Depeche Mode

In 1987, Philadelphia’s sardonic geeks the Dead Milkmen chided Depeche Mode fans. “You’ll dance to anything by Depeche Commode,” goes the dismissive line from trenchant “Instant Club Hit (You’ll Dance to Anything).” Well, the Milkmen pretty much nailed Depeche Mode’s anticipants and apologists on the head.

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But while Depeche Mode’s recorded output has been spotty since 1990’s Violator, the trio of whirling dervish Dave Gahan, sound architect Martin Gore and jovial tag-along Andrew Fletcher still rewards its core audience with tours successfully renewing faith and devotion.

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For the second date of the Playing the Angel tour, the expressive set consisted of massive can lighting, a video-screen collage, and a gun-metal gray sphere emblazoned with the flashing mantras of “sex,” “pain,” “angel,” “love,” “enjoy” and “vice,” as well as three curvaceous keyboard consoles. The cumulative effect was a sense of being on the set of a William Shatner-era Starship Enterprise, except the prime directive was of affirmation, not exploration; to boldly go where the group and its fans have gone before.

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If Depeche Mode builds it, the fans will come, flashing their sagging Violator tattoos as they renew their spirits. And what Depeche Mode builds can be uneven as was observed several times throughout the band’s nearly two-hour performance.

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Fans ranging in age from 20 to 40 are hailing Angel as a nigh return-to-form — what form depends on your favorite era. This latest album recalls bits and pieces across Depeche Mode’s storied career, as did the set list that ranged from the recent single, the clarion call “A Pain That I’m Used To,” to 1981’s plonky “Just Can’t Get Enough.” Like any Depeche Mode album, the show contained occasional flubs and forgettable tunes: “A Question of Time” became a question of bad timing, as a missing verse was apparently turned in to an extended outro, and “I Want It All” had to be restarted, plus Gahan accidentally bonked Gore on the head with his mic as the pair wrapped up the final, meant-to-be reflective encore.

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Gauging audience response, however, the group seemed to be impervious to mistake. The crowd sang 80 percent of “Personal Jesus,” “Enjoy the Silence” and “Everything Counts” as a smiling Gahan seemed to enjoy his own silence. Anything new? No. But renewed.