mori Tour, which will support Memento Mori, their forthcoming studio album due out March 24. With the addition of these 29 new shows, the Rock & Roll Hall of Fame Class of 2020 inductees will now set out on a colossal 75-date tour — their 19th tour and their first in over five years.

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Depeche Mode

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DEPECHE MODE announce 29 new North American dates on 2023 tour

Depeche Mode have added a new fall leg of North American tour dates to the band's Memento Mori World Tour , which will support Memento Mori , their highly anticipated upcoming studio album due out March 24th. With the addition of the 29 new shows, the revered electronic-rock group — now the duo of Dave Gahan and Martin Gore, following the death of keyboardist Andy "Fletch" Fletcher — have a colossal 75-date trek ahead of them, their first tour in over five years.

Pre-sales will kick off with a Fan Pre-sale on Tuesday, February 21st, with the general public on sale beginning Friday, February 24th at 10 a.m. local time. For more info, swing by depechemode.com .

Memento Mori World Tour 2023 - Leg One: March 23 - Sacramento, CA - Golden 1 Center March 25 - San Jose, CA - SAP Center March 28 - Los Angeles, CA - Kia Forum March 30 - Las Vegas, NV - T-Mobile Arena April 2 - San Antonio, TX - AT&T Center April 5 - Chicago, IL - United Center April 7 - Toronto, ON - Scotiabank Arena April 9 - Quebec City, QC - Videotron Centre April 12 - Montreal, QC - Centre Bell April 14 - New York, NY - Madison Square Garden May 16 - Amsterdam, NL - Ziggo Dome May 18 - Amsterdam, NL - Ziggo Dome May 20 - Antwerp, BE - Sportpaleis Antwerpen May 23 - Stockholm, SE - Friends Arena May 26 - Leipzig, DE - Leipziger Festwiese May 28 - Bratislava, SK - Národný Futbalový Štadión May 31 - Bordeaux, FR - Matmut Atlantique June 2 - Barcelona, ES - Primavera Sound Festival June 4 - Dusseldorf, DE - Merkur Spiel-Arena June 6 - Dusseldorf, DE - Merkur Spiel-Arena June 9 - Madrid, ES - Primavera Sound Festival June 11 - Bern, CH - Stadion Wankdorf June 14 - Dublin, IE - Malahide Castle June 17 - London, UK - Twickenham Stadium June 20 - Munich, DE - Olympiastadion June 22 - Lille, FR - Stade Pierre Mauroy June 24 - Paris, FR - Stade de France June 27 - Copenhagen, DK - Parken June 29 - Frankfurt, DE - Deutsche Bank Park July 1 - Frankfurt, DE - Deutsche Bank Park July 4 - Lyon, FR - Groupama Stadium July 7 - Berlin, DE - Olympiastadion July 9 - Berlin, DE - Olympiastadion July 12 - Rome, IT - Stadio Olympico July 14 - Milan, IT - San Siro July 16 - Bologna, IT - Stadio Renato Dall'Ara July 21 - Klagenfurt, AT - Wörthersee Stadion ' July 23 - Zagreb, HR - Arena Zagreb July 26 - Bucharest, RO - Arena Națională July 28 - Budapest, HU - Puskás Aréna July 30 - Prague, CZ - Letňany Airport August 2 - Warsaw, PL - PGE Narodowy August 4 - Krakow, PL - Tauron Arena August 6 - Tallinn, EE - Tallinna Lauluväljak August 8 - Helsinki, FI - Kaisaniemen Puisto August 11 - Oslo, NO - Telenor Arena

New dates just added: September 21 - Mexico City, MX - Foro Sol September 29 - Austin, TX - Moody Center October 1 - Dallas, TX - American Airlines Center October 4 - Houston, TX - Toyota Center October 7 - New Orleans, LA - Smoothie King Center October 10 - Orlando, FL - Amway Center October 12 - Miami, FL - Miami-Dade Arena October 19 - Nashville, TN - Bridgestone Arena October 21 - Brooklyn, NY - Barclays Center October 23 - Washington, DC - Capital One Arena October 25 - Philadelphia, PA - Wells Fargo Center October 28 - New York, NY - Madison Square Garden October 31 - Boston, MA - TD Garden November 3 - Montreal, QC - Centre Bell November 5 - Toronto, ON - Scotiabank Arena November 8 - Detroit, MI - Little Caesars Arena November 10 - Cleveland, OH - Rocket Mortgage FieldHouse November 13 - Chicago, IL - United Center November 16 - Denver, CO - Ball Arena November 18 - Salt Lake City, UT - Vivint Arena November 21 - Edmonton, AB - Rogers Place November 24 - Vancouver, BC - Rogers Arena November 26 - Seattle, WA - Climate Pledge Arena November 28 - Portland, OR - MODA Center December 1 - Las Vegas, NV - T-Mobile Arena December 3 - San Francisco, CA - Chase Center December 6 - San Diego, CA - Pechanga Arena December 10 - Los Angeles, CA - Kia Forum December 15 - Los Angeles, CA - Crypto.com Arena

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• France - Monde
• Elections législatives 2024

Élections législatives dans le Lot : qui est candidat ?

l'essentiel La campagne a débuté pour les candidats aux élections législatives anticipées, suite à la dissolution. Dans le Lot, certains sont déjà décidés, d’autres attendent l’investiture de leur parti, d’autres hésitent. Pour certains, c’est aussi silence radio.

Le téléphone n’en finit pas de sonner chez les parlementaires sortants et les aspirants du Lot. Après le coup de théâtre de dimanche soir, il a fallu se décider très vite alors que les tractations entre les différents partis politiques vont bon train, ce mardi. Alors qui ira ? Qui n’ira pas ?

Huguette Tiegna

La députée Renaissance sortante attend la confirmation du parti mais déjà, elle se tient prête à repartir. " Je repars, c’est clair. Je suis prête à aller redemander la confiance des Lotois ", nous confie-t-elle. " Ma motivation est de continuer à défendre mes valeurs humanistes. Au lendemain du constat des législatives, il faut une forme d’union pour les préserver. On dit souvent qu’il fait bon vivre dans le Lot où le résultat de la majorité est plutôt positif mais il ne faut pas laisser nos acquis aux mains des aventuriers. Le RN n’a aucun bilan dans le Lot. En bon républicain, il faut trouver une solution. J’ai déjà remis mes baskets et je cours pour cette campagne qui s’annonce comme un sprint. Ce n’est pas le moment de quitter le navire. Macron a décidé de redonner la parle aux citoyens car depuis 2022, les choses n’avancent pas vraiment sans majorité absolue. J’expliquerai à ceux qui n’ont pas compris".

A lire aussi : Élections européennes : Jordan Bardella en tête, les réactions des élus du Lot

Aurélien Pradié

Le député LR sortant n’a répondu à aucune de nos sollicitations depuis dimanche soir. Mais sur Twitter, le député a publié des messages qui sous-entendent une nouvelle candidature. " Chers Lotois, avec vous. Plus que jamais. Pour longtemps", ce lundi suivi d’une photo de sa 4L blanche qu’il avait utilisé lors de sa dernière campagne en 2022 indiquant qu’elle se tenait " prête ". Pour rappel, Aurélien Pradié avait été élu avec 64 % des suffrages lors de ces dernières élections sur la circonscription de Cahors.

Chers Lotois, avec vous. Plus que jamais. Pour longtemps. pic.twitter.com/4Do7sra2E7 — Aurélien Pradié (@AurelienPradie) June 10, 2024

Thierry Grossemy

Il était candidat pour la Nupes sur la 2eme circonscription en 2019. À l’issue d’un deuxième tour très serré, il avait finalement perdu de 127 voix face à Huguette Tiegna.

" Des discussions sont en cours pour un rassemblement, mais sur le programme de la NUPES. Personnellement, je souhaite un accord. Celui qui sera contre, portera la responsabilité de faire élire le Rassemblement national. Car, cette fois, ce n’est pas comme en 2022, on risque d’ouvrir la porte à l’extrême droite. Dans ce contexte et ces conditions, j’attends que les forces de gauche s’accordent. Ensuite, nous verrons quel sera le candidat. Je respecterai l’accord national, j’espère que le PS fera de même cette fois-ci. Car, certains sont d’accord pour un rassemblement de la gauche, mais derrière eux ! Le PS n’est plus hégémonique à gauche. Je rappelle qu’en 2022 c’est le maintien de Christophe Proença au 2e tour qui a permis de faire élire Huguette Tiegna (députée de la majorité présidentielle). J’avais l’avance dès le 1er tour, et au second tour, dans une triangulaire, il me manque 126 voix seulement pour remporter l’élection. Il ne faut pas que cela se reproduise. On se rassemble derrière le candidat qui peut gagner. J’ai la légitimité pour être le candidat. Le PS doit nous laisser la place, il faut qu’il le comprenne. "

A lire aussi : CARTE. Élections européennes 2024 : quels résultats dans les communes du Lot ? Découvrez-le dans notre carte interactive

Elsa Bougeard

Elle avait été positionnée par la Nupes sur la 1ère circonscription et s’était inclinée face à Aurélien Pradié avec 35 % des voix.

" On suivra l’accord national de façon très disciplinée et on espère avoir un candidat unique. Sinon, on court à la catastrophe. On voit bien ce qu’a donné le résultat des élections européennes, sans union de la gauche. Tous les militants sont en ordre de bataille. S’il y a bien un accord en tout cas, ce qui me paraît logique c’est que les deux candidats de la Nupes repartent. La logique voudrait donc que je sois candidate sur la 1ere circonscription mais je ne m’affirme pas encore comme telle officiellement, on ne peut pas préjuger de ce qui va se passer. En tout cas, je suis prête. Dès lundi matin, nous avons collé nos affiches. Et nous encourageons tout le monde à participer aux manifestations contre l’extrême-droite, ce week-end".

A lire aussi : Européennes 2024 : c’est dans le Lot que Bardella est le moins bien élu d’Occitanie et Glucksmann le mieux élu d’Occitanie

Rémi Branco

Le vice-président PS du Département a aussi annoncé qu’il repartait dans la course. " L’heure est grave, le RN avec la complicité du parti LR est à deux doigts de prendre le pouvoir. L’heure n’est plus aux questions de personne. Je mettrai quoi qu’il arrive toutes mes forces dans la bataille pour faire gagner le nouveau front populaire de gauche qui est la seule solution pour battre le RN ", nous déclare-t-il.

Christophe Proença

Il n’a pas répondu à nos questions. Le vice-président du Département s’était retrouvé dans le trio final en 2022 sur la circonscription de Figeac avec 32,06 % de voix le plaçant ainsi en troisième place.

Et le RN ?

Vainqueur du scrutin des européennes, le RN ne se privera pas d’envoyer des candidats sur les deux circonscriptions du Lot. Gérard Blanchet, le délégué départemental, n’était pas en mesure de nous donner trop de précisions, ce mardi, soulignant que " les tractations étaient en cours à la direction nationale du parti". Sera-t-il lui même candidat ? Impossible de le dire à l’heure actuelle. Les candidates positionnées en 2022 à savoir Cendrine Couturier sur la 1ère circonscription et Armelle Le Gloannec sur la 2nde circonscription vont-elles repartir ? Impossible de l’affirmer.

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A catus46 et d'autres... Evidemment qu'il y aura un candidat R.N. Mais comme le R.N. a les mêmes idées que Macron, il n'y aura pas de différence pendant 2 ans... Après l'assainissement arrivera avec le sociétal mis de côté...

J'espère qu'à Cahors il y aura un candidat RN.

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Sarah McLachlan Is Resurfacing

The Canadian songwriter became a superstar through a series of defiant decisions. After slowing down to be a single mother, she has returned to the stage and studio.

Sarah McLachlan is on tour celebrating “Fumbling Towards Ecstasy,” the 1993 album that turned her into an avatar for the sensitive, mysterious singer-songwriters of ’90s radio. Credit... Alana Paterson for The New York Times

Supported by

By Grayson Haver Currin

Reporting from Vancouver, British Columbia

• Published May 30, 2024 Updated May 31, 2024

Sarah McLachlan was just 30 hours from beginning her first full-band tour in a decade, and she could not sing.

She was in the final heave of preparation for eight weeks of shows stretching through late November that commemorate “Fumbling Towards Ecstasy,” the sophisticated 1993 album that turned her into an avatar for the sensitive, mysterious singer-songwriters of ’90s radio. But three days into a string of seven-hour rehearsals, her voice collapsed, the high notes so long her hallmark dissolving into a pitchy wheeze.

So onstage in a decommissioned Vancouver hockey arena, a day before a sold-out benefit for her three nonprofit music schools, McLachlan only mouthed along to her songs, shaking her head but smiling whenever she reached for a note and missed.

“It only goes away when I project, push out,” she said backstage in a near-whisper following the first of the day’s mostly mute run-throughs. She slipped a badge that read “Vocal Rest” around her neck and winked. “Luckily, that’s only a third of what I do.”

For the last two decades, McLachlan, 56, has contentedly receded from the spotlight and the music industry she helped reimagine with the women-led festival Lilith Fair . Since 2008, she has been a single mother to India and Taja, two daughters from her former marriage. With rippling muscles that suggest a lean triathlete, she is now a devoted surfer, hiker and skier who talks about pushing her body until it breaks. Though she writes every morning, waking up with a double espresso at the piano in her home outside Vancouver, she has focused on motherhood and the Sarah McLachlan School of Music , offering free instruction to thousands of Canadian children since 2002.

A few years ago, she finished a set of songs about a pernicious breakup but reckoned the world didn’t need them; she hasn’t released an album of original material since 2014. “What do I want to talk about?” she said months earlier during a video interview from her home, swaying in a hammock chair. “I’m just another wealthy, middle-aged white woman.”

McLachlan, though, now may be on the verge of a renaissance. She is amassing a $20 million endowment for her schools, and exhaustive interviews for a Lilith Fair documentary just wrapped. In a year, her youngest, Taja, will head to college. For the second time, McLachlan’s life is opening toward music.

While revisiting her catalog to build this two-hour concert, which begins with a clutch of personal favorites before pivoting into a muscular interpretation of “Fumbling Towards Ecstasy,” she flew to Los Angeles for multiple sessions with the producer Tony Berg, who has worked with Phoebe Bridgers and Aimee Mann. She has cut at least a dozen songs there, including a gently psychedelic cover of Judee Sill’ s “The Kiss.” She has more to write. “I’m so energized by music, now that I’m living and breathing it every moment,” she said. “It’s a very different feeling.”

During the day’s second rehearsal, however, she tempered her enthusiasm with tacit worry about her voice. She told her tour manager that Taja would soon be backstage, probably with a prednisone prescription. “Mom, I’m already here,” the 16-year-old screamed, 20 rows back in an otherwise empty arena. “I have your medicine! Do you want it?”

McLachlan couldn’t hear her. She nodded to her band and started a song called “Fallen,” humming to herself.

DURING SUMMER BREAK between sixth and seventh grades, McLachlan’s friends in Nova Scotia labeled her a lesbian. She had indeed kissed another girl, practicing for a boy. She instantly became a pariah, a middle-class kid from a conservative family surrounded by wealthy bullies.

“I became poison. Then they started calling me ‘Medusa,’ because I had long, curly hair,” she said. “There was physical abuse, too. I thought, ‘I am on my own.’”

There was little quarter at home. McLachlan was the youngest of three adopted children that she said her father never wanted. Since he tormented her older brothers, her mother — unhappy with marriage, depressed by circumstance — responded to her daughter with equal disdain, ensuring everyone was miserable. “I didn’t have a relationship with my father, because my mother wouldn’t allow it. If I showed him any attention, she wouldn’t speak to me for a week,” McLachlan said, lips pursed.

Music, however, became her refuge. She graduated from ukulele at 4 to classical guitar at 7 after the family moved to the provincial capital. She struggled in school, skipping class to hide in the empty gymnasium and play piano there. Though she despised the hard stares and high expectations of recitals, she begged to join a band. Her parents relented to a few hours of Sunday practice. The group’s first show, for several hundred dancing kids in a student union, was transformational.

“I was being seen, and I was being accepted,” she said. “It was the first time I felt that way.”

That night’s headlining act included Mark Jowett, who was then running a small label, Nettwerk, in Vancouver. Stunned by McLachlan’s voice and verve, Jowett urged her to move west and start writing songs. Her parents insisted she finish high school and college. Soon after meeting the label’s co-founder Terry McBride, she defied them, anyway. They barely spoke for two years. “She was green but really disarming,” said McBride, McLachlan’s manager until 2011, in an interview. “Her ambition was to get out.”

McLachlan soon cut a ponderous debut informed by the folk of her youth — Cat Stevens, Simon and Garfunkel, Joan Baez. Jowett and McBride wanted a producer to push her. When they asked Pierre Marchand, who had worked with the Canadian folk royalty of Kate and Anna McGarrigle, what he’d do with McLachlan’s music, he seemed flippant, saying he’d find out in the studio. “My manager was like, ‘I don’t like this guy.’ But I’m like, ‘I love this guy,’” she recalled. “It was all about exploration.”

The pair decamped to the New Orleans studio of the iconoclastic producer Daniel Lanois, where their professional relationship turned physical. (“We wrote a lot of songs naked,” Marchand admitted, laughing.) That intimate bond proved critical when an ascot-sporting representative from McLachlan’s American label, Arista, stopped by to listen. When he didn’t hear a marketable single, they didn’t capitulate. They told him to leave.

“It was a defining moment for me in deciding how I wanted to control my future,” McLachlan said. “I thought, if this is what being famous and successful means, to compromise this thing that feels so important, I don’t want it.”

They gambled correctly. The success of “Solace,” McLachlan’s second album, drifted from Canada into the United States, where it was released in 1992, buying her and Marchand good will. They spent a year and a half in a studio in the Quebec countryside, McLachlan often walking home by moonlight while Marchand built late-night loops and atmospheres. The result, “Fumbling Towards Ecstasy,” remains an uncanny singer-songwriter record, her frank observations on betrayal, friendship and lust warped by his outré sensibilities. “I like it when it’s complex, when there’s not one feeling,” Marchand said. “It’s like a person.”

Marchand and McLachlan added the layered grandeur of U2 and the supple strength of Depeche Mode to these testimonials of yearning and loss. Critics lauded it as smart and sensual. Sales were stronger still: It went quintuple-platinum in Canada and sold more than three million copies stateside.

“I was in a punk band listening to a lot of hardcore — and, strangely, Sarah McLachlan,” said Leslie Feist , the Canadian songwriter who will open the U.S. leg of McLachlan’s tour. “I could hear her power, but it was being expressed more fluidly. It wasn’t about aggression. It was about conviction.”

As McLachlan’s profile grew, letters from stalkers mounted at Nettwerk’s offices, especially from an Ottawa programmer named Uwe Vandrei. They met once, and he slipped her a scarf. But after she read one of his pleas, she asked not to see more. Still, in the album’s opener, “Possession,” where bass pulses and guitars radiate above droning gothic organs, she worked to mirror his mind, to articulate his misplaced passions. When it became a hit, he sued, alleging McLachlan had lifted his words. Vandrei died before trial.

“I felt a strange sense of relief,” McLachlan said haltingly. “But then I thought, ‘Oh my God, this is somebody’s son. Should I have tried to reach out? Tried to talk some sense into him?’”

The success of “Fumbling” — and the draining circus that followed, including conspiracy theories about label involvement in Vandrei’s death — helped spur McLachlan’s most historic defiance. She demanded to not headline every show, to be partnered with acts who could share celebrity’s weight. Promoters balked at the idea that women could carry such a docket, rankling McLachlan. She named a genre-jumping touring festival for Lilith, a woman repeatedly lambasted in sacred texts. Lilith Fair not only dominated the summer concert scene of the late ’90s but showed onlookers and executives that women were not music’s second-class citizens.

“I busked outside of Lilith and applied when I was 16,” said the singer-songwriter Allison Russell , who made her onstage debut by performing McLachlan’s “Mary” alongside high school friends in Montreal. “She changed the landscape for women. She resisted what everyone told her she had to do.”

When McLachlan was the kid being bullied at school or alienated at home, music made her feel valuable. After her hit-laden 1997 album “Surfacing” (“Building a Mystery,” “Adia”) and Lilith Fair, it had also made her wealthy and famous, affording her a family and an activist legacy. She no longer needed the spotlight’s validation, getting it instead from her daughters and dogs, her music school and morning music practice. Her career steadily slowed, with more years passing between albums and her experimental ardor fading. She didn’t mind.

“I’m a middle-aged woman. You kind of became invisible,” she said, leaning in with a wide grin. She whispered: “And I really like that.”

THE ENCORE BREAK on McLachlan’s new tour is brief, maybe 40 seconds. At her benefit show in Vancouver, soon after the band faded from the title finale of “Fumbling,” McLachlan slipped through a black curtain and rushed to her polished Yamaha grand. She’s making a new record, she told the crowd, and she wanted to try a song alone: “Gravity,” her balletic ode to perseverance, to letting others lift you. If McLachlan discarded an album of breakup songs, this is a hymn for what comes after.

It is also a fitting prelude for “Angel,” the poignant 1997 ballad that became a maudlin punchline after scoring a commercial for the Society for the Prevention of Cruelty to Animals.

“I see it at the end of the day, and it’s like, ‘Hi, I’m Sarah McLachlan, and I’m about to ruin your day,’” she said of filming the commercial as a favor. “But that’s just not me.”

Before “Adia,” McLachlan told the audience she never explained that song, because it immortalized her taboo transgression — ruining a relationship by dating her best friend’s ex. “We needed to part ways for a while,” she said. “And I swear it was the hardest breakup I’ve ever been through.”

But they fixed the friendship, which has since endured divorces, children and new love. For years, that friend, Crystal Heald, urged McLachlan to take “Fumbling” on tour. “Thank goodness she forgave me,” McLachlan continued.

McLachlan is candid about her prospects. Relevance, she admitted, is a young person’s game that she has long resisted. She’ll be at least 57 by the time she releases new music, and she knows most people only like the old stuff. Still, when she told her forgiveness tale, the arena erupted with a wave of recognition for bygone mistakes and second chances, for comebacks. Her audience has aged with her; stepping back into the spotlight, she is ready to have that conversation.

“I didn’t talk for the first 10 years of my shows. When the music was happening, I knew what I was doing. Take the music and my voice, and I’m 12 again,” she said two months before stepping onstage. “But in the last 10 years, I say whatever comes to mind. I feel more freedom daily to be who I am.”

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