choisir - choose

Devotional Tour

1993

premier et dernier concerts

19.05.1993 Lille, France Espace Foire

20.12.1993 Londres, Angleterre Wembley Arena

legs de la tournée

Europe 1993
Canada, USA & Mexico 1993
Ireland & United Kingdom 1993

pays visités

Allemagne, Angleterre, Autriche, Belgique, Canada, Danemark, Espagne, France, Hollande, Hongrie, Irlande, Italie, Mexique, Portugal, République Tchèque, Suède, Suisse, USA

musiciens sur scène

Alan Wilder

Dave Gahan

Martin Gore

Andrew Fletcher

Samantha Smith

Hildia Campbell

informations générales

époque

Devotional Era

en chiffres

audience de la tournée

1.908.774 spectateurs potentiels

1.851.511 spectateurs estimatifs

concerts et géographie

97 concerts

18 pays visités

83 villes visitées

84 lieux visités

8 concerts annulés

chansons et périodes

24 chansons jouées

1800 titres interprétés

histoire

Si l'album Songs Of Faith And Devotion constitue une rupture presque irréelle dans l'univers sonore du groupe, la tournée, elle, perpétue la tradition du gigantisme scénique : écrans géants, choristes, projections, jeux de lumière.

Conçue à nouveau par Corbijn, on atteint cette fois-ci des sommets dans la présentation du groupe, sommets qui ne seront plus jamais atteints par la suite.

Le groupe commence par l'Europe avec une série de concerts grand format. Deux dates au Forest National de Bruxelles (une première), une cohorte de dates en Allemagne, en France, en Espagne, en Italie, et en Scandinavie.

Ce leg se termine le 31 juillet par un concert mythique au Crystal Palace Bowl, à Londres, objet d'un enregistrement radio où on découvre un Gahan survolté, dans une prestation extraordinaire.

S'en suit une tournée aux Etats-Unis, au Canada et au Mexique. A noter deux dates au Madison Square Garden en Septembre, et surtout cinq (CINQ !) dates de suite au Forum de Los Angeles, qui seront suivies en fin de tournée par deux concerts à guichets fermés au Sports Palace de Mexico, pays que le groupe n'avait jamais encore visité, mais qui a visiblement succombé comme tout le monde à leur musique.

Quelques dernières dates 'at home' en décembre viendront finaliser ce Devotional Tour avant la deuxième partie de la promotion de l'album Songs Of Faith And Devotion, l'année suivante.

liste des dates

Europe 1993

19.05.1993 Lille, France Espace Foire

21.05.1993 Zurich, Suisse Hallenstadion

24.05.1993 Bruxelles, Belgique Forest National

25.05.1993 Bruxelles, Belgique Forest National

27.05.1993 Copenhague, Danemark Copenhagen Forum

28.05.1993 Goteborg, Suède Scandinavium

29.05.1993 Stockholm, Suède Globen

31.05.1993 Hannovre, Allemagne Garbsen

01.06.1993 Rotterdam, Hollande Ahoy

03.06.1993 Lausanne, Suisse Patinoire Malley

04.06.1993 Milan, Italie Forum di Assago

07.06.1993 Rome, Italie Palaghiaccio

08.06.1993 Florence, Italie Palasport

10.06.1993 Nancy, France Nancy Zenith

11.06.1993 Nuremberg, Allemagne Frankenhalle

12.06.1993 Mannheim, Allemagne Maimarkthalle

14.06.1993 Dortmund, Allemagne Westfalenhallen

15.06.1993 Dortmund, Allemagne Westfalenhallen

16.06.1993 Berlin, Allemagne Waldbuhne

18.06.1993 Prague, République Tchèque Letna Stadion

19.06.1993 Leipzig, Allemagne Festwiese Am Zentralstadion

21.06.1993 Munich, Allemagne Olympiahalle

23.06.1993 Vienne, Autriche Vienna Stadthalle

25.06.1993 Stuttgart, Allemagne Martin Schleyer Halle

26.06.1993 Lyon, France Halle Tony Garnier

29.06.1993 Paris, France Palais Omnisports de Bercy

30.06.1993 Paris, France Palais Omnisports de Bercy

03.07.1993 Brest, France Parc Penfeld

05.07.1993 Bordeaux, France Patinoire Meriadeck

07.07.1993 Toulon, France Zénith Omega

10.07.1993 Porto, Portugal Antas Stadium

11.07.1993 Lisbonne, Portugal Alvalade Stadium

13.07.1993 Pontevedra, Espagne Estadio Pasaron

15.07.1993 Madrid, Espagne Plaza De Toros Las Ventas

17.07.1993 Barcelone, Espagne Palau Sant Jordi

21.07.1993 Francfort, Allemagne Festhalle

22.07.1993 Cologne, Allemagne Sporthalle

24.07.1993 Zeebruges, Belgique Belga Beach Festival

27.07.1993 Budapest, Hongrie MTK Stadium

29.07.1993 Lievin, France Stade Couvert Régional

31.07.1993 Londres, Angleterre Crystal Palace Sports Ground

Canada, USA & Mexico 1993

07.09.1993 Quebec, Canada Coliseum

08.09.1993 Montreal, Canada Montreal Forum

10.09.1993 Worcester (MA), USA Centrum

12.09.1993 Landover (MD), USA Capital Centre

14.09.1993 Hamilton, Canada Copps Coliseum

15.09.1993 Toronto, Canada Sky Dome

17.09.1993 Pittsburgh (PA), USA Civic Centre

18.09.1993 Philadelphie (PA), USA The Spectrum

21.09.1993 East Rutherford (NJ), USA Meadowlands Arena

23.09.1993 New York (NY), USA Madison Square Garden

24.09.1993 New York (NY), USA Madison Square Garden

25.09.1993 Uniondale (NY), USA Nassau Coliseum

27.09.1993 Hampton (VA), USA Hampton Coliseum

28.09.1993 Chapel Hill (NC), USA Dean Smith Coliseum

29.09.1993 Atlanta (GA), USA Omni Coliseum

01.10.1993 Gainesville (FL), USA O Connell Centre

02.10.1993 Miami (FL), USA Miami Arena

03.10.1993 Saint Petersbourg (FL), USA Sun Coast Dome

05.10.1993 Orlando (FL), USA Orlando Arena

08.10.1993 Nouvelle Orleans (LA), USA UNO Lakefront Arena

10.10.1993 Houston (TX), USA The Summit

11.10.1993 Houston (TX), USA The Summit

13.10.1993 Dallas (TX), USA Reunion Arena

14.10.1993 Dallas (TX), USA Reunion Arena

15.10.1993 Austin (TX), USA Frank Erwin Centre

17.10.1993 Saint Louis (MO), USA St Louis Arena

19.10.1993 Milwaukee (WI), USA Bradley Center

20.10.1993 Champaign (IL), USA Assembly Hall

22.10.1993 Detroit (MI), USA The Palace of Auburn Hills

23.10.1993 Detroit (MI), USA The Palace of Auburn Hills

26.10.1993 Cleveland (OH), USA Richfield Coliseum

28.10.1993 Chicago (IL), USA Rosemont Horizon

29.10.1993 Chicago (IL), USA Rosemont Horizon

30.10.1993 Minneapolis (MN), USA Target Centre

02.11.1993 Denver (CO), USA McNichols Arena

04.11.1993 Salt Lake City (UT), USA Delta Centre

06.11.1993 Vancouver, Canada Pacific Coliseum

07.11.1993 Seattle (WA), USA Seattle Coliseum

08.11.1993 Portland (OR), USA Oregon Coliseum

12.11.1993 San Jose (CA), USA San Jose Arena

13.11.1993 Oakland (CA), USA Oakland Coliseum

14.11.1993 Sacramento (CA), USA Arco Arena

16.11.1993 San Diego (CA), USA San Diego Sports Arena

18.11.1993 Phoenix (AZ), USA Veterans Memorial Coliseum

20.11.1993 Los Angeles (CA), USA Los Angeles Forum

21.11.1993 Los Angeles (CA), USA Los Angeles Forum

23.11.1993 Los Angeles (CA), USA Los Angeles Forum

24.11.1993 Los Angeles (CA), USA Los Angeles Forum

26.11.1993 Los Angeles (CA), USA Los Angeles Forum

02.12.1993 Mexico, Mexique Sports Palace

03.12.1993 Mexico, Mexique Sports Palace

Ireland & United Kingdom 1993

12.12.1993 Dublin, Irlande The Point Theatre

14.12.1993 Birmingham, Angleterre N.E.C.

17.12.1993 Manchester, Angleterre G-Mex

18.12.1993 Sheffield, Angleterre Sheffield Arena

20.12.1993 Londres, Angleterre Wembley Arena

concerts annulés

05.06.1993 Milan, Italie Mediolanum Forum

22.06.1993 Munich, Allemagne Olympiahalle

01.07.1993 Paris, France AccorHotels Arena

06.07.1993 Argeles Sur Mer, France Stade Gaston Pams

14.07.1993 Oviedo, Espagne Carlos Tartiere Estadio

09.10.1993 Houston (TX), USA Lakewood Church Central Campus

24.10.1993 Cincinnati (OH), USA Riverbend Music Center

27.11.1993 Las Vegas (NV), USA Theater Under The Stars At The Hard Rock Hotel

informations

tous les titres interprétés

A Question of Lust, Behind the Wheel, Condemnation, Death's Door, Enjoy the Silence, Everything Counts, Fly on the Windscreen, Get Right With Me, Halo, Higher Love, I Feel You, In Your Room, Judas, Mercy in You, Never Let Me Down Again, One Caress, Personal Jesus, Policy of Truth, Rush, Somebody, Something To Do, Stripped, Walking In My Shoes, World In My Eyes

artistes en premières parties

An emotional fish, Bjorn again, Can `n` Abel, Dada, Dreadzone, Dub syndicate, Marxmen, Miranda sex garden, Parallax, Primal scream, Sonic smell, Spiritualized, Sunscream, Stabbing westward, The outsiders, Sisters of mercy, The The, The wonderstuff, Think about mutation, Toyen, Van Morrison, Vaya Con Dios, Veruka salt

top 5 pays

Devotional Tour

USA

44 concerts

Allemagne

11 concerts

France

9 concerts

Angleterre

5 concerts

Canada

5 concerts

occurences titres

Devotional Tour

97 Behind the Wheel, Condemnation, Halo, Higher Love, Policy of Truth, Stripped, Walking In My Shoes, World In My Eyes
94 I Feel You, In Your Room, Never Let Me Down Again, Rush
92 Enjoy the Silence, Personal Jesus
86 Everything Counts
77 Fly on the Windscreen
76 Mercy in You
61 Death's Door
53 A Question of Lust
45 Judas
38 One Caress
19 Get Right With Me
8 Somebody
1 Something To Do

histoire

Si l'album Songs Of Faith And Devotion constitue une rupture presque irréelle dans l'univers sonore du groupe, la tournée, elle, perpétue la tradition du gigantisme scénique : écrans géants, choristes, projections, jeux de lumière.

Conçue à nouveau par Corbijn, on atteint cette fois-ci des sommets dans la présentation du groupe, sommets qui ne seront plus jamais atteints par la suite.

Le groupe commence par l'Europe avec une série de concerts grand format. Deux dates au Forest National de Bruxelles (une première), une cohorte de dates en Allemagne, en France, en Espagne, en Italie, et en Scandinavie.

Ce leg se termine le 31 juillet par un concert mythique au Crystal Palace Bowl, à Londres, objet d'un enregistrement radio où on découvre un Gahan survolté, dans une prestation extraordinaire.

S'en suit une tournée aux Etats-Unis, au Canada et au Mexique. A noter deux dates au Madison Square Garden en Septembre, et surtout cinq (CINQ !) dates de suite au Forum de Los Angeles, qui seront suivies en fin de tournée par deux concerts à guichets fermés au Sports Palace de Mexico, pays que le groupe n'avait jamais encore visité, mais qui a visiblement succombé comme tout le monde à leur musique.

Quelques dernières dates 'at home' en décembre viendront finaliser ce Devotional Tour avant la deuxième partie de la promotion de l'album Songs Of Faith And Devotion, l'année suivante.

présentation

Trois ans après le World Violation Tour, Corbijn remet le couvert avec Depeche Mode, et conçoit l'univers du Devotional Tour : mise en scène, projections, et ce programme qui est un petit bijou, encore très recherché à ce jour. L'image du groupe a alors profondément changé, et le look 'Rock-God' de Gahan influence clairement cette évolution. La session qui servira de base à l'élaboration de ce programme a été prise dans un couvent espagnol, entre symboles religieux, extérieurs paisibles, et l'architecture un rien dépouillée de ce lieu de recueillement. Le style noir et blanc, vire parfois au sépia, dans une élégante variation de contraste et d'intensité. Corbijn alterne photos grand format, éléments rappelant le design de l'album Songs Of Faith And Devotion, et des grands espaces vides, ou plutôt des pages noires, agrémentées d'un simple mot, 'Faith', 'Devotion', dans la typographie officielle de l'époque. Le format du programme est unique : très grande taille, entre A4 et A3, beaucoup de pages, il arbore un papier texturé du plus bel effet, et il est présenté dans une pochette cartonnée qui lui donne un aspect encore plus travaillé. Ce programme est indéniablement l'un des plus beaux qui ait été publié par Depeche Mode, et il sera difficilement égalé par la suite.

texte du tourbook

A Brief Anatomy of the Devotional Tour

The four members of Depeche Mode are holed up in a West London rehearsal studio working on live arrangements of Songs of Faith & Devotion and deciding on what to keep in from their ever expanding repertoire. Visual director Anton Corbijn is editing the 43 minutes of video and film the band intend to feature in certain songs. In the meantime there is only so much production director Andy Franks can do in advance of the final set being ready. The stage set has been designed on computer, so he, Anton and the band already have a fair idea of what the audience will be seeing from every conceivable angle. A four to one scale rehearsal studio has been hired, where everything can be built at a quarter size to check the lighting etc. The 65 man crew is in place, each of them the best in his field. Now Andy wants to try them out in the final dress rehearsals in France, where he can fine tune their teamwork.

People aren't being picked to do their own thing, they're picked to put together a Depeche Mode show. And it's imperative they produce their best, so the audience gets value for money.

With the first leg of the tour booked, there's no turning back now. Depeche Mode's reputation is second to none when it comes to putting on shows. In Andy's 13 years of working with the band, they've only cancelled three shows, and then only due to unavoidable circumstances. Quite simply, there's no way the show won't be ready to roll, even if it means the whole crew working round the clock. Rock and roll tours this late in the 20th century have to be run with mean military machine precision, if you're going to get a show from one town to the next. If you think military comparison is an exaggeration, the briefest examination of tour logistics will convince you otherwise. The extraordinary demand Depeche Mode generate round the world has elevated them from the small clubs and medium size venues of the early years to sports halls, arenas and stadiums. Correspondingly, they've had to scale up their stage shows to cope with the massive venues. Acutely considering that bigger doesn't necessarily mean better, they've always sought unique solutions to the problem of size.

The first problem is how to present the music with it's integrity intact. Pomp and swagger are the complete antithesis of both Depeche music and Depeche people. But you have to do something to get across the vast expanses of modern rock venues, to create that feeling of intimacy the fans expect from the records. At the same time you want to give the fans something to remember, something different from the last time they saw the band.

This time for instance, says Dave, the audience will get a brief glimpse into the band's creative process. Suddenly you'll see us the way we work together when we're trying out arrangement - Alan at the drumkit, Martin playing the guitar. I wanted us to elaborate on everything, push ourselves and what it means to be Depeche Mode, make it more of a challenge, not just for us, but also for the audience.

These days, as Andy Franks rightly points out, you are also competing with a myriad of new entertainments, be it home video games or hours lost in virtual reality. Nothing less than a total art assault on the senses will divert some kids away from their game modules. For sure, Depeche Mode is a total artwork, a Gesamtkunstwerk as the German composer Richard Wagner described in his operas, but without the pompous blitzkrieg effect associated with the term. Depeche live is a thorough integration of sound, word, vision, performance and stagecraft completed by the essential presence of their fans.

It takes 10 articulated trucks and four coaches to get Devotional Tour from city to city. Recall, says Andy (Franks), the difficulties you had setting up your hi-fi and multiply that by the 10 articulated loads of equipment and you begin to get a sense of the awesome nature of mounting a concert. The operation starts with the canteen setting up kitchen at 5am, making tea for the riggers, who safely secure the power cables so as not to pull the roof down. Then come the stage builders, the lighting people, the sound crew, preparing for the moment the band soundchecks late afternoon. If they're lucky they grab a few hours sleep before they start dismantling the set seconds after the final encore. They've got three hours to pack everything into boxes and onto the trucks before travelling to the next city to start over. 18 hour days are not uncommon. Sickness is a luxury you recover from on your odd day off.

It's very much the ethics of a circus, emphasizes Andy. It fascinates people to come in and see the set up only for the whole of it to be packed away, to be set up in another place.

Given such forbidding logistics, it's easy to forget what they're in aid of. But the mark of a good tour is when none of the pain of keeping it on the road shows through to the fans. Even so, you can see touring is not something a band undertakes lightly. Depeche committed themselves to the Devotional Tour dates last October when their adviser Jonathan Kessler had to decide on the best venues he'd scouted out and taken an option or for the first, European, leg. They were confirmed once Andy Franks had checked the feasibility of loading in Depeche's stage. Next, Depeche invited Anton Corbijn, their longtime visual director, to design a stage set incorporating film and video. Though such a task was completely new to Anton, incidentally Europe's finest music photographer and video director, it made sense for the band to seek continuity through their promo clips, cover artwork and photography. Over the years they had built up a sufficiently close relationship with Anton to leave him with the briefest of briefs, trusting him to come up with the goods.

We told him, do whatever you like, says Fletch.

We didn't want it to be like the last tour, where Anton's films were used almost as an afterthought, expands Alan. There was a lot of us in those films. It'll be a little more surreal this time. Sometimes we question the way he interprets things, we don't always quite understand why he's chosen certain images, because he can really off the wall. But we give him the benefit of the doubt and we're usually very pleased with what he comes up with...

Because Anton is not a professional stage designer, he's avoided the usual cliches of rock presentation. No drum risers, for example, or industrial walkways between platforms. Instead he has sought a way of conveying the warmth and feeling of the band's music through unique visual means. The stage is a construction of metal grids, nine large video screens and two massive film screens. He has commissioned four sculptures of the enigmatic primitive shapes featured across the band's recent cover artwork. And the stage lighting is dominated by purple and red to suggest both the voluptuousness and religiousness of Martin's writing.

The aim is to build up a mood throughout the set, rather than flabbergast the audience in the first few seconds, explains Anton.

The tension will be quite carefully built, confirms Dave. It definitely won't be an explosive start. It's something that begins quite slowly, and picks up pace, gradually unfolding. Basically it's quite stark, dark and moody.

Anton continues: The lighting and the imagery we use on the screens are meant to enhance the songs, make the music work stronger, not to browbeat the audience into submission, but to seduce them. It's a very simple idea I want things to look simple and bold.

Just so the pictures on the screen. If you have a simple image and make it really big, it has a beautiful power. Like, when you see Lenin or Castro the size of a wall, it has a certain power. That's why they use it. But with Depeche Mode, there's no negative manipulation going on. I'm just aiming for little colour schemes that bring out different shades in a song, just like different instrumental timbres might.

Any other group might just deploy live projection of themselves onto giant screens to elicit easy audience responses. On the contrary, Depeche and Anton seek to play down the group and play up the song.

The good thing about the visuals, argues Fletch, is, they take the emphasis away from us. The fact that we can hide awhile and then emerge from behind them gives a sense of variety.

Martin agrees: It gives depth and dimension to the show, instead of just four people.

Given the group's reluctance to display their faces on billboard size screens, Anton has been granted unparalleled free rein to experiment with a number of forms...

And Depeche foot the bill, he teases. But he is fully aware of the great trust the band have placed in him. When they saw my very rough diagram of the screen arrangements, they laughed, saying, if it were anybody else they'd throw the idea out immediately!

His stage borrows from both Andy Warhol and Gilbert & George the idea of multiple images, repeated with the slightest of variations. But the images themselves are very much Anton's own. They relate to songs in playful, tantalising ways, suggesting rather than imposing meanings. In Your Room, for instance, might imply bizarre sexual behaviour. If so, where does the confrontational row of small screen images fit in? No less powerful, yet more directly beautiful is the way he imaginatively continues the generational contrasts of his promo clip for Never Let Me Down Again. The band's own appearances are extremely limited, yet always memorable - and that's how they like it best. The thing is, remarks Anton, it's not cinema in the end. It's a live thing. You need that balance between the screens and the band moving around the stage. My only intention is to get a feeling across, just the same as I do in photography. When I was a kid I was really lonely. When you're lonely records mean much more to you. I still think there are kids like I used to be out there and I want my imagery to connect with the music for them, make that feeling bigger without demystifying it or explaining it away...

No, it's not cinema in the end, that's for certain. For the present tour Depeche Mode are liver than they have ever been. Bearing the brunt of the audience's gaze, Dave's present appearance is the most immediately different thing about Depeche live '93. In his case the outward look reflects inner intensity - specially felt in much of Songs of Faith and Devotion.

The way I look is a lot more truthful to myself, to be honest, says Dave. Before I was possibly a little too involved in the image of Depeche Mode, created by the media and ourselves. But it wasn't really me. I felt I had to spread my wings and fly, so I did for a year. I came back with a different perspective.

The changes in his perspective shine through the vocals of Depeche's new album, performances so deeply felt.

To accurately represent the new songs two gospel singers will help to realise the richer vocal harmonies. Martin will play more guitar and Alan will occasionally switch to drums.

Personally, I find the prospect of playing drums live more or a challenge than just playing keyboards, enthuses Alan. From a visual point of view it's unusual for us to have live drums, even though it makes us look a bit like other bands. But we never want to throw away the technical, synthesizer side of the group. There were pitfalls we didn't want to fall into, epitomised, I suppose by wailing lead guitars. But now it's obvious we should use any and all instruments as and when appropriate. We've been using guitar sounds for some years now and Martin will be playing more this tour.

We used to be very rigid, testifies Fletch, very narrow minded in our rules, even to the point we never wanted to use the same sound twice.

Rules are made to be broken - specially your own. Because at first they define, and then they confine you. Depeche Mode's success is down to their continuous rule breaking, their refusal to play allotted roles. The one constant from 1980 through Devotional is the sound of barriers falling - as ever, the sweetest sound to Depeche and their fans.

Chris Bohn, London, April '93

les lieux de la tournée

Palais Omnisports de Bercy

Paris, France

20300 spectateurs

Ahoy

Rotterdam, Hollande

15000 spectateurs

Rosemont Horizon

Chicago, USA

18500 spectateurs

Alvalade Stadium

Lisbonne, Portugal

50000 spectateurs

Antas Stadium

Porto, Portugal

50000 spectateurs

Arco Arena

Sacramento, USA

10333 spectateurs

Assembly Hall

Champaign, USA

17200 spectateurs

Belga Beach Festival

Zeebruges, Belgique

60000 spectateurs

Bradley Center

Milwaukee, USA

20000 spectateurs

Capital Centre

Landover, USA

18756 spectateurs

Centrum

Worcester, USA

15000 spectateurs

Civic Centre

Pittsburgh, USA

18039 spectateurs

Coliseum

Quebec, Canada

15176 spectateurs

Copenhagen Forum

Copenhague, Danemark

10000 spectateurs

Copps Coliseum

Hamilton, Canada

19000 spectateurs

Crystal Palace Sports Ground

Londres, Angleterre

35000 spectateurs

Dean Smith Coliseum

Chapel Hill, USA

21750 spectateurs

Delta Centre

Salt Lake City, USA

12000 spectateurs

Globen

Stockholm, Suède

16000 spectateurs

Espace Foire

Lille, France

18000 spectateurs

Estadio Pasaron

Pontevedra, Espagne

15000 spectateurs

Festhalle

Francfort, Allemagne

13500 spectateurs

Forest National

Bruxelles, Belgique

7000 spectateurs

Frank Erwin Centre

Austin, USA

17900 spectateurs

Frankenhalle

Nuremberg, Allemagne

10000 spectateurs

Garbsen

Hannovre, Allemagne

12000 spectateurs

Letna Stadion

Prague, République Tchèque

20854 spectateurs

Halle Tony Garnier

Lyon, France

16500 spectateurs

Hallenstadion

Zurich, Suisse

14000 spectateurs

Hampton Coliseum

Hampton, USA

13800 spectateurs

Meadowlands Arena

East Rutherford, USA

20000 spectateurs

Oakland Coliseum

Oakland, USA

5492 spectateurs

Seattle Coliseum

Seattle, USA

16641 spectateurs

The Summit

Houston, USA

16000 spectateurs

N.E.C.

Birmingham, Angleterre

15643 spectateurs

Los Angeles Forum

Los Angeles, USA

18000 spectateurs

Madison Square Garden

New York, USA

20000 spectateurs

Maimarkthalle

Mannheim, Allemagne

15000 spectateurs

G-Mex

Manchester, Angleterre

15000 spectateurs

Martin Schleyer Halle

Stuttgart, Allemagne

15500 spectateurs

McNichols Arena

Denver, USA

17171 spectateurs

Forum di Assago

Milan, Italie

12000 spectateurs

Miami Arena

Miami, USA

16508 spectateurs

Montreal Forum

Montreal, Canada

18575 spectateurs

MTK Stadium

Budapest, Hongrie

27000 spectateurs

Nancy Zenith

Nancy, France

25000 spectateurs

Nassau Coliseum

Uniondale, USA

18100 spectateurs

Palasport

Florence, Italie

8262 spectateurs

O Connell Centre

Gainesville, USA

10000 spectateurs

Olympiahalle

Munich, Allemagne

15500 spectateurs

Omni Coliseum

Atlanta, USA

16378 spectateurs

Oregon Coliseum

Portland, USA

13000 spectateurs

Orlando Arena

Orlando, USA

18039 spectateurs

Pacific Coliseum

Vancouver, Canada

17500 spectateurs

Palaghiaccio

Rome, Italie

10000 spectateurs

Palau Sant Jordi

Barcelone, Espagne

24000 spectateurs

Parc Penfeld

Brest, France

12000 spectateurs

Patinoire Malley

Lausanne, Suisse

12000 spectateurs

Patinoire Meriadeck

Bordeaux, France

8250 spectateurs

Plaza De Toros Las Ventas

Madrid, Espagne

15500 spectateurs

Festwiese Am Zentralstadion

Leipzig, Allemagne

90000 spectateurs

Reunion Arena

Dallas, USA

19071 spectateurs

Richfield Coliseum

Cleveland, USA

20273 spectateurs

San Jose Arena

San Jose, USA

19190 spectateurs

Scandinavium

Goteborg, Suède

14000 spectateurs

Sheffield Arena

Sheffield, Angleterre

13500 spectateurs

Sky Dome

Toronto, Canada

55000 spectateurs

Sporthalle

Cologne, Allemagne

8000 spectateurs

Sports Palace

Mexico, Mexique

26000 spectateurs

St Louis Arena

Saint Louis, USA

17188 spectateurs

Stade Couvert Régional

Lievin, France

14000 spectateurs

Sun Coast Dome

Saint Petersbourg, USA

12300 spectateurs

Target Centre

Minneapolis, USA

10000 spectateurs

The Palace of Auburn Hills

Detroit, USA

23000 spectateurs

The Point Theatre

Dublin, Irlande

8500 spectateurs

The Spectrum

Philadelphie, USA

18369 spectateurs

UNO Lakefront Arena

Nouvelle Orleans, USA

10000 spectateurs

San Diego Sports Arena

San Diego, USA

14800 spectateurs

Veterans Memorial Coliseum

Phoenix, USA

14870 spectateurs

Vienna Stadthalle

Vienne, Autriche

16000 spectateurs

Waldbuhne

Berlin, Allemagne

25000 spectateurs

Wembley Arena

Londres, Angleterre

12500 spectateurs

Westfalenhallen

Dortmund, Allemagne

16500 spectateurs

Zénith Omega

Toulon, France

8875 spectateurs