u2 tour heart shaped stage

The Evolution of U2's Stage Design

U2 have been touring on and off for over 30 years in support of their albums. from the small clubs of boy and the record breaking spectacle of the 360° tour, to the current innocence + experience tour, we will look at how their stage design has evolved over time., boy/october tour.

U2's first headline tours in support of their debut album, Boy, and immediate follow up album, October, consisted of small clubs across Europe and North America. Very much restricted by venue size, U2 played on their youthful energy to excite the audience.

The War Tour saw a shift away from the small clubs for U2 to larger concert halls. This tour also sparked a lasting relationship with designer Willie Williams. He began to introduce design elements to U2's stage. The War Tour featured a red carpet beneath the drums and white flags at the back of the stage, with which Bono would regularly interact.

The Unforgettable Fire Tour

Due to the success of the War Tour and growing popularity of the band, U2 moved to consistently playing in arenas. Despite this, the stage design was very minimalistic. No additional props were used and lighting was limited to white, with the occasional use of colour.

The Joshua Tree Tour

The success of The Joshua Tree would prove to be a defining moment for U2. For the first time, their tour consisted of arenas and stadiums. Willie Williams was keen to make the concert experience enjoyable for all and the band agreed to install a video screen for stadiums and a large Joshua Tree canvas stretching the width of the stage.

Zoo TV, in support of Achtung Baby and later, Zooropa, would see a drastic move from the minimalist design of the 1980's to a complex sensory overload. Featuring multiple video screens, elaborate lighting, and the introduction of the B-Stage, Zoo TV marked a new era for U2 tours.

Zoo TV: Stage Personas

Throughout the tour, Bono would adopt the presence of a number of stage personas known as The Fly, an egotistical rock star, Mirror Ball Man, a greedy American showman, and MacPhisto, a parody of the devil.

PopMart Tour

PopMart would go one step further than Zoo TV in terms of set design. The 165-foot wide LED screen would comfortably eclipse all Zoo TV video screens put together. A 100-foot high golden arch was installed, complete with a shopping basket at the top. To the right of the stage was 40-foot mirror ball lemon from which the band would emerge for the encore and a 12-foot olive mounted atop a 100-foot cocktail stick. The set was designed to poke fun at popular culture and consumerism.

Elevation Tour

Following the extravagance of the 90's, U2 were keen to strip back the stage design and opted to return to arenas. A heart shaped ring extended out from the main stage, surrounding a number of fans and providing a walkway for Bono and a B-stage for the band. Video screens were mounted high above the band to provide close-up shots or predesigned visuals.

Vertigo Tour

Vertigo saw u2 return to a mix of arenas and stadiums and remained similar to the elevation stage design. four video screens were again mounted high above the band, while the heart shaped ring was replaced with an ellipse shape. in north america, the stage featured tall led bead curtains that would display generated visuals. elsewhere, this was replaced by a led screen behind the band..

The 360° Tour featured an elaborate spaceship design structure (the claw) that would house all of the lighting and sound equipment. The intention was to open the band up to a surrounding audience and to shrink the stadium. The drums would revolve around a platform and the 360° screen would relay footage to all sides of the venue. Again, the band opted for a circular walkway to help them to get out into the crowd. Did you know? The 360 Tour is the highest grossing tour of all-time.

U2 360°: Encore

During the encore, Bono would perform wearing an LED laser jacket while singing into a wheel shaped microphone that hung from the claw's structure above.

Innocence & Experience Tour

The Innocence + Experience Tour of 2015 sees U2 continue to push the boundaries of stage design. Their quest to create an intimate show for everyone inside the venue began in 1987 while touring The Joshua Tree. This developed over time to incorporate elaborate visuals and stages that extended into the crowd. For the I+E tour, the band take this to a whole new level.

Innocence & Experience Tour: Stages

The i+E Tour is made up of 3 stages. A main stage (known as the I-stage), the e-stage (traditionally the b-stage), and the runway which connects the two. The band aim to play on each for a roughly equal amount of time during the night, with a dedicated 5-song set on the e-stage where a piano is built into the floor. LED lights run the full perimeter of the stages and illuminate at points during the show to highlight the 'i' and 'e' design.

Innocence & Experience Tour: Screen

One of the most striking aspects of the stage design on the I+E Tour is the 100-foot screen that is suspended in the centre of the arena. This double-sided, semi-transparent screen is used extensively during the first half of the show to visually add narrative to the music. However, the screen is wide enough to accommodate the band, with Bono literally walking down Cedarwood Road and the band using it as a stage to open the second half with Invisible.

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Elevation Tour

Elevation: leg one [north america].

• 2001-03-24: National Car Rental Center, Fort Lauderdale, Florida
• 2001-03-26: National Car Rental Center, Fort Lauderdale, FL, USA
• 2001-03-29: Charlotte Coliseum, Charlotte, NC, USA
• 2001-03-30: Philips Arena, Atlanta, GA, USA
• 2001-04-02: Compaq Center, Houston, TX, USA
• 2001-04-03: Reunion Arena, Dallas, TX, USA
• 2001-04-06: Pepsi Center, Denver, CO, USA
• 2001-04-09: Pengrowth Saddledome, Calgary, Alberta, Canada
• 2001-04-10: Pengrowth Saddledome, Calgary, Alberta, Canada
• 2001-04-12: Tacoma Dome, Tacoma, WA, USA
• 2001-04-13: General Motors Place, Vancouver, BC, Canada
• 2001-04-15: Rose Garden, Portland, OR, USA
• 2001-04-17: San Diego Sports Arena, San Diego, CA, USA
• 2001-04-19: San Jose Arena, San Jose, California
• 2001-04-20: San Jose Arena, San Jose, CA, USA
• 2001-04-23: Arrowhead Pond, Anaheim, CA, USA
• 2001-04-24: Arrowhead Pond, Anaheim, California
• 2001-04-26: Arrowhead Pond, Anaheim, CA, USA
• 2001-04-28: America West Arena, Phoenix, AZ, USA
• 2001-05-01: Target Center, Minneapolis, MN, USA
• 2001-05-03: Gund Arena, Cleveland, OH, USA
• 2001-05-04: Rupp Arena, Lexington, KY, USA
• 2001-05-06: Mellon Arena, Pittsburgh, PA, USA
• 2001-05-07: Nationwide Arena, Columbus, OH, USA
• 2001-05-09: Bradley Center, Milwaukee, WI, USA
• 2001-05-10: Conseco Fieldhouse, Indianapolis, IN, USA
• 2001-05-12: United Center, Chicago, IL, USA
• 2001-05-13: United Center, Chicago, IL, USA
• 2001-05-15: United Center, Chicago, IL, USA
• 2001-05-16: United Center, Chicago, IL, USA
• 2001-05-24: Air Canada Center, Toronto, ON, Canada
• 2001-05-25: Air Canada Center, Toronto, ON, Canada
• 2001-05-27: Molson Centre, Montreal, Quebec, Canada
• 2001-05-28: Molson Centre, Montreal, Quebec, Canada
• 2001-05-30: Palace of Auburn Hills, Auburn Hills, MI, USA
• 2001-05-31: HSBC Arena, Buffalo, NY, USA
• 2001-06-02: Pepsi Arena, Albany, NY, USA
• 2001-06-03: Hartford Civic Center, Hartford, CT, USA
• 2001-06-05: Fleet Center, Boston, MA, USA
• 2001-06-06: Fleet Center, Boston, MA, USA
• 2001-06-08: Fleet Center, Boston, MA, USA
• 2001-06-09: Fleet Center, Boston, MA, USA
• 2001-06-11: First Union Center, Philadelphia, PA
• 2001-06-12: First Union Center, Philadelphia, PA, USA
• 2001-06-14: MCI Center, Washington, DC, USA
• 2001-06-15: MCI Center, Washington, DC, USA
• 2001-06-17: Madison Square Garden, New York, NY, USA
• 2001-06-19: Madison Square Garden, New York, NY, USA
• 2001-06-21: Continental Airlines Arena, East Rutherford, NJ, USA
• 2001-06-22: Continental Airlines Arena, East Rutherford, NJ, USA

Elevation: Leg Two [Europe]

• 2001-07-06: Forum, Copenhagen, Denmark
• 2001-07-07: Forum, Copenhagen, Denmark
• 2001-07-09: Globe Arena, Stockholm, Sweden
• 2001-07-10: Globe Arena, Stockholm, Sweden
• 2001-07-12: Kölnarena, Cologne, Germany
• 2001-07-13: Kölnarena, Cologne, Germany
• 2001-07-15: Olympiahalle, Munich, Germany
• 2001-07-17: Bercy Arena, Paris, France
• 2001-07-18: Bercy Arena, Paris, France
• 2001-07-21: Stadio Delle Alpi, Turin, Italy
• 2001-07-23: Hallenstadion, Zurich, Switzerland
• 2001-07-24: Hallenstadion, Zurich, Switzerland
• 2001-07-26: Wiener Stadthalle, Vienna, Austria
• 2001-07-27: Wiener Stadthalle, Vienna, Austria
• 2001-07-29: Waldbühne, Berlin, Germany
• 2001-07-31: Gelredome, Arnhem, Netherlands
• 2001-08-01: Gelredome, Arnhem, Netherlands
• 2001-08-03: Gelredome, Arnhem, Netherlands
• 2001-08-05: Sportpaleis, Antwerp, Belgium
• 2001-08-06: Sportpaleis, Antwerp, Belgium
• 2001-08-08: Palau Sant Jordi, Barcelona, Spain
• 2001-08-11: MEN Arena, Manchester, England
• 2001-08-12: MEN Arena, Manchester, England
• 2001-08-14: National Exhibition Centre Arena, Birmingham, England
• 2001-08-15: National Exhibition Centre Arena, Birmingham, England
• 2001-08-18: Earls Court Exhibition Centre, London, England
• 2001-08-19: Earls Court Exhibition Centre, London, England
• 2001-08-21: Earls Court Exhibition Centre, London, England
• 2001-08-22: Earls Court Exhibition Centre, London, England
• 2001-08-25: Slane Castle, Slane, Ireland
• 2001-08-27: SECC, Glasgow, Scotland
• 2001-08-28: SECC, Glasgow, Scotland
• 2001-09-01: Slane Castle, Slane, Ireland

Elevation: Leg Three [North America]

• 2001-10-10: Joyce Center, University of Notre Dame, South Bend, IN, USA
• 2001-10-12: Molson Centre, Montreal, Quebec, Canada
• 2001-10-13: Copps Coliseum, Hamilton, ON, Canada
• 2001-10-15: United Center, Chicago, IL, USA
• 2001-10-16: United Center, Chicago, IL, USA
• 2001-10-19: Baltimore Arena, Baltimore, MD, USA
• 2001-10-24: Madison Square Garden, New York, NY, USA
• 2001-10-25: Madison Square Garden, New York, NY, USA
• 2001-10-27: Madison Square Garden, New York, NY, USA
• 2001-10-28: Continental Airlines Arena, East Rutherford, NJ, USA
• 2001-10-30: Dunkin Donuts Center, Providence, RI, USA
• 2001-10-31: Dunkin Donuts Center, Providence, RI, USA
• 2001-11-02: First Union Center, Philadelphia, PA, USA
• 2001-11-05: Frank Erwin Center, Austin, TX
• 2001-11-07: Pepsi Center, Denver, CO, USA
• 2001-11-09: Delta Center, Salt Lake City, UT, USA
• 2001-11-12: Staples Center, Los Angeles, CA, USA
• 2001-11-13: Staples Center, Los Angeles, CA, USA
• 2001-11-15: Arena in Oakland, Oakland, CA, USA
• 2001-11-16: Arena in Oakland, Oakland, CA, USA
• 2001-11-18: Thomas & Mack Center , Las Vegas, NV, USA
• 2001-11-19: Staples Center, Los Angeles, CA, USA
• 2001-11-20: Arco Arena, Sacramento, CA, USA
• 2001-11-23: America West Arena, Phoenix, AZ, USA
• 2001-11-25: Reunion Arena, Dallas, TX, USA
• 2001-11-27: Kemper Arena, Kansas City, MO, USA
• 2001-11-28: Savvis Center, St. Louis, MO, USA
• 2001-11-30: Philips Arena, Atlanta, GA, USA
• 2001-12-01: Ice Palace, Tampa, FL, USA
• 2001-12-02: American Airlines Arena, Miami, FL, USA

Related News: Elevation Tour

• "Edge Chat Transcript" (2001-06-15)
• "U2 On Career High With Elevation Tour" (2001-06-23)
• "The Edge’s T-Shirts on Elevation" (2001-07-01)
• "“Fans Want the Shirt On Straight Away”" (2001-08-17)
• "U2 to Return to North America for Tour’s Second Leg" (2001-09-15)
• "Elevation Tour Songs: Lifting You Higher" (2001-12-25)
• "The Virtual Road: Slane Castle" (2021-03-18)

U2gigs.com - U2:UV Achtung Baby Live at the Sphere 2023/2024

U2 Elevation Tour

Elevation tour 1st leg: north america, 2001-04-09 : saddledome - calgary, alberta, canada, u2 from the heart.

First Dome show a stunner By MIKE BELL -- Calgary Sun -------------------------------------------------------------------------------- U2 Saddledome, Calgary Monday, April 9, 2001 -------------------------------------------------------------------------------- CALGARY -- When it comes to U2, for most people, bigger is better. But for others -- admittedly, myself included -- as the Dublin act has increased the size of its sound, stature and stage show, the level of interest has responded inversely. The band's Popmart tour, which waddled its bloated self into Edmonton's Commonwealth Stadium for two shows in 1997, signalled the pinnacle of that apathy. The over-the-top extravaganza with its enormous lemon, disco ball and huge jumbo screens was entirely about ego and spectacle with the music acting merely as a soundtrack. Which is fine. Some of the best concert acts (Pink Floyd, Kiss) have successfully incorporated theatricality into rock 'n' roll, but the fact that U2 had purposefully distanced itself from the music -- even as an exercise in "irony" or a comment on the coming millennial Zeitgeist or whatever -- was tough to swallow. That's why last evening's sold-out Saddledome show -- the band's first-ever in Calgary, as well as the first in a two-night stand -- was a refreshing re-introduction to what first made U2 so exciting. To everyone. Front and centre, for the most part, was the music -- over two hours of material from the past two decades of the Irish group's up-and-down, nine studio-album career (not including Rattle & Hum). And everything about this tour is about enhancing the power of that music in order for the quartet to reconnect with its audience, not alienate them. The rush seating, the minimal light show and the stage itself -- a heart-shaped area which includes a section for 300 lucky fans to get even more up close and personal -- enhance that back-to-basics approach. To further that, they took to the stage with the Dome's houselights up full and to a recorded version of the tour's namesake, Elevation, from their latest album, All That You Can't Leave Behind. And the moment that frontman Bono, guitarist The Edge, bassist Adam Clayton and drummer Larry Mullen Jr. took over from the recording and made a little Elevation of their own, was more than a little symbolic and a whole lot electrifying. They raised the roof with the sweet, simple, pure power of rock 'n' roll. From there, the veterans slid into a surprisingly effective version of All That You Can't Leave Behind's first single, Beautiful Day. After hearing it incessantly on radio and Much Music, it was quite a feat to make it fresh, but that's exactly what they did. For the remainder of the show, the band pulled out the obvious (the anthemic New Year's Day from 1983's classic War), the surprising (In A Little While, one of the best songs from their latest release) and yes, even the ill-advised (New York, one of the worst). What was most striking about last night was the sense of unscripted fun the band brought to the show, and subsequently, the music. Watching Bono play bull to The Edge's electric guitar matador came across as off-the-cuff and playful, and not manipulative and rehearsed. And Bono worked the room -- all sides of it -- and walked the heart-shaped catwalk like everyone's favourite uncle at a family wedding. Maybe that's because it was only the eighth show into the world tour and they're still feeling loosey-goosey, but it's also probably, thankfully, something more. You get the sense that U2 no longer feel the need or the pressure to go out of their way to stiffly prove that they have a sense of humour about themselves and their music. At times, Bono's rock star antics can wear a little thin (especially during his faux guitar-playing during I Will Follow -- is that thing even plugged in?), but for the most part he just gave everyone what they were looking for: A focal point and, again, an easy conduit inside the music. Sure, the band and the media proclaiming the quartet saviours of rock 'n' roll -- while for the past decade they've been more than active participants in the collusion to kill it -- is still a little hypocritical. But after last night, U2 has come a long way towards getting unstuck out of that moment and leaving it all behind. (More on U2) ELEVATION TOUR 2001 SOUVENIRS: U2 Elevation Tour poster -- $15 (CDN) Pins and/or buttons -- $3 Key chains -- $12 Luggage tag -- $16 Belt buckle -- $30 Mouse pad -- $16 T-shirts -- $46 Large baby blue T-shirt featuring Bono -- $62 Toques -- $40 Baseball T-shirts -- $70 Hooded sweatshirts -- $100 Elevation Tour program -- $30

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Elevation 2001: U2 Live from Boston

A concert film which captures Bono and the U2 boys live in Boston June 6, 2001. The film is an interactive experience which lets the viewer dictate different perspectives and angles of viewi... Read all A concert film which captures Bono and the U2 boys live in Boston June 6, 2001. The film is an interactive experience which lets the viewer dictate different perspectives and angles of viewing. The band performs 19 of their best tunes, including "Sunday Bloody Sunday" and "Beauti... Read all A concert film which captures Bono and the U2 boys live in Boston June 6, 2001. The film is an interactive experience which lets the viewer dictate different perspectives and angles of viewing. The band performs 19 of their best tunes, including "Sunday Bloody Sunday" and "Beautiful Day.'

• Hamish Hamilton
• Adam Clayton
• 12 User reviews
• 2 Critic reviews
• 1 nomination total

• Self - Vocals & Guitar

• Self - Guitar & Vocals

• Self - Bass Guitar

• Self - Drums

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• Production, box office & more at IMDbPro

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• Connections Featured in It Might Get Loud (2008)
• Soundtracks Elevation Written and performed by U2

Technical specs

• Runtime 1 hour 47 minutes
• Dolby Digital

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U2 honors past, previews future with immersive Sphere show (Review)

U 2 spent Saturday night looking back at their back catalog, namely Achtung Baby, whilst previewing the future at the Sphere. Bono, The Edge, Adam Clayton, and Bram van den Berg, have once again dreamt up what a two-hour concert can be.

Their sophomore show at the new innovative arena gave a glimpse of the future of live entertainment. Filled with Elvis references (including Bono making the first major wardrobe change in years; sporting a white jacket instead of a black one during the encore), U2’s Sphere show proved that they’re not doing this residency purely out of nostalgia. Yes, it’s the band’s second retrospective tour (or residency) since 2017/2019’s “Joshua Tree” anniversary tour, but Bono and Co. did seem eager to prove something. That being that they’re not Vegas’ latest tragic case of an act too irrelevant for the limelight but even more desperate for it.

If there was a perfect choice to open the Sphere, it was U2. Plenty of pop culture X (formerly Twitter) accounts are reposting video footage from the first concert — the band’s first time in pop culture since the iTunes debacle — and I’ve seen many ponder: Why U2? Achtung, y’all, it’s because they’re still the best live band on earth.

Reviving The Fly

Prior to U2 coming out, DJ Pauli “the PSM” Lovejoy was tasked with warming up the audience. Utilizing hits from Fleetwood Mac, the Eagles, and a very on-the-nose usage of  the Beatles’ “Drive My Car,” the audience’s goodwill was quickly lost when the band did not come out on time. In fact, after about 20 minutes from the first show’s start time, the audience became restless. This resulted in the DJ resorting to beginning “We want U2!” chants and starting the wave in an effort to distract the crowd.

Eventually, an atmospheric Brian Eno track played and U2 (sans Larry Mullen Jr.) took the stage as the Sphere’s LED screens, which were previously posed as the walls of a silo, began cracking open with the opening notes of “Zoo Station.” A chill went down my spine as Bono discovered his signature Fly glasses and put them on. U2 has played this, along with many of the Achtung Baby songs live over the years, but this is the first time in a while that Bono resurrected The Fly character.

Then came an onslaught of the “ZooTV” tour setlist; following “Zoo Station” with a high-energy performance of “The Fly.” This was the first time U2 and the Sphere showed off their innovative visuals. For U2 fans, the code-breaking visuals and influx of random words have been seen before. In the song’s second half, the codes began forming a tube-like visual above the crowd’s head. You feel as though you’re at the bottom of a funnel and that the stars really are falling from the sky.

They then played a rendition of “Even Better Than the Real Thing” which was in the album’s original arrangement. During the song, an amalgamation of all things Elvis and Hollywood fell into the backdrop. If you look closely, clips of Last Night in Soho and other recent Hollywood films are weaved into the Elvis madness.

“Elvis is alive, we are dead.”

Bono quipped that U2 was attempting to disprove one-half of the theory that “Elvis is alive, we are dead.” He did add that he first saw this theory written as graffiti in Dublin. Nonetheless, Elvis’ ghost still resides in Vegas, but don’t expect U2 to fall into the same trap.

Night two at the Sphere lacked any deviation from the first night’s setlist. The Edge had spoken about the band being less spontaneous during this residency, despite Bono seemingly teasing a different album being honored during the middle acoustic set during the first night. In turn, the biggest surprise of the night was “One” (almost) being sung in full. Bono didn’t hold the microphone over the crowd for them to sing the choruses — a nice touch given they are playing Achtung Baby in full. After “Until the End of the World,” which has remained a warhorse for the band’s live sets since 1992, and “Who’s Gonna Ride Your Wild Horses,” a song finally getting its due over the past half-decade, the band finally played one of Achtung Baby’s deep cuts: “Tryin’ to Throw Your Arms Around the World.

The four-song acoustic set was filled with Rattle and Hum tracks. God only knows if U2 has more songs rehearsed to rotate in during this segment of the show. As it stands, the only real disappointment is that “Desire” is playing in a stripped-down arrangement. The song feels like the encapsulation of Vegas — especially after they played it there a few years back with casino visuals. “All I Want Is You” was played closer to its Songs of Surrender arrangement, a nice rendition that was capped off with a snippet of Lou Reed’s “Walk on the Wild Side.” “Love Rescue Me” was played in a unique arrangement that featured The Edge playing the bass. It doesn’t live up to the “Lovetown” tour performances of the song in 1989, but it’s a well-appreciated deep cut.

Something notable from Bono was his lower register singing — particularly on the Achtung Baby songs. He sounded great during the verses of “The Fly” and “Ultraviolet (Light My Way).” His confidence, which was likely boosted by a string of very strong shows at the Beacon and other venues, was also sky-high as he opened “One” with a spontaneous falsetto bit which, whether it be due to an IEM issue or something else, threw off The Edge as he began playing the whole song before Bono had sung a single word.

Side two of Achtung Baby

On side two of Achtung Baby, an unknown variable was finally tackled. “So Cruel” has only been performed three times prior to the Sphere. It’s one of the strongest tracks on the album, but it’s hard to imagine the band playing it in a world they weren’t obligated to do so. They made the most of it and it was a show-stopping performance. I wasn’t sure how they’d handle the falsetto-laden choruses. Bono still has a falsetto, but Achtung Baby was the peak of his. I thought they’d take a “Mothers of the Disappeared” in 2017/2019 approach and have The Edge sing the high part while Bono vocalized with him. I was gladly proven wrong. What a wonderful surprise.

There’s also a big elephant in the room. Larry Mullen Jr., U2’s drummer and founder, is absent from the Sphere shows. He’s given his blessing for Bram van den Berg to fill in for now. While there’s only one Larry Mullen Jr., Van den Berg gave it his all and was clearly having the time of his life playing with the band.

Songs like “Sunday Bloody Sunday” and “Bullet the Blue Sky” will always be synonymous with Mullen. Van den Berg was still given the chance to infuse his own pizazz into the songs. There’s no greater example than “Ultraviolet.” During the “baby, baby, baby, light my way” refrains at the end, Van den Berg was given the chance to add fills between each refrain. He’d play a different fill each time, with a brief pause in between. This was completely new for the song, and actually added a unique flavor to this rendition.

That said, the Sphere shows are U2 with three of their members. Bono, The Edge, and Adam Clayton did give Van den Berg his moments to shine musically, as well as occasionally gathering by the drum set, but the absence of Mullen is felt. Even if Van den Berg looked as though he was having the time of his life and did a lovely job filling in, here’s hoping that Mullen can rejoin the band soon. Unlike other rock bands, U2 has remained a core group. They need Mullen like a “ fish needs a bicycle .”

Not a perfect science (yet)

The Sphere shows are still a work in progress as this is not a perfected science. U2 has the blessing and curse of going first with these unique shows. They take full advantage of the technology in the first half of their show; whether it be trippy visuals or the callbacks to the “ZooTV” tour. Once the acoustic set begins, it’s surprisingly scaled back until the last portion of the show. And it makes sense — if the acoustic songs are going to rotate, it’s hard to get visuals to commit to each song.

And the band seems to be missing their signature B-stage during the Sphere shows. I believe someone in the band claimed these shows would allow for more intimacy with fans. While their images may be blown up bigger on the screens for fans in the upper sections to clearly see them, the Sphere shows do lack the same connection that their previous shows have with fans (no, the awkward fan interactions don’t count). For a band so used to mobility, whether it be Bono running around the heart-shaped stage or walking through a giant LED screen that splits the arena in two, U2 is known for that. The Sphere limits that given its layout, and that’s a shame.

It wasn’t until “Ultraviolet” that it picked up, with various colors illuminating the screen. It’s simple, yet effective for such a powerful song. And then it all picks up in the encore.

Past, present, and future

The encore, which predictably consists of hits such as “Elevation,” “Vertigo,” and Beautiful Day,” also featured the Vegas skyline as the backdrop of “Atomic City” (which rules live). “Where the Streets Have No Name” brought life into the 300 section of the Sphere, as everyone stood when the desert landscape appeared in the background with the white surrender flag. Audience videos don’t do the visuals justice — especially with this sunny landscape. It truly immerses you to the point you forget you’re indoors at night.

“Streets” (even with the Songs of Surrender lyrics) is a live classic, and it’s nearly impossible to deny it when the organ opening or first guitar notes hit. U2 closed out their show with a one-two punch of “With or Without You” and “Beautiful Day.”

As you can tell by the setlist, U2 is doing a lot of looking back. Heck, aside from the recently released “Atomic City” was the most recent song played going back to How to Dismantle an Atomic Bomb (not including a snippet of “Moment of Surrender”). This next line could change in the blink of an eye, especially if U2. varies their acoustic set, but it’s shocking that the band completely ignores their recent catalog with the Sphere shows. Perhaps the pressures of appealing to older fans who saw the original “ZooTV” show won. But that’s a shame when songs like “American Soul,” “The Blackout,” “Every Breaking Wave,” or “Invisible” could have soared.

Something missing from the encore. Whether it’s a need for a “One” or “Love Is Bigger Than Anything in Its Way”-like anthem to close the show or some variation with the new-age hits, the choice of the final two songs — at least in that order — was a bit strange. I imagine that they wanted to end on an uplifting note after a heavy album like Achtung Baby.

Should you see U2 live at the Sphere?  

U2 is attempting to change the landscape of live music with the Sphere. In many ways, it has laid the blueprint and will make it hard for any band to follow up their Sphere run. There was no better choice to open the venue than the band — and the Achtung Baby/”ZooTV” tour ties prove that case. U2 isn’t redoing “ZooTV” per se, but the homages are clear. New music has to be on the horizon, but the band continues to look back while showing glimpses of the future.

In terms of setlist, it’s the perfect combination of hits for casual and hardcore fans. It’d be easy to nitpick the order of the encore, but it’s the most accessible U2 gig in a while.

You go for the visuals, stay for the music, and become an even greater U2 fan by the end of it.

“U2’s U2:UV Live at the Sphere” residency continues until December 16.

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U2 in Atlanta: An oral history of the band and the city’s shared journey

Photograph by Adrian Boot

On a muggy May evening in 1981, a group of musicians pulled up to the curb across from the Fox Theatre and started lugging their instruments into a nightclub where the Georgian Terrace parking deck now stands. Until 1979, the venue had been known as Alex Cooley’s Electric Ballroom, and hosted Fleetwood Mac, Patti Smith, and Bruce Springsteen, among others. Its replacement, the Agora Ballroom, was a cavernous room where the four young men from the north side of Dublin—singer Paul “Bono” Hewson; bassist Adam Clayton; guitarist David “The Edge” Evans; and drummer Larry Mullen Jr., none older than 21—introduced Atlanta to their debut album, Boy , a collection of post-punk anthems that contrasted sharply with the New Wave dance beats, soft rock, and soul ballads crowding the Top 40 at the time.

Seven months later, the band was back for a second show. In a 1981 interview with Bono for Muzik! magazine, Atlanta journalist Tony Paris wrote about the frontman’s desire to be heard on mainstream radio and for fans to leave room for his lyrics—about defiance, God, the death of his mother—to “sink in.” British photographer Adrian Boot, who toured with the band that autumn, captured images of U2 members mugging along West Peachtree Street in front of the former Sans Souci club, a jukebox dealership, and an old-school filling station. The next night, the band shook the Agora rafters with the single “I Will Follow” twice during its 60-minute set. Today, listening to a YouTube bootleg of that concert from 37 years ago reveals just how little U2’s core sound and spiritual evocations have changed in almost four decades.

Atlanta, a forgettable stop to less perceptive musicians from across the pond, offered a complicated soul, divided by its Civil War past, civil rights present, and global aspirations. When U2 played the Agora on December 1, 1981, the city was coping with the aftermath of the Atlanta child murders. Later that same month, former United Nations ambassador Andrew Young celebrated his victory in the recent mayoral election runoff; Ted Turner’s fledgling CNN network was revolutionizing international news; the CDC developed the first definitions for a disease it would soon label AIDS; and the roar of jet blasts from the newly expanded Hartsfield airport, which would evolve into the world’s busiest, hummed in the distance. Atlanta went on to host the 1996 Summer Olympic Games, emerge as a center for global health initiatives, and grow a multibillion dollar film and music industry. For its part, U2 would become one of the biggest acts in rock history. On May 28, the band returns for its 15th concert here (at the Infinite Energy Center) in support of its 14th album, Songs of Experience , a mature counterpoint to the adolescent ruminations of Boy . Today, U2 writes and plays as if America is still there to be conquered, and at age 58, Bono’s lyrics about love and mortality also contemplate the fraught politics of the Trump era.

U2’s intersections with Atlanta over the years have gone beyond the city as a requisite tour stop. For a band from Europe intent on deconstructing the myth of America, Atlanta—its imperfect icons, its musicians, its leaders—has been a specific, if rarely noticed, part of U2’s journey, not only for the city’s social justice movements of the past but for the present, too. In anticipation of U2’s first Atlanta concert in nine years, two generations of Georgians talk about the band.

1981-1985 Early days, Unforgettable fire , and the reach of Live Aid

Between 1981 and 1983, U2 performed four times in Atlanta. In 1984, the band released its fourth studio album, The Unforgettable Fire . The recording contained two songs—“Pride (In the Name of Love)” and “MLK”—about Martin Luther King Jr., whose legacy fascinated Bono after a writer at Rolling Stone gifted him a copy of the King biography, Let the Trumpet Sound .

John Lewis was an Atlanta city councilmember at the time.

John Lewis (U.S. congressman; civil rights leader): I don’t remember the exact moment I heard “Pride (In the Name of Love),” but I’m sure it was right after the song came out. I identified with [U2’s songs] because of the similarities I recognized between [situations] in America and in Northern Ireland. They had a Bloody Sunday there, similar to the Bloody Sunday we had in Selma. The struggle for freedom and liberation is universal.

On April 29, 1985, when U2 rolled into the Omni on the Unforgettable Fire tour to play its biggest Atlanta show to date, the city had just hosted the inaugural International AIDS Conference. The band also made a visit to the King Center.

Tony Paris (Freelance writer and former editor of Creative Loafing ): By the time U2 played the Omni, the band could command the money it needed to put on a well-conceived show using the latest technology. It was chilling to watch them play “Pride” with photographs of MLK projected behind them. But I had to laugh, remembering what Bono said to me only four years earlier: “Tony, U2 is not a political band.” Maybe not in governmental terms, I thought, but they (or, at least Bono, in his lyrics) were certainly now engaging in what French philosopher Michel Foucault might have called political spirituality.

In the 2005 book, U2 by U2 , Bono recalled that he had flown his father, Bob Hewson, from Ireland for the Omni show. When Bono took a limousine to Hartsfield to fetch his father, Bob balked at the vehicle, so they switched to a taxi. Backstage after the show, Bono saw his father approach him. “This is a moment I’ve waited for all my life,” Bono wrote. “My father was going to tell me he loved me. He walked up, put his hand out, looked me in the eye, and said, ‘Son, you’re very professional!’”

Eight weeks after the Omni show, on June 22, 1985, U2 played on a bill with Athens band R.E.M. at the Longest Day music festival in Milton Keynes, U.K. Bono would recall meeting Michael Stipe for the first time as “that dance when two contemporaries kind of work around each other.” The friendship grew into what Bono labeled “one of the most important of my life.” On July 6-7, 1985, U2 and R.E.M. played at the Rock Torhout/ Rock Werchter festivals in Belgium.

Mike Mills (bassist, R.E.M. cofounder): U2 was big before we were, so they were the festival headliner, and we were playing earlier in the day, but we rode in and out [of the festival site] with them on their bus. Everybody took turns singing songs and Irish folk ballads.

Less than a week later, U2 performed in London on July 13 to raise funds for Ethiopian famine relief as part of Live Aid, a televised concert broadcast which reached one-third of the world’s population and launched the band into super stardom.

Michelle Nunn (CEO and president of CARE; former CEO of Points of Light/Hands On Atlanta): In the summer of 1985, I had just finished high school and was preparing for college. The performances at Live Aid [including U2] fit the zeitgeist of the moment. The concert inspired my belief that collective action—literally joining hands—could help change the world. Seeing this activism prompted me to imagine how I could be a part of creating change.

1986-1992 Conspiracy of Hope Tour, Joshua Tree , Zoo TV at the Georgia Dome

U2 returned to Atlanta in 1986 as part of Amnesty International’s Conspiracy of Hope Tour, which supported releasing prisoners of conscience worldwide. U2 was writing its fifth studio album, The Joshua Tree . The day before the show, Amnesty held a press conference at the King Center, attended by Coretta Scott King; that night, Bono and Larry Mullen, Jr. jammed with members of Lou Reed’s and Peter Gabriel’s bands in the hotel bar at the Ramada Plaza downtown.

U2 returned to the Omni in December 1987 for two shows in support of the Joshua Tree . The following year, the band paid homage to the American South as part of the Phil Joanou–directed documentary (and album of the same name), Rattle and Hum . By the time the Berlin-recorded stylistic departure called Achtung Baby was released in 1991 and the band hit the road in North America in 1992, the first Gulf War had come and gone, John Lewis was in his third term as a congressman, Maynard Jackson was Atlanta’s mayor once again, and Bono, behind thick shades and his new alter-egos The Fly, Mirror Ball Man, and MacPhisto, had begun prank calling the White House from the stage most nights during concerts on the “Zoo TV tour.” U2 played the Omni in March 1992 and returned that September to headline the first rock show at the newly built Georgia Dome with opening act Public Enemy and Big Audio Dynamite.

Peter Conlon (president of Live Nation Atlanta): Alex [Cooley] and I wanted to make sure that we booked the first show there, and we wanted it to be special, so we asked U2. 50,000 people. Maybe the biggest show ever in Atlanta at that time, because Fulton County Stadium couldn’t hold those kind of numbers, nor Grant Field. It sold out right away.

Thomas Wheatley (articles editor at Atlanta magazine): I was 12 years old. I was amazed at the stage: I remember cars on cranes, massive video screens, and platforms—all for a four-piece band. My mom let me buy a ridiculous amount of lighters on the off-chance everyone lit them during “One.” They did, so we did. The drunk woman standing in front of us had permed hair, and I accidentally lit a strand on fire. She didn’t notice. I don’t know why, but we left early—we must have had school the next day—while they played “Where the Streets Have No Name.” Walking through the basically empty corridors of the Georgia Dome made me feel like I was in the end credits of a movie.

Chuck D (cofounder of Public Enemy; member of Prophets of Rage): I knew what Bono had to say about King, and he knew what I had to say. We weren’t going to sit around and talk about it. Bono comes along with the crew from Dublin and visits [Dr. King’s] crypt, which was becoming part of the tapestry of Atlanta at that time and almost [an afterthought] for people who already lived there. Anything Bono decided to do, especially as an outsider traveling in the American South at that time, I appreciated his effort. That tour taught Public Enemy so much about how tours should be run, and it was our first engagement with gigantic venues. Plus, we will always get to say we were the first artists to play in the Georgia Dome.

Photograph by Kevin Winter/Getty Images

1993-2001 PopMart, friendship with R.E.M., Elevation Tour

As R.E.M. became U2’s rival for the title of “biggest band in the world,” the relationship between the bands strengthened. In 1993, not long before U2 released Zooropa , members of both bands performed at an inaugural ball for Bill Clinton, forming a one-night-only group, Automatic Baby.

Bertis Downs (attorney and advisor to R.E.M.):  There had been a late-night hotel bar session a couple of nights before—Michael Stipe really loved the U2 song, “One.” Michael and Mike [Mills] were up late singing it together, and the idea came up of perhaps playing it at the MTV Ball with the two U2 guys in town (bassist Adam Clayton and drummer Larry Mullen Jr.). They thought, “We could do this.” The next day, calls were made and a rehearsal was arranged. We wanted to keep it a secret, which was possible before Facebook and Twitter. They performed it at the ball as Automatic Baby [referencing U2’s 1991 album,  Achtung Baby , and R.E.M.’s 1992 album, Automatic for the People ]. Four minutes, unannounced, and that was it.

In 1997, U2 performed its PopMart tour at the Georgia Dome, with Bono also devoting his time to Jubilee 2000, the campaign for wealthy countries to wipe clean old debts owed to them by poor countries. In its January 2000 issue, Newsweek asked, sarcastically, “Can Bono Save the Third World?” U2 released All That You Can’t Leave Behind that October, eight days before the election of George W. Bush.

U2 played two Elevation Tour shows at Philips Arena in 2001, one in March and one in November , bookending the terrorist attacks of September 11. An allotment of general admission floor tickets meant fans could get up close and personal with the band in a way they hadn’t been able to do since the early 1980s.

Tai Anderson (President of the Atlanta chapter of the Recording Academy; former bassist for Grammy-winning band Third Day): When U2 came to Atlanta in 2001, I camped out all day long with the other fans so I could get a good spot on the floor “inside the heart” (the stage featured a heart-shaped catwalk). It was ironic, because Third Day had already performed our own shows in front of thousands of people. We would later headline Philips Arena ourselves, but we were fans, too. A few months after their second Philips Arena show that year, U2 played the Super Bowl and scrolled the names of the lives lost on 9/11. In that moment, U2 showed us what America means to the rest of the world.

Mike Mills : U2 had come into town on their night off before the 2001 show. We had a dinner party at my house in Athens. I gave a toast about how great it was to have friends who had walked alongside us on a similar path for all of these years, because we could always look to each other for inspiration. I go see U2 shows, and it makes me want to write a better song or be a better musician. R.E.M. always thought being in a band was like being in your own little gang. Those are the friends you turn to in difficult times, and you always have each other’s backs. U2 and R.E.M. came from the same point of origin in terms of why we were in a band. It was really supportive to have them going through the world at the same time as we did.

Photograph by Erik S. Lesser/Getty Images

2002-2018 Salute To Greatness Award, ONE, Vertigo, 360 Tour

In January 2002, Bono and Bobby Shriver founded DATA (Debt AIDS Trade Africa), funded in part by the Bill and Melinda Gates Foundation. In March, Bono visited George W. Bush at the White House to discuss AIDS, and the following January, Bush announced the President’s Emergency Plan for AIDS Relief, a health initiative that would also raise the profile of the Atlanta-based CDC. Bono’s charitable work increasingly intersected with Atlanta leaders.

Helene Gayle (CEO of Chicago Community Trust; former CEO of CARE) : Lots of celebrities get involved with philanthropy, but Bono stands out because he goes deep on policy. He knows about storytelling. I talk in wonkish terms, but he taps into the human spirit.

On January 17, 2004, the King Center honored Bono with the Salute to Greatness Award . Bono, in his acceptance speech, spoke of how the Irish “despaired for the lack of vision of the kind Dr. King offered people in the South in their struggle. . . . I wrote ‘Pride (In the Name of Love),’ in a way out of that feeling.” Coretta Scott King died in 2006, but Bernice King, youngest child of Coretta and Martin Luther King Jr. and CEO of the King Center, says her mother was especially fond of Bono.

Bernice King : There are few people in life [outside of our family] whom my mother took to and saw as a son of sorts. Bono is one of those. She found him fascinating. She was a little giddy. She must have picked something up in his spirit that attracted her.

The King Center hosted Bono, John Lewis, and Chris Tucker in a roundtable with AIDS activists, doctors, and scientists to discuss how to tackle the AIDS epidemic in Africa and rethink the impact of international aid.

David Ray (vice president for policy and advocacy of CARE) : At that point, we were coming out of the post-9/11 era, which was a time when the U.S. was still looking inward and the world felt like a place in chaos. There was a group of about nine of us international humanitarian organizations who got together to discuss how the U.S. engages in the world and how to help with the AIDS crisis, poverty, and hunger. [Along with DATA and the Christian advocacy organization Bread for the World], we became part of the framework for Bono’s organization, ONE .

ONE is a nonpartisan organization cofounded by Bono in 2004 which lobbies governments to fund disease eradication and poverty reduction in poor countries. ONE and CARE advocates engaged both John Lewis and Georgia’s U.S. Senator Johnny Isakson in cosponsoring bipartisan legislation around food security and public-private partnerships in Africa. Third Day also became involved with ONE. Since 2004, U2 has released four albums, played two nights at Philips Arena on its 2005 “Vertigo tour” and returned to the Georgia Dome in 2009 with the “360 tour.”   On December 1, 2011–thirty years after U2 played its second Atlanta show at the Agora–Coca-Cola  announced   a partnership with (RED), Bono’s product initiative to fight AIDS. That same day, Bono attended a World AIDS Day  event   in Washington, D.C. with President Obama alongside CARE’s Helene Gayle, CNN’s Sanjay Gupta, and Coca-Cola’s Muhtar Kent.  In 2016, Bono met Jimmy Carter when both men were honored for their humanitarian work.

Tai Anderson : Bono and Jimmy Carter were two of my heroes growing up. Their faith drove them. As Christians, we believe that Jesus taught us to love God and to love our neighbor, and for both Carter and Bono, loving your neighbor has never been determined by lines on a map. Especially in the world we live in today, your neighbor is every human being. Jesus didn’t teach “God and Country,” he taught “God and Neighbor.”

This article appears in our  May 2018 issue .

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U2 Rocks The Joyce Center

Celebrating 50 years at the joyce center.

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• U2 Concert 10-10-01

Legendary Irish band U2 performed at the Joyce Center on Oct. 10, 2001, beginning the U.S. leg of its "Elevation Tour." The tour was nearly canceled following the devastating events of 9/11 and the anthrax attacks of 2001, but that didn't stop a capacity crowd from packing the venue.

Notre Dame Magazine

Stuck in a Moment

By Timothy Jacob

Well before Bono and company took the Joyce Center stage on October 10, 2001, the arena was trembling with energy. The crowd on the floor had long since set up camp along both sides of the heart-shaped runways that broke away from the ends of the main stage and rejoined deep within their midst, and as the band struck the opening notes of their upbeat radio anthem “Beautiful Day” from off stage, a sea of indistinguishable murmurs exploded into a wave of screams, whistles and shouts. The capacity crowd, some 12,000 strong, had been awakened, and I couldn’t help but wonder if the Heisman trophies in the upstairs lobby were wiggling their way toward extra yards as the building vibrated with satisfaction.

As it was for many U2 fans, the band’s recently released album  All That You Can’t Leave Behind  had become the soundtrack of my post-9/11 experience. When I think back, I see an endless sea of television screens filled with images of smoke and debris, I smell the wet leaves of autumn, and I hear Bono’s forlorn voice decrying violence in “Peace on Earth.” For me, it was a period of waiting. Waiting to hear news. Waiting for answers. Waiting to feel a more direct connection with two distant American cities and their innocent victims.

For the kind of reasons that make sense to college students, I went online that broken month and bought tickets to the upcoming U2 concert at Notre Dame. It was an emotional escape as well as a physical escape from my DePauw University campus in southern Indiana; it was something to look forward to.

With the gray scenes of terror percolating in the back of my mind, I joined the uproar surrounding U2’s grand entrance. It felt surprisingly good — even cathartic — to go ballistic over four guys in entirely too much leather. As Bono and his sideman, The Edge, hit their stride, strutting up and down their respective catwalks and rattling off such old favorites as “New Year’s Day,” “(Pride) In The Name of Love” and “Sunday, Bloody Sunday,” the audience swallowed every word. As the backlit magnetism of Bono fueled the fire, The Edge’s impassioned guitar riffs heightened the suspense. When the second set closed with the slow-building crescendo of “With or Without You” the Joyce Center was in a frenzy, salivating for resolution.

The minutes passed, filled only with a steady, swollen chorus of applause. As the band retook the stage with a forceful rendition of “Elevation,” masterfully blending hypnotic chord progressions and whimsical solos beneath a shower of neon light, it was clear that something special was brewing.

Of all the songs in U2’s repertoire that have the power to transcend mere words and chords, the band segued into a subtle and brilliant 10-minute take on “One,” which transitioned through “Peace on Earth” and finally into “Walk On,” a song off their newest album. With The Edge pounding away at the infectious melodies of this grand finale and the crowd chanting “Hallelujah!” to the rhythm, Bono brought out members of the New York Police Department and Fire Department and led them on a circuit around the heart-shaped stage. From my perch, I saw audience members scrambling over each other as the procession drew near, only to bypass Bono and shake the hands of middle-aged firemen from Queens. In that moment, U2 brought a small pocket of America back in touch with itself.

Almost five years to the day after that concert, I’m sitting at my computer listening to a bootlegged copy of the show, reliving every revelation as if it were yesterday. I feel the goose bumps, the connection, the unbridled purging of emotion. With the benefit of time and perspective, I hear an audience intent on escapism and a body of music that empowers a community of action. I hear voices chanting “USA! USA! USA!” as an Irish band heads back to its dressing room.

The Joyce Center

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U2 (band) facts for kids

U2 is an Irish rock band . The four members of the band are lead singer Bono (born Paul David Hewson ), lead guitarist The Edge (born David Howell Evans ), bassist Adam Clayton , and drummer Larry Mullen Jr. U2 are a very popular band all over the world and have been since the 1980s . They have sold more than 170 million albums and have won 22 Grammy Awards . This is more than any other rock band.

U2 formed in Dublin in 1976, when none of the members were very good musicians. However, they got better as they got older. They were more popular for playing live shows than for releasing albums. This changed with their hit record in 1987 , The Joshua Tree . In 1991 , U2 released a new album called Achtung Baby . This album sounded very different from their other albums because it was inspired by alternative rock and dance music. Achtung Baby and its worldwide Zoo TV Tour were both very popular. U2 experimented for the rest of the 1990s, making two other very different albums, Zooropa and Pop .

In the 21st century , U2 returned to a more traditional sound, but they continue to be very popular and successful. They are involved in charities and helping people with groups such as Amnesty International , Make Poverty History , the ONE Campaign, Live Aid , Live 8 , Bono's DATA (Debt, AIDS, Trade in Africa) campaign, and Music Rising.

In 2014, the group won a Golden Globe Award for Best Original Song and was nominated for an Academy Award for Best Original Song for their song Ordinary Love which was used in the movie Mandela: Long Walk to Freedom .

Formation (1976-1979)

Images for kids.

U2 was formed in the city of Dublin , Ireland on September 25 , 1976 . It was founded by 14 year-old drummer Larry Mullen Jr. He posted a note on his school's notice board, asking for musicians to create a new band. There were seven teenage boys who went to their first practice. At first, the band was called "The Larry Mullen Band", but they later changed their name to "Feedback" and then "The Hype". The band became smaller over time, eventually becoming just four people, and they finally changed their name to "U2" once Bono, The Edge, Clayton, and Mullen were left.

• October (1981)
• The Unforgettable Fire (1984)
• The Joshua Tree (1987)
• Rattle and Hum (1988)
• Achtung Baby (1991)
• Zooropa (1993)
• All That You Can't Leave Behind (2000)
• How to Dismantle an Atomic Bomb (2004)
• No Line on the Horizon (2009)
• Songs of Innocence (2014)
• Songs of Experience (2017)

The band formed at Mount Temple Comprehensive School in Dublin in 1976 when the members were teenagers.

Steve Lillywhite produced the band's first three studio albums: Boy , October , and War .

U2 performing at the US Festival in May 1983

U2 performing in Sydney in September 1984 on the Unforgettable Fire Tour

The tree pictured on The Joshua Tree album sleeve. Adam Clayton said, "The desert was immensely inspirational to us as a mental image for this record."

Bono in March 1992 on the Zoo TV Tour portraying his persona "The Fly", a leather-clad egomaniac meant to parody rock stardom.

Contrasting with the elaborate stadium productions of the band's previous two tours, the Elevation Tour was a scaled-down affair, featuring a heart-shaped ramp around the stage.

U2 perform during the Elevation Tour in Kansas City in 2001

The outdoor stage of the Vertigo Tour, pictured in June 2005, featured a massive LED screen.

At 164 feet tall, the stage structure from the U2 360° Tour was the largest ever constructed. It allowed for a 360-degree seating configuration.

U2 performing at the Apple product launch at which Songs of Innocence was announced in September 2014

U2 takes a curtain call during a 7 November 2015 performance on the Innocence + Experience Tour (from left to right) : the Edge, Bono, Mullen, Clayton

U2 performing in 2009. The Edge has described U2 as a fundamentally live band.

Bono with then- US President George W. Bush in 2006

U2 with Brazilian president Dilma Rousseff in 2011 (from left to right): Mullen, Bono, Rousseff, Clayton, and the Edge

Rolling Stone ranked the Edge and Bono among the greatest guitarists and singers, respectively.

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Rocking the Stage: U2 2025 Tour Announced!

Get ready to relive the legendary music experience as U2 makes a grand comeback with their much-anticipated U2 2025 Tour ! Fans across the globe are buzzing with excitement as the iconic rock band gears up to once again grace the stage with their electrifying performances and timeless hits. With a legacy that has spanned decades, U2 continues to captivate audiences with their soul-stirring lyrics, powerful melodies, and unmatched stage presence. The U2 2025 Tour promises to be a mesmerizing fusion of nostalgia and innovation, offering fans a chance to immerse themselves in the unparalleled magic of U2’s music. Join us as we dive into the journey of what is set to be an unforgettable musical extravaganza!

Introduction: Exploring the Excitement of U2 2025 Tour Announcement

U2 fans worldwide are buzzing with excitement as the legendary rock band has officially announced their highly anticipated U2 2025 Tour . With a stellar reputation for delivering electrifying performances and captivating audiences, the news of this upcoming tour has sent shockwaves through the music industry.

Behind the Scenes of U2 2025 Tour Preparation

Preparations for the U2 2025 Tour have been in full swing, with the band members and their production team working tirelessly to ensure that this tour surpasses all expectations. From selecting the setlist to designing the stage setup, every detail is being meticulously planned to create an unforgettable experience for fans.

What to Expect from U2 2025 Tour

With a history of groundbreaking performances and innovative stage productions, fans can expect nothing less than pure musical magic from the U2 2025 Tour. From their classic hits to new releases, the setlist promises to be a perfect blend of nostalgia and fresh sounds, sure to delight fans of all generations.

• Visually stunning stage design
• High-energy performances by Bono, The Edge, Adam Clayton, and Larry Mullen Jr.
• Special guest appearances and surprises

History of U2: From Humble Beginnings to Global Superstardom

U2, one of the most iconic rock bands in the world, began their journey in Dublin, Ireland, in the late 1970s. The band consists of Bono, The Edge, Adam Clayton, and Larry Mullen Jr. Known for their socially conscious lyrics and powerful performances, U2 quickly gained popularity and critical acclaim.

The Early Days

Formed in 1976, initially as a punk rock band, U2’s sound evolved over the years, blending rock, pop, and alternative music genres. Their debut album, “Boy,” released in 1980, showcased their raw talent and rebellious spirit.

With passion and determination, U2 built a loyal fan base through their electrifying live shows and thought-provoking lyrics.

Rise to Global Fame

By the mid-1980s, U2 had achieved international success with albums like “The Joshua Tree” and “Rattle and Hum.” The band’s anthemic songs, such as “With or Without You” and “Where the Streets Have No Name,” solidified their status as global superstars .

• They continued to push boundaries with their experimental sounds and innovative music videos, captivating audiences worldwide.

Anticipation Builds: Fan Reactions and Expectations for the 2025 Tour

As U2 announces their much-anticipated 2025 tour, fans all over the world are buzzing with excitement and anticipation. The band, known for their electrifying performances and powerful music, is set to rock the stage once again.

Fan Excitement

Fans have taken to social media to express their excitement and anticipation for the upcoming tour. The prospect of seeing U2 live in 2025 has ignited a wave of enthusiasm among loyal followers and new fans alike.

Expectations for the Tour

With a reputation for delivering unforgettable live shows, fans are expecting nothing short of spectacular performances from U2 during their 2025 tour . The band’s history of innovative stage designs and energetic setlists has raised the bar for live music experiences.

Venue Spotlight: Where the U2 2025 Tour Will Rock the Stage

Get ready for an electrifying experience as the U2 2025 Tour gears up to rock the stage at iconic venues across the globe. From state-of-the-art arenas to open-air stadiums, fans can look forward to unforgettable performances in top-notch settings.

State-of-the-Art Arenas

Experience the magic of U2 in cutting-edge arenas equipped with the latest sound and lighting technologies. Every note will resonate throughout the venue, creating an immersive atmosphere that will leave you spellbound.

Open-Air Stadiums

Picture yourself under the starlit sky, surrounded by thousands of fans, as U2 takes the stage in breathtaking open-air stadiums. The outdoor ambiance adds an extra element of energy, making each performance a memorable experience.

• Soak up the unforgettable atmosphere
• Feel the energy of the crowd

Behind the Scenes: Insights into Tour Preparations and Setlist Predictions

As U2 prepares for their anticipated 2025 tour, fans eagerly await a glimpse behind the curtain at the band’s preparations and setlist predictions. The legendary rock band, known for their electrifying live performances, is sure to deliver an unforgettable experience for concert-goers.

Tour Rehearsals and Production

Months before hitting the road, U2 engages in rigorous rehearsals to fine-tune their performance. From perfecting instrumentals to syncing visuals, every detail is meticulously planned for a seamless and captivating show. The 2025 tour promises cutting-edge production, setting new standards for live music experiences. Don’t miss out on the visual spectacle!

Setlist Evolution and Fan Favorites

With an extensive discography spanning decades, U2 faces the challenge of crafting the perfect setlist. Hits like “With or Without You” and “Beautiful Day” are fan favorites that are likely to make the cut. However, the band is known for surprising audiences with deep cuts and new arrangements that keep the show fresh and exciting. Expect the unexpected!

• Classic Hits Medley
• Rare Gems Showcase
• New Album Highlights

Special Guests: Potential Collaborations and Surprises on the U2 2025 Tour

As U2 embarks on their highly anticipated U2 2025 Tour, fans are buzzing with excitement about the possibility of special guests and surprising collaborations that may grace the stage alongside the legendary band. With a rich history of collaborating with iconic artists, the U2 2025 Tour is expected to be no different.

Potential Collaborators

U2 has a tradition of inviting fellow musicians to join them on stage, adding a unique twist to their live performances. In 2025, fans can expect thrilling collaborations with both established artists and emerging talents, creating unforgettable moments for concert-goers.

Surprises Await

Aside from planned collaborations, U2 is known for surprising their audience with unexpected appearances and performances. Whether it’s a cameo from a music legend or an exclusive debut of a new song, expect the unexpected on the U2 2025 Tour .

• Special guest appearances
• Exclusive performances
• Memorable surprises

Visual Spectacle: Design and Production Elements of the Upcoming Tour

As U2 gears up for their highly anticipated U2 2025 Tour , fans are eagerly awaiting the visual feast that the band is known for delivering. With cutting-edge design and production elements, the upcoming tour promises to surpass all expectations and create an unforgettable experience for concert-goers.

Lighting and Visual Effects

The U2 2025 Tour will feature state-of-the-art lighting and visual effects that will enhance the band’s performance and immerse the audience in a mesmerizing spectacle. From dazzling light shows to stunning projections, each concert will be a feast for the eyes.

Stage Design

The stage design for the U2 2025 Tour is set to be revolutionary, with innovative structures and interactive elements that will elevate the band’s performance to new heights. Fans can expect a dynamic and immersive stage setup that complements U2’s iconic music.

Frequently Asked Questions

• When was the U2 2025 tour announced?
• The U2 2025 tour was officially announced on December 1st, 2024.
• Which cities will U2 be visiting during the 2025 tour?
• U2 will be visiting major cities across North America, Europe, and Asia during their 2025 tour. Some of the confirmed cities include New York, London, Tokyo, and more.
• How can I purchase tickets for the U2 2025 tour?
• Tickets for the U2 2025 tour will be available for purchase online through authorized ticketing platforms and also through select physical box offices. Stay tuned for ticket sale dates and more information.
• Will there be VIP packages available for the U2 2025 tour?
• Yes, VIP packages will be offered for the U2 2025 tour, providing fans with exclusive access, premium seating, merchandise, and more. Details about the VIP packages will be released closer to the tour dates.
• Are there any special guests or opening acts announced for the U2 2025 tour?
• Details about special guests or opening acts for the U2 2025 tour have not been announced yet. Keep an eye on official announcements for updates on any additional performances.

Rocking into the Future: U2 2025 Tour – A Musical Journey Ahead

As we eagerly anticipate the U2 2025 Tour, it’s clear that the ico​nic band is set to captivate audiences once again with their electrifying performances and timeless hits. The announcement of this tour has sparked excitement among fans worldwide, with promises of new music and innovative stage productions. This tour not only signifies a musical experience but also serves as a reminder of the band’s enduring legacy and impact on the music industry. As we gear up for this musical journey ahead, let’s embrace the magic of U2’s music and get ready to rock the stage together in 2025!

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