choisir - choose

Tour For The Masses

1987-1988

premier et dernier concerts

22.10.1987 Madrid, Espagne Pabellon De Real Madrid

18.06.1988 Pasadena, USA Rosebowl

legs de la tournée

Europe 1987
USA & Canada 1987
United Kingdom 1988
Europe 1988
Eastern Europe 1988
Japan Tour 1988
USA & Canada 1988

pays visités

Allemagne, Allemagne de l'Est, Angleterre, Autriche, Belgique, Canada, Danemark, Ecosse, Espagne, France, Hongrie, Italie, Japon, Norvège, République Tchèque, Suède, Suisse, USA

musiciens sur scène

Alan Wilder

Martin Gore

Andrew Fletcher

Dave Gahan

informations générales

époque

Music For The Masses Era

en chiffres

audience de la tournée

1.349.895 spectateurs potentiels

1.241.903 spectateurs estimatifs

concerts et géographie

101 concerts

18 pays visités

87 villes visitées

86 lieux visités

1 concerts annulés

chansons et périodes

23 chansons jouées

1925 titres interprétés

histoire

La success story du groupe en live continue de plus belle avec le Music For The Masses Tour. Cette fois-ci, c'est 101 dates qui seront jouées, dans les salles les plus grandes de la planète. Trois dates à guichet fermés à Bercy concluent l'European Leg à l'automne 1987.

Depeche Mode s'embarque ensuite pour les Etats-Unis où ils peuvent désormais mesurer le chemin parcouru depuis ces premières dates en 1982 lors d'une mini tournée d'hiver en salles, qui ne sera qu'un avant goût de ce qui les attendra à l'été 1988.

A noter un premier Madison Square Garden le 18 décembre, une salle qu'ils revisiteront souvent dans leur carrière.

Suivra une tournée européenne au début de l'année, suivi d'un leg spécial 'Europe de l'Est', avec une date inédite à Berlin Est le 7 mars, plus d'un an avant la chute du mur, ainsi que des dates à Budapest, Prague et Vienne. Un petit tour au Japon avec quatre concerts, avant de revenir aux Etats-Unis pour une tournée d'été mythique.

La grosse trentaine de dates aux States débute par un tout premier concert au Shoreline Amphitheatre de Mountainview.

Sur la route, Depeche Mode est suivi par D.A. Pennebaker et sa caméra, pour un documentaire à sortir en vidéo : 101, du nom du 101ème et dernier concert de la tournée For The Masses, au Rosebowl de Pasadena.

Un double CD live et un documentaire vidéo sortiront comme pour graver dans le marbre, le succès désormais phénoménal du groupe aux USA.

liste des dates

Europe 1987

22.10.1987 Madrid, Espagne Pabellon De Real Madrid

23.10.1987 Barcelone, Espagne Blaugrana Sport Palas

25.10.1987 Munich, Allemagne Olympiahalle

26.10.1987 Bologne, Italie Palasport

27.10.1987 Rome, Italie PalaEUR

29.10.1987 Turin, Italie Torino Palasport Olimpico

30.10.1987 Milan, Italie Palatrussardi

02.11.1987 Stuttgart, Allemagne Martin Schleyer Halle

03.11.1987 Francfort, Allemagne Festhalle

04.11.1987 Essen, Allemagne Grugahalle

06.11.1987 Cologne, Allemagne Sporthalle

07.11.1987 Hannovre, Allemagne Hannover Messehalle

09.11.1987 Berlin, Allemagne Deutschland Halle

11.11.1987 Ludwigshafen, Allemagne Friedrich Ebert Halle

12.11.1987 Zurich, Suisse Hallenstadion

13.11.1987 Lausanne, Suisse Halle Des Fetes

16.11.1987 Paris, France Palais Omnisports de Bercy

17.11.1987 Paris, France Palais Omnisports de Bercy

18.11.1987 Paris, France Palais Omnisports de Bercy

USA & Canada 1987

01.12.1987 San Francisco (CA), USA Cow Palace

04.12.1987 Los Angeles (CA), USA Los Angeles Forum

05.12.1987 Los Angeles (CA), USA Los Angeles Forum

07.12.1987 San Diego (CA), USA San Diego Sports Arena

08.12.1987 Phoenix (AZ), USA Compton Terrace

10.12.1987 Dallas (TX), USA Reunion Arena

12.12.1987 Chicago (IL), USA The Pavilion

14.12.1987 Toronto, Canada Maple Leaf Gardens

15.12.1987 Montreal, Canada Montreal Forum

17.12.1987 Fairfax (VA), USA Patriot Center

18.12.1987 New York (NY), USA Madison Square Garden

United Kingdom 1988

09.01.1988 Newport, Angleterre Centre

11.01.1988 Londres, Angleterre Wembley Arena

12.01.1988 Londres, Angleterre Wembley Arena

15.01.1988 Birmingham, Angleterre N.E.C.

16.01.1988 Whitley Bay, Angleterre Ice Rink

17.01.1988 Edimbourg, Ecosse Playhouse

19.01.1988 Manchester, Angleterre G-Mex

20.01.1988 Sheffield, Angleterre City Hall

21.01.1988 Bradford, Angleterre Saint Georges Hall

23.01.1988 Bournemouth, Angleterre International Centre

24.01.1988 Brighton, Angleterre Conference Center

Europe 1988

06.02.1988 Hambourg, Allemagne Alsterdorfer Sporthalle

07.02.1988 Hambourg, Allemagne Alsterdorfer Sporthalle

09.02.1988 Dortmund, Allemagne Westfalenhallen

10.02.1988 Oldenburg, Allemagne Weser-EMS-Halle

12.02.1988 Stockholm, Suède Ice Stadium

13.02.1988 Goteborg, Suède Scandinavium

15.02.1988 Oslo, Norvège Drammenshallen

17.02.1988 Copenhague, Danemark Valby Hallen

18.02.1988 Copenhague, Danemark Valby Hallen

19.02.1988 Kiel, Allemagne Ostseehalle

21.02.1988 Bruxelles, Belgique Forest National

23.02.1988 Lille, France Espace Foire

25.02.1988 Brest, France Parc Penfeld

26.02.1988 Nantes, France La Beaujoire

27.02.1988 Bordeaux, France Patinoire Meriadeck

29.02.1988 Toulouse, France Palais Des Sports

01.03.1988 Montpellier, France Le Zénith

02.03.1988 Lyon, France Palais Des Sports

04.03.1988 Besancon, France Palais Des Sports

05.03.1988 Strasbourg, France Halle Rhenus

Eastern Europe 1988

07.03.1988 Berlin Est, Allemagne de l'Est Werner Seelbinder

09.03.1988 Budapest, Hongrie Sportcsarnok

10.03.1988 Budapest, Hongrie Sportcsarnok

11.03.1988 Prague, République Tchèque Sportovni Hala Vodova

13.03.1988 Vienne, Autriche Vienna Stadthalle

Japan Tour 1988

18.04.1988 Osaka, Japon Festival Hall

19.04.1988 Nagoya, Japon Koseinenkin Hall

21.04.1988 Tokyo, Japon NHK Hall

22.04.1988 Tokyo, Japon NHK Hall

USA & Canada 1988

29.04.1988 Mountain View (CA), USA Shoreline Amphitheatre

30.04.1988 Sacramento (CA), USA California Expo

02.05.1988 Seattle (WA), USA Seattle Coliseum

04.05.1988 Vancouver, Canada Pacific Coliseum

05.05.1988 Portland (OR), USA Civic Auditorium

06.05.1988 Portland (OR), USA Civic Auditorium

08.05.1988 Salt Lake City (UT), USA Salt Palace

09.05.1988 Denver (CO), USA McNichols Arena

11.05.1988 Austin (TX), USA Frank Erwin Centre

13.05.1988 Arlington (TX), USA Six Flags

14.05.1988 Houston (TX), USA Southern Star Amphitheatre

15.05.1988 Nouvelle Orleans (LA), USA UNO Lakefront Arena

17.05.1988 Cedar Rapids (IA), USA 5 Seasons Centre

18.05.1988 Minneapolis (MN), USA Northrop Auditorium

20.05.1988 Chicago (IL), USA Poplar Creek

21.05.1988 Clarkston (MI), USA Pine Knob Music Theatre

22.05.1988 Cincinnati (OH), USA Riverbend Music Center

24.05.1988 Nashville (TN), USA Starwood Amphitheatre

25.05.1988 Atlanta (GA), USA Southern Star Amphitheatre

27.05.1988 Philadelphie (PA), USA The Spectrum

28.05.1988 Columbia (SC), USA Merriweather Post Pavilion

30.05.1988 Cleveland (OH), USA Blossom Music Centre

01.06.1988 East Rutherford (NJ), USA Meadowlands Arena

03.06.1988 Wantagh (NY), USA Jones Beach Amphitheatre

04.06.1988 Wantagh (NY), USA Jones Beach Amphitheatre

07.06.1988 Mansfield (MA), USA Great Woods Amphitheatre

08.06.1988 Montreal, Canada Montreal Forum

09.06.1988 Toronto, Canada C.N.E. Grandstand

11.06.1988 Pittsburgh (PA), USA Palumbo Centre

15.06.1988 Phoenix (AZ), USA Compton Terrace

18.06.1988 Pasadena (CA), USA Rosebowl

concerts annulés

22.02.1988 Rotterdam, Hollande Ahoy

informations

tous les titres interprétés

A Question of Lust, A Question of Time, Behind the Wheel, Black Celebration, Blasphemous Rumours, Everything Counts, It Doesn't Matter, Just Can't Get Enough, Master and Servant, Never Let Me Down Again, Never Turn Your Back On Mother Earth, Nothing, People are People, Pimpf, Pipeline, Pleasure Little Treasure, Sacred, Shake the Disease, Somebody, Something To Do, Strangelove, Stripped, The Things You Said

artistes en premières parties

Electronic, Front 242, Hard Corps, Mixed Pickles, Nitzer Ebb, O.M.D., The Farm, Thomas Dolby, Voice Farm, Wire

top 5 pays

Tour For The Masses

USA

37 concerts

Allemagne

13 concerts

France

12 concerts

Angleterre

10 concerts

Canada

5 concerts

occurences titres

Tour For The Masses

101 A Question of Lust, A Question of Time, Behind the Wheel, Black Celebration, Blasphemous Rumours, Everything Counts, Master and Servant, Never Let Me Down Again, Nothing, Sacred, Something To Do, Strangelove, Stripped, Pimpf
100 Shake the Disease
99 Pleasure Little Treasure
94 The Things You Said
79 People are People
67 Pipeline
31 Just Can't Get Enough
18 Never Turn Your Back On Mother Earth
16 Somebody
7 It Doesn't Matter

histoire

La success story du groupe en live continue de plus belle avec le Music For The Masses Tour. Cette fois-ci, c'est 101 dates qui seront jouées, dans les salles les plus grandes de la planète. Trois dates à guichet fermés à Bercy concluent l'European Leg à l'automne 1987.

Depeche Mode s'embarque ensuite pour les Etats-Unis où ils peuvent désormais mesurer le chemin parcouru depuis ces premières dates en 1982 lors d'une mini tournée d'hiver en salles, qui ne sera qu'un avant goût de ce qui les attendra à l'été 1988.

A noter un premier Madison Square Garden le 18 décembre, une salle qu'ils revisiteront souvent dans leur carrière.

Suivra une tournée européenne au début de l'année, suivi d'un leg spécial 'Europe de l'Est', avec une date inédite à Berlin Est le 7 mars, plus d'un an avant la chute du mur, ainsi que des dates à Budapest, Prague et Vienne. Un petit tour au Japon avec quatre concerts, avant de revenir aux Etats-Unis pour une tournée d'été mythique.

La grosse trentaine de dates aux States débute par un tout premier concert au Shoreline Amphitheatre de Mountainview.

Sur la route, Depeche Mode est suivi par D.A. Pennebaker et sa caméra, pour un documentaire à sortir en vidéo : 101, du nom du 101ème et dernier concert de la tournée For The Masses, au Rosebowl de Pasadena.

Un double CD live et un documentaire vidéo sortiront comme pour graver dans le marbre, le succès désormais phénoménal du groupe aux USA.

présentation

Avec 'Music For The Masses', Depeche Mode s'est subitement transformé en Cash Machine absolue, et en icônes mondiales de la pop. Pour accompagner ce changement, Anton Corbijn met en place une identité visuelle qui contribue à rendre intemporelle l'image du groupe. Le noir et blanc est désormais majoritaire dans les photographies. Ce Programme est le premier à exhiber le travail de Corbijn pour Depeche Mode, et marque le début d'une très longue collaboration, qui a encore cours à ce jour. Le programme gagne également en épaisseur, avec plus de 30 pages : les Modes ont désormais quelque chose à exprimer visuellement, et la timidité visuelle des premiers programmes a laissé place à une esthétique visuelle imparable. Corbijn mélange des photographies originales, prises pour l'occasion, avec des images de clips, le tout dans une mise en page épurée, inhabituelle pour l'époque, avec des espaces vides qui aèrent la présentation. L'ensemble est une véritable réussite.

texte du tourbook

Music For The Masses Tour

Pop music is the practice of finding melodies that will most efficiently lead the masses to the market place. Rebel pop music is the search for the discord that might awaken the masses to their plight, thereby provoking an uprising. Depeche Mode's Music For The Masses is neither one nor the other, though it might sometimes bounce of both. It is instead a direct appeal to the different individuals who make up the crowd, a music that recognises the masses as not one lump, but as a constellation of voices, each to be addressed separately.

Pop music, rebel or otherwise, can only see the masses in terms of the greatest numbers. It always ends up adjusting itself to lowest common denominator needs. Weighing up the masses purely in terms of body counts inevitably results in pop music's contempt for their intelligence. That is one thing Depeche Mode's personalized approach to music-making will not permit them. They do not feel so far removed from their Basildon roots to believe that anything arising from their fertile imaginations will alienate their neighbours - old or new. Rather, they treat their explorations as sometimes difficult emotional terrains asa continuing dialogue with anyone who cares to participate.

Once begun, few choose to leave the Depeche Mode adventure behind. And no matter how large the masses congregating around them across the world become, it is a tribute to the far from exhausted vitality of Depeche Mode's songs that they're still more a stimulus to the individual's imagination than they are a cattle prod that cynically drives him or her into the herd. Nobody gets lost in the crowd at Depeche Mode concerts.

How have Depeche Mode managed to preserve such close contacts with those people making up their audiences? Well, in common with most sensual beings, human flesh plays a large part in their dreams. Sometimes it seems that every waking moment of Depeche Mode history is preoccupied with it's pleasures (though those familiar with their work know their concerns to be broader than that).

Nevertheless the Depeche Mode body of work is dominated with images of flesh. Nakedness of expression, the honesty and openess of their declarations of desire demand intimate responses. The love songs with which Depeche Mode first courted popular attention might have been appealingly simple. But once their first songwriter Vince Clarke left, leaving Martin Gore, Andrew Fletcher and David Gahan with the choice of developing his successful strain of lovesickness or taking off in different, possibly deeper directions, they began, at first tentatively and thereafter with increasing confidence, to explore life's more difficult complications. More specifically, those complications triggered by sex.

Remember that Depeche Mode entered pop very young, barely out of school in fact. Bravely, they chose to grow up in public rather than brazen it out as a neat, uncomplicated pop group.

Taking over as main songwriter, Martin Gore registered his awakening desires in songs whose unblushing purity of intent can still leave you breathless. Embodying the intertwined nature of physical and emotional needs, his rapidly maturing songs demanded altogether different musical arrangements than the seasick chatter of Depeche Mode's early synthi-pop.

They required sounds that would take words out of their inadequate commonplace settings and would fire them with their full meanings. Thus their strange physical awakenings were accompanied by an awakening interest in musical experiment. The range of noises common to pop music - guitars, bass, drums - were worn out through misuse or overuse as vessels of expression way before Depeche Mode began. They were certainly of no use for the kind of feelings they were trying to convey.

Instead they sought unusual and different sounds with the help of computers and electronics in order to fully realise the sense and sensuality of Martin's songs. Driven by need more than fashionable whim, Depeche Mode have become one of the most adventurous explorers of the digital sampling machine - an instrument that converts snatches of music or any other sound into usable notes. Few have delved deeper than they into its capacity for creating new musical molecules from noises already existing in the atmosphere or on the air. And Alan Wilder, the man who took over from Vince Clarke in 1982, has played a key part in their search.

The possibility of minting new sounds is a very interesting new angle, remarks Alan. We pride ourselves on the search even if we sometimes end up going back to older sounds. Many people don't explore all the possibilities of the new technology. On one level it does make everything harder, because there's that much more to try out before you can be fully satisfied with a song.

To Depeche Mode electronic sampling is more than some cheap gimmick to colour tunes with novelty effects to be cashed in on the charts. New technology gives them the machines with which they can most fully flesh out the physicality of Martin's concerns, while most fully preserving their emotional integrity. The unlimited range of sounds available to them allows for a far greater accuracy of expression. Each nuance of mood can be finely calibrated in sound. Tonal adjustments can cause the giddiness suggested by some lyrics, or the sweet sickness caused by others. It can also atmospherically conjure up the ghosts of those who laboured on laying the Pipeline essential to the growth of some distant community (check the song on Construction Time Again).

The more internalised Martin's words become, the greater the challenge presented to the group to chase through the computer's internal electronic circuits after equivalent music.

We spend all our time getting the right atmosphere, explains Andrew Fletcher. We'll use anything to get it. People think we deliberately steer clear of conventional instruments. If we do it's because conventional instruments suggest conventional atmospheres. But if we need guitars we'll use them.

When Martin's written a song, it's usually presented to us as a very basic demo, expands David Gahan. In the studio anything can happen to it. It's very rare that we repeat what is on the demo.

The mood is everything to us and we'll do anything to get it right, reiterates Andrew.

Sampling is also important in how it feeds Depeche Mode's songwriting imagination. One reason for their popularity lies in the fact that no matter how unusual the sounds or subject matter, the song's pop framework is always pleasingly familiar. But what continues to hold the attention is the different ways they offset traditional forms.

One of the reasons I haven't dried up is because of the influence of new sounds, admits Martin Gore. What's most interesting for us is not to sample sounds from obvious sources, but to find sounds from ethnic music for example, take whole bits of rhythm from, say, music from the Andes and work a piece around it. Samples suggest melodies. The melody on 'Behind the Wheel' on the new LP is suggested by a pan pipe sound.

So it begins with the flesh and through a chain of human contacts Depeche Mode's music expands outwards. Their concerns broadened to include their responses to an eye-opening world tour that preceded the deeply felt humanism of their third LP Construction Time Again. Later they examined one-on-one power relations, taking them as a model for political power games, in Master and Servant. The queasiness of the sounds they developed to unhinge that lyric was comment enough on the affair. And always present through their work is the desire for warmth and companionship - never better expressed than here in Little 15 and Never Let Me Down Again on the new LP Music for the Masses. On the second named, the narrator's fear of falling is expertly evoked by a gripping heart in mouth landslide of a melody run in slow motion.

The Sweep of the song demands one of David Gahan's very best vocal performances. In many ways he has the most difficult job of all. He must perform Martin's often highly personal lyrics with enough authority to give them broader resonance.

I think I sing them very well, asserts David with justifiable pride. I think I put them across really well. I try to understand them as best I can. I mean, I might have a different understanding of them to Martin. Perhaps I'm thinking of somethine else, but I don't think that's a problem really. When a lyric's too factual and to the the point it sometimes spoils people's images of the music.

And, as remarked at the outset, Depeche Mode are not about limiting people's imaginations. On the contrary they're more interested in letting the imagination run wild - like one of those diseases their songs sometimes talk about. Those infected are quarantined inside their personal relations with the group's music, even as they form a loose network of like-spirited individuals now stretching around the world, spreading the word from Basildon to Birmingham, Berlin, Budapest, Warsaw, Moscow, Hong Kong, Tokyo, San Francisco, New York and back again. Like a virus the Depeche Mode word keeps spreading. But the word might also be wordless, it is any sound that makes the difference. Pass it on.

Biba Kopf

les lieux de la tournée

5 Seasons Centre

Cedar Rapids, USA

10000 spectateurs

Palais Omnisports de Bercy

Paris, France

20300 spectateurs

Alsterdorfer Sporthalle

Hambourg, Allemagne

7000 spectateurs

Blaugrana Sport Palas

Barcelone, Espagne

8250 spectateurs

Blossom Music Centre

Cleveland, USA

19200 spectateurs

Sportcsarnok

Budapest, Hongrie

15000 spectateurs

C.N.E. Grandstand

Toronto, Canada

54741 spectateurs

California Expo

Sacramento, USA

22000 spectateurs

Centre

Newport, Angleterre

2000 spectateurs

City Hall

Sheffield, Angleterre

2271 spectateurs

Great Woods Amphitheatre

Mansfield, USA

19900 spectateurs

Compton Terrace

Phoenix, USA

10000 spectateurs

Conference Center

Brighton, Angleterre

4500 spectateurs

Cow Palace

San Francisco, USA

12953 spectateurs

Deutschland Halle

Berlin, Allemagne

10000 spectateurs

Drammenshallen

Oslo, Norvège

10000 spectateurs

Pine Knob Music Theatre

Clarkston, USA

15274 spectateurs

Espace Foire

Lille, France

18000 spectateurs

Festhalle

Francfort, Allemagne

13500 spectateurs

Festival Hall

Osaka, Japon

2709 spectateurs

Forest National

Bruxelles, Belgique

7000 spectateurs

Frank Erwin Centre

Austin, USA

17900 spectateurs

Friedrich Ebert Halle

Ludwigshafen, Allemagne

12000 spectateurs

Grugahalle

Essen, Allemagne

7800 spectateurs

Halle Des Fetes

Lausanne, Suisse

12000 spectateurs

Halle Rhenus

Strasbourg, France

4600 spectateurs

Hallenstadion

Zurich, Suisse

14000 spectateurs

Hannover Messehalle

Hannovre, Allemagne

12000 spectateurs

Ice Rink

Whitley Bay, Angleterre

3200 spectateurs

Ice Stadium

Stockholm, Suède

16197 spectateurs

International Centre

Bournemouth, Angleterre

6500 spectateurs

Meadowlands Arena

East Rutherford, USA

20000 spectateurs

Jones Beach Amphitheatre

Wantagh, USA

15000 spectateurs

Civic Auditorium

Portland, USA

2992 spectateurs

Seattle Coliseum

Seattle, USA

16641 spectateurs

Koseinenkin Hall

Nagoya, Japon

10000 spectateurs

La Beaujoire

Nantes, France

52923 spectateurs

Le Zénith

Montpellier, France

6300 spectateurs

N.E.C.

Birmingham, Angleterre

15643 spectateurs

Los Angeles Forum

Los Angeles, USA

18000 spectateurs

Madison Square Garden

New York, USA

20000 spectateurs

G-Mex

Manchester, Angleterre

15000 spectateurs

Maple Leaf Gardens

Toronto, Canada

15728 spectateurs

Martin Schleyer Halle

Stuttgart, Allemagne

15500 spectateurs

McNichols Arena

Denver, USA

17171 spectateurs

Merriweather Post Pavilion

Columbia, USA

19316 spectateurs

Montreal Forum

Montreal, Canada

18575 spectateurs

NHK Hall

Tokyo, Japon

3800 spectateurs

Northrop Auditorium

Minneapolis, USA

4850 spectateurs

Olympiahalle

Munich, Allemagne

15500 spectateurs

Ostseehalle

Kiel, Allemagne

13500 spectateurs

Pabellon De Real Madrid

Madrid, Espagne

5200 spectateurs

Pacific Coliseum

Vancouver, Canada

17500 spectateurs

Torino Palasport Olimpico

Turin, Italie

18500 spectateurs

Palais Des Sports

Lyon, France

8000 spectateurs

Palais Des Sports

Toulouse, France

4397 spectateurs

Palais Des Sports

Besancon, France

4000 spectateurs

PalaEUR

Rome, Italie

11200 spectateurs

Palasport

Bologne, Italie

15000 spectateurs

Palatrussardi

Milan, Italie

8479 spectateurs

Palumbo Centre

Pittsburgh, USA

10000 spectateurs

Parc Penfeld

Brest, France

12000 spectateurs

Patinoire Meriadeck

Bordeaux, France

8250 spectateurs

Patriot Center

Fairfax, USA

10356 spectateurs

Playhouse

Edimbourg, Ecosse

3059 spectateurs

Poplar Creek

Chicago, USA

11800 spectateurs

Reunion Arena

Dallas, USA

19071 spectateurs

Riverbend Music Center

Cincinnati, USA

20500 spectateurs

Rosebowl

Pasadena, USA

60452 spectateurs

Saint Georges Hall

Bradford, Angleterre

3500 spectateurs

Salt Palace

Salt Lake City, USA

12666 spectateurs

Scandinavium

Goteborg, Suède

14000 spectateurs

Shoreline Amphitheatre

Mountain View, USA

22500 spectateurs

Six Flags

Arlington, USA

12000 spectateurs

Southern Star Amphitheatre

Houston, USA

10000 spectateurs

Southern Star Amphitheatre

Atlanta, USA

10000 spectateurs

Sporthalle

Cologne, Allemagne

8000 spectateurs

Sportovni Hala Vodova

Prague, République Tchèque

3000 spectateurs

Starwood Amphitheatre

Nashville, USA

17137 spectateurs

The Pavilion

Chicago, USA

6958 spectateurs

The Spectrum

Philadelphie, USA

18369 spectateurs

UNO Lakefront Arena

Nouvelle Orleans, USA

10000 spectateurs

Valby Hallen

Copenhague, Danemark

5000 spectateurs

San Diego Sports Arena

San Diego, USA

14800 spectateurs

Vienna Stadthalle

Vienne, Autriche

16000 spectateurs

Wembley Arena

Londres, Angleterre

12500 spectateurs

Werner Seelbinder

Berlin Est, Allemagne de l'Est

8500 spectateurs

Weser-EMS-Halle

Oldenburg, Allemagne

10000 spectateurs

Westfalenhallen

Dortmund, Allemagne

16500 spectateurs