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U2
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This article is about the Irish rock band. For other uses, see U2 (disambiguation).
U2
U2 performing in August 2017, from left to right: Larry Mullen Jr., The Edge; Bono; Adam Clayton
Background information
Also known as
Feedback (1976–77)
The Hype (1977–78)
Origin
Dublin, Ireland
Genres
Rock
alternative rock
post-punk
Years active
1976–present
Labels
Island
Interscope
Mercury
Associated acts
Virgin Prunes, Passengers
Website
u2.com
Members
Bono
The Edge
Adam Clayton
Larry Mullen Jr.
Past members
See members section
U2 are an Irish rock band from Dublin formed in 1976. The group consists of Bono (lead vocals and rhythm guitar), the Edge (lead guitar, keyboards, and backing vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion).[1] Initially rooted in post-punk, U2's musical style evolved throughout their career, yet has maintained an anthemic sound built on Bono's expressive vocals and the Edge's effects-based guitar textures. Their lyrics, often embellished with spiritual imagery, focus on personal and sociopolitical themes. Popular for their live performances, the group have staged several ambitious and elaborate tours over their career.
The band formed at Mount Temple Comprehensive School in 1976 when the members were teenagers with limited musical proficiency. Within four years, they signed with Island Records and released their debut album, Boy (1980). Subsequent work such as their first UK number-one album, War (1983), and the singles "Sunday Bloody Sunday" and "Pride (In the Name of Love)" helped establish U2's reputation as a politically and socially conscious group. By the mid-1980s, they had become renowned globally for their live act, highlighted by their performance at Live Aid in 1985. The group's fifth album, The Joshua Tree (1987), made them international superstars and was their greatest critical and commercial success. Topping music charts around the world, it produced their only number-one singles in the US, "With or Without You" and "I Still Haven't Found What I'm Looking For".
Facing creative stagnation and a backlash following their documentary/double album, Rattle and Hum (1988), U2 reinvented themselves in the 1990s through a new musical direction and public image. Beginning with their acclaimed seventh album, Achtung Baby (1991), and the multimedia intensive Zoo TV Tour, the band integrated influences from alternative rock, electronic dance music, and industrial music into their sound, and embraced a more ironic, flippant image. This experimentation continued through their ninth album, Pop (1997), and the PopMart Tour, which were mixed successes. U2 regained critical and commercial favour with the records All That You Can't Leave Behind (2000) and How to Dismantle an Atomic Bomb (2004), which established a more conventional, mainstream sound for the group. Their U2 360° Tour of 2009–2011 is the highest-attended and highest-grossing concert tour in history. The group's thirteenth album, Songs of Innocence (2014), was released at no cost through the iTunes Store, but received criticism for its automatic placement in users' music libraries.
U2 have released 13 studio albums and are one of the world's best-selling music artists in history, having sold more than 170 million records worldwide.[2] They have won 22 Grammy Awards, more than any other band, and in 2005, they were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Rolling Stone ranked U2 at number 22 on its list of the "100 Greatest Artists of All Time".[3] Throughout their career, as a band and as individuals, they have campaigned for human rights and philanthropic causes, including Amnesty International, Jubilee 2000, the ONE/DATA campaigns, Product Red, War Child, and Music Rising.
Contents
[hide]
1 History
1.1 Formation and early years (1976–1980)
1.2 Boy and October (1980–1982)
1.3 War (1982–1983)
1.4 The Unforgettable Fire and Live Aid (1984–1985)
1.5 The Joshua Tree and Rattle and Hum (1986–1990)
1.6 Achtung Baby, Zoo TV, and Zooropa (1990–1993)
1.7 Passengers, Pop, and PopMart (1994–1998)
1.8 All That You Can't Leave Behind and Elevation Tour (1998–2002)
1.9 How to Dismantle an Atomic Bomb and Vertigo Tour (2003–2006)
1.10 No Line on the Horizon and U2 360° Tour (2006–2011)
1.11 Songs of Innocence and Innocence + Experience Tour (2011–2015)
1.12 The Joshua Tree Tour 2017 and Songs of Experience (2016–present)
2 Musical style
2.1 Instrumentation
2.2 Lyrics and themes
2.3 Influences
3 Campaigning and activism
4 Other projects and collaborations
5 Legacy
6 Members
7 Discography
8 Tours
9 References
10 External links
History[edit]
See also: Timeline of U2
Formation and early years (1976–1980)[edit]
The band formed at Mount Temple Comprehensive School in Dublin in 1976 when the members were teenagers.
The band formed in Dublin on 25 September 1976.[4] Larry Mullen Jr., then a 14-year-old student at Mount Temple Comprehensive School, posted a note on the school's notice board in search of musicians for a new band—six people responded. Setting up in his kitchen, Mullen was on drums, with Paul Hewson ("Bono") on lead vocals; David Evans ("the Edge") and his older brother Dik Evans on guitar; Adam Clayton, a friend of the Evans brothers on bass guitar; and initially Ivan McCormick and Peter Martin, two other friends of Mullen.[5] Mullen later described it as "'The Larry Mullen Band' for about ten minutes, then Bono walked in and blew any chance I had of being in charge."[6] Martin, who had brought his guitar and amplifier to the first practice but could not play, did not remain with the group,[7] and McCormick was dropped within a few weeks.[8] The group settled on the name "Feedback" because it was one of the few technical terms they knew.[6] Most of their initial material consisted of cover songs, which the band admitted was not their forte.[9] Some of the earliest influences on the band were emerging punk rock acts, such as the Jam, the Clash, Buzzcocks, and Sex Pistols. The popularity of punk rock convinced the group that musical proficiency was not a prerequisite to success.[10]
"We couldn't believe it. I was completely shocked. We weren't of an age to go out partying as such but I don't think anyone slept that night ... Really, it was just a great affirmation to win that competition, even though I've no idea how good we were or what the competition was really like. But to win at that point was incredibly important for morale and everyone's belief in the whole project."
—The Edge, on winning the talent contest in Limerick[11]
In April 1977, Feedback played their first gig for a paying audience at St. Fintan's High School. Shortly after, the band changed their name to "The Hype".[12] Dik Evans, who was older and by this time at college, was becoming the odd man out. The rest of the band was leaning towards the idea of a four-piece ensemble.[11] In March 1978, the group changed their name to "U2".[13] Steve Averill, a punk rock musician (with the Radiators) and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, and because it was the name that they disliked the least.[14] That same month, U2, as a four-piece, won a talent contest in Limerick sponsored by Harp Lager and the Evening Press. The prize consisted of £500 and studio time to record a demo which would be heard by CBS Ireland, a record label.[15] The win was an important milestone and affirmation for the fledgling band.[11] Within a few days, Dik Evans was officially phased out of the band with a farewell concert at the Presbyterian Church Hall in Howth.[15] During the show, which featured the group playing cover songs as the Hype, Dik ceremonially walked offstage. The remaining four band members returned later in the concert to play original material as U2.[11] As part of their contest prize, the group recorded their first demo tape at Keystone Studios in Dublin in April 1978,[15] but the results were largely unsuccessful due to their nervousness.[16]
Irish magazine Hot Press was influential in shaping U2's future; in addition to being one of their earliest allies, the publication's journalist Bill Graham introduced the band to Paul McGuinness, who agreed to be their manager in mid-1978.[15][17] With the connections he was making within the music industry, McGuinness booked demo sessions for the group and sought to garner them a record deal. U2 continued to build their fanbase with performances across Ireland,[18] the most famous of which were a series of Saturday afternoon shows at Dublin's Dandelion Market in the summer of 1979.[19] In August, U2 recorded a three-song demo with producer Chas de Whalley at Windmill Lane Studios, marking the first of what would be many recordings there by the band during their career.[20] The following month, the songs were released by CBS as the Ireland-only EP U2-3. It was the group's first chart success, selling all 1,000 copies of its limited edition 12-inch vinyl almost immediately.[19] In December 1979, the band performed in London for their first shows outside Ireland, although they were unable to gain much attention from audiences or critics.[21] On 26 February 1980, their second single, "Another Day", was released on the CBS label, but again only for the Irish market. The same day, at the end of an Irish tour, U2 played a show in the 2,000-seat National Stadium in Dublin.[22][23] Although they took a significant risk in booking a show at a venue of that size, it paid off;[22] Bill Stewart, an A&R representative for Island Records, was in attendance and subsequently signed the group to the label.[24]
Boy and October (1980–1982)[edit]
Steve Lillywhite produced the band's first three studio albums: Boy, October, and War.
In May 1980, U2 released "11 O'Clock Tick Tock", their first international single and their debut on Island Records, but it failed to chart.[25] Martin Hannett, who produced the single, was scheduled to produce the band's debut album, Boy, but ultimately was replaced with Steve Lillywhite.[26] From July to September 1980, U2 recorded the album at Windmill Lane Studios,[27][28] drawing from their nearly 40-song repertoire at the time.[29] Lillywhite employed unorthodox production techniques, such as recording Mullen's drums in a stairwell, and recording smashed bottles and forks played against a spinning bicycle wheel.[26] The band found Lillywhite to be very encouraging and creative; Bono called him "such a breath of fresh air", while the Edge said he "had a great way of pulling the best out of everybody".[26] The album's lead single, "A Day Without Me", was released in August. Although it did not chart,[27] the song was the impetus for the Edge's purchase of a delay effect unit, the Electro-Harmonix Memory Man, which came to define his guitar playing style and had a significant impact on the group's creative output.[25]
Released in October 1980,[30] Boy received generally positive reviews.[31] Paul Morley of NME called it "touching, precocious, full of archaic and modernist conviction",[32] while Declan Lynch of Hot Press said he found it "almost impossible to react negatively to U-2's music".[33] Bono's lyrics reflected on adolescence, innocence, and the passage into adulthood,[34] themes represented on the album cover through the photo of a young boy's face.[26] Boy peaked at number 52 in the UK and number 63 in the United States.[30][35] The album included the band's first song to receive airplay on US radio, the single "I Will Follow",[36] which reached number 20 on the Top Tracks rock chart.[37] Boy's release was followed by the Boy Tour, U2's first tour of continental Europe and the US.[38] Despite being unpolished, these early live performances demonstrated the band's potential, as critics complimented the group's ambition and Bono's exuberance.[39]
The band faced several challenges in writing their second album, October. On an otherwise successful American leg of the Boy Tour, Bono's briefcase containing in-progress lyrics and musical ideas was lost backstage during a March 1981 performance at a nightclub in Portland, Oregon.[40][41] The band had limited time to write new music on tour and in July began a two-month recording session at Windmill Lane Studios largely unprepared,[42] forcing Bono to quickly improvise lyrics.[40] Lillywhite, reprising his role as producer, called the sessions "completely chaotic and mad".[43] October's lead single, "Fire", was released in July and was U2's first song to chart in the UK.[42][44] Despite garnering the band an appearance on UK television programme Top of the Pops, the single fell in the charts afterwards.[40] On 16 August 1981, the group opened for Thin Lizzy at the inaugural Slane Concert, but the Edge called it "one of the worst shows [U2] ever played in [their] lives".[42] Adding to this period of self-doubt, Bono's, the Edge's, and Mullen's involvement in a Charismatic Christian group in Dublin called the "Shalom Fellowship" led them to question the relationship between their religious faith and the lifestyle of a rock band.[40][45] Bono and the Edge considered quitting the band due to their perceived spiritual conflicts before deciding to leave Shalom instead.[40][46]
October was released in October 1981 and contained overtly spiritual themes.[47] The album received mixed reviews and limited radio play,[48] and although it debuted at number 11 in the UK,[47] it sold poorly elsewhere.[49] The single "Gloria" was U2's first song to have its music video played on MTV, generating excitement for the band during the October Tour of 1981–1982 in markets where the television channel was available.[50] During the tour, U2 met Dutch photographer Anton Corbijn,[51] who became their principal photographer and has had a major influence on their vision and public image.[52] In March 1982, the band played 14 dates as the opening act for the J. Geils Band, increasing their exposure.[53] Still, U2 were disappointed by their lack of progress by the end of the October Tour. Having run out of money and feeling unsupported by their record label, the group committed to improving; Clayton recalled that "there was a firm resolve to come out of the box fighting with the next record".[49]
War (1982–1983)[edit]
After the October Tour, U2 decamped to a rented cottage in Howth, where they lived, wrote new songs, and rehearsed for their third album, War. Significant musical breakthroughs were achieved by the Edge in August 1982 during a two-week period of independent songwriting, while the other band members vacationed and Bono honeymooned with his wife Ali.[54][55] From September to November, the group recorded War at Windmill Lane Studios. Lillywhite, who had a policy of not working with an artist more than twice, was convinced by the group to return as their producer for a third time.[56][57] The recording sessions featured contributions from violinist Steve Wickham and the female singers of Kid Creole and the Coconuts.[56] For the first time, Mullen agreed to play drums to a click track to keep time.[54] After completing the album, U2 undertook a short tour of Western Europe in December.[58]
"Sunday Bloody Sunday" (1983)
"Sunday Bloody Sunday" features a martial drumbeat, raw guitar, and lyrically, a bleak emotionally charged response to violence.
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War's lead single, "New Year's Day", was released on 1 January 1983.[59] It reached number 10 in the UK and became the group's first hit outside of Europe; in the US, it received extensive radio coverage and peaked at number 53.[60] Resolving their doubts of the October period,[61] U2 released War in February.[60] Critically, the album received favourable reviews, although a few UK reviewers were critical of it.[62] Nonetheless, it was the band's first commercial success, debuting at number one in the UK, while reaching number 12 in the US.[60] War's sincerity and "rugged" guitar were intentionally at odds with the trendier synthpop of the time.[63] A record on which the band "turned pacifism itself into a crusade",[64] War was lyrically more political than their first two records,[65] focusing on the physical and emotional effects of warfare.[56] The album included the protest song "Sunday Bloody Sunday", in which Bono lyrically tried to contrast the events of the 1972 Bloody Sunday shooting with Easter Sunday.[54] Other songs from the record addressed topics such as nuclear proliferation ("Seconds") and the Polish Solidarity movement ("New Year's Day").[66] War was U2's first record to feature Corbijn's photography.[67] The album cover depicted the same young child who had appeared on the cover of their debut album, albeit with his previously innocent expression replaced by a fearful one.[60]
U2 performing at the US Festival in May 1983
On the subsequent 1983 War Tour of Europe, the US, and Japan,[60] the band began to play progressively larger venues, moving from clubs to halls to arenas.[68] Bono attempted to engage the growing audiences with theatrical, often dangerous antics, climbing scaffoldings and lighting rigs and jumping into the audience.[69] The sight of Bono waving a white flag during performances of "Sunday Bloody Sunday" became the tour's iconic image.[70] The band played several dates at large European and American music festivals,[59] including a performance at the US Festival on Memorial Day weekend for an audience of 125,000 people.[71] The group's 5 June 1983 concert at Red Rocks Amphitheatre on a rain-soaked evening was singled out by Rolling Stone as one "50 Moments that Changed the History of Rock and Roll".[72] The show was recorded for the concert video Live at Red Rocks and was one of several concerts from the tour captured on their live album Under a Blood Red Sky.[73] Both releases received extensive play on the radio and MTV, expanding the band's audience and showcasing their prowess as a live act.[72] During the tour, the group established a new tradition by closing concerts with the War track "40", during which the Edge and Clayton would switch instruments and the band members would leave the stage one-by-one as the crowd continued to sing the refrain "How long to sing this song?".[74][75] The War Tour was U2's first profitable tour, grossing about US$2 million.[76]
The Unforgettable Fire and Live Aid (1984–1985)[edit]
With their record deal with Island Records coming to an end, the band signed a more lucrative extension in 1984. They negotiated the return of the copyrights of their songs, an increase in their royalty rate, and a general improvement in terms, at the expense of a larger initial payment.[77]
The band feared that following the overt rock of the War album and tour, they were in danger of becoming another "shrill", "sloganeering arena-rock band".[78] The group were confident that fans would embrace them as successors to the Who and Led Zeppelin, but according to Bono: "something just didn't feel right. We felt we had more dimension than just the next big anything, we had something unique to offer."[79] Thus, they sought experimentation for their fourth studio album, The Unforgettable Fire.[80] Clayton said, "We were looking for something that was a bit more serious, more arty."[79] The Edge admired the ambient and "weird works" of Brian Eno, who, along with his engineer Daniel Lanois, eventually agreed to produce the record. Island Records founder Chris Blackwell initially tried to discourage them from their choice of producers, believing that just when the band were about to achieve the highest levels of success, Eno would "bury them under a layer of avant-garde nonsense".[81]
"The Unforgettable Fire" (1984)
"The Unforgettable Fire" has a rich, symphonic sound built from ambient instrumentation, a driving rhythm, and a lyrical "sketch".[82]
Partly recorded in Slane Castle, The Unforgettable Fire was released in October 1984 and was at the time the band's most marked change in direction.[83] It was ambient and abstract, and featured a rich, orchestrated sound. Under Lanois' direction, Mullen's drumming became looser, funkier, and more subtle, and Clayton's bass became more subliminal.[84] Complementing the album's atmospheric sound, the lyrics are open to interpretation, providing what the band called a "very visual feel".[83] Due to a tight recording schedule, however, Bono felt songs like "Bad" and "Pride (In the Name of Love)" were incomplete "sketches".[81] The album reached number one in Britain,[85] and was successful in the US.[86] The lead single "Pride (In the Name of Love)", written about Martin Luther King, Jr., was the band's biggest hit to that point and was their first song to chart in the US top 40.[87]
U2 performing in Sydney in September 1984 on the Unforgettable Fire Tour
Much of the Unforgettable Fire Tour moved into indoor arenas as U2 began to win their long battle to build their audience.[88] The complex textures of the new studio-recorded tracks, such as "The Unforgettable Fire" and "Bad", posed a challenge in translating to live performances.[83] One solution was programming music sequencers, which the band had previously been reluctant to use but now incorporate into the majority of their performances.[83] Songs on the album had been criticised as being "unfinished", "fuzzy", and "unfocused", but were better received by critics when played on stage. Rolling Stone, which was critical of the album version of "Bad", described its live performance as a "show stopper".[89]
U2 participated in the Live Aid concert for Ethiopian famine relief at Wembley Stadium in July 1985.[90] Their performance in front of 72,000 fans and for a worldwide television audience of two billion people was a pivotal point in the band's career.[91] During a 12-minute performance of the song "Bad", Bono leapt down off the stage to embrace and dance with a fan, showing a television audience the personal connection that Bono could make with audiences.[92] In 1985, Rolling Stone called U2 the "Band of the '80s", saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters".[77]
The Joshua Tree and Rattle and Hum (1986–1990)[edit]
"The wild beauty, cultural richness, spiritual vacancy and ferocious violence of America are explored to compelling effect in virtually every aspect of The Joshua Tree—in the title and the cover art, the blues and country borrowings evident in the music ... Indeed, Bono says that 'dismantling the mythology of America' is an important part of The Joshua Tree's artistic objective."
—Anthony DeCurtis[93]
For their fifth album, The Joshua Tree,[94] the band wanted to build on The Unforgettable Fire's textures, but instead of out-of-focus experimentation, they sought a harder-hitting sound within the limitation of conventional song structures.[95] Realising that "U2 had no tradition" and that their knowledge of music from before their childhood was limited, the group delved into American and Irish roots music.[96] Friendships with Bob Dylan, Van Morrison, and Keith Richards motivated Bono to explore blues, folk, and gospel music and focused him on his skills as a songwriter and lyricist.[97] U2 halted the album sessions in June 1986 to serve as a headline act on the Conspiracy of Hope benefit concert tour for Amnesty International. Rather than distract the band, the tour invigourated their new material.[98] The following month, Bono travelled to San Salvador and Nicaragua and saw first-hand the distress of peasants bullied in internal conflicts that were subject to US political intervention. The experience became a central influence on their new music.[99]
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."[100]
The Joshua Tree was released in March 1987. The album juxtaposes antipathy towards US foreign policy against the group's deep fascination with the country, its open spaces, freedom, and ideals.[101] The band wanted music with a sense of location and a "cinematic" quality, and the record's music and lyrics draw on imagery created by American writers whose works the band had been reading.[102] The Joshua Tree was critically acclaimed; Robert Hilburn of the Los Angeles Times said the album "confirms on record what this band has been slowly asserting for three years now on stage: U2 is what the Rolling Stones ceased being years ago—the greatest rock and roll band in the world".[103] The record went to number one in over 20 countries, including the UK where it received a platinum certification in 48 hours, making it the fastest seller in British chart history.[104] In the US, it spent nine consecutive weeks at number one.[105] The album included the hit singles "With or Without You", "I Still Haven't Found What I'm Looking For", and "Where the Streets Have No Name", the first two of which became the group's only number-one hits in the US. U2 became the fourth rock band to be featured on the cover of Time magazine,[106] which called them "Rock's Hottest Ticket".[107] The album won U2 their first two Grammy Awards,[108] and it brought them a new level of success. Many publications, including Rolling Stone, have cited it as one of rock's greatest.[109] The Joshua Tree Tour was the first tour on which the band played shows in stadiums alongside smaller arena shows.[110] It grossed US$40 million[111] and drew 3 million attendees.[99]
In October 1988, the group released Rattle and Hum, a double album and theatrically released documentary film that captured the band's experiences with American roots music on the Joshua Tree Tour. The record featured nine studio tracks and six live U2 performances, including recordings at Sun Studios in Memphis and performances with Dylan and B. B. King. Intended as a tribute to American music,[112] the project received mixed reviews from both film and music critics; one Rolling Stone editor spoke of the album's "excitement", another described it as "misguided and bombastic".[113] The film's director, Phil Joanou, described it as "an overly pretentious look at U2".[114] Despite the criticism, the album sold 14 million copies and reached number one worldwide.[115] Lead single "Desire" became the band's first UK number-one song while reaching number three in the US.[116] Most of the album's new material was played on 1989–1990's Lovetown Tour, which only visited Australasia, Japan, and Europe, so as to avoid the critical backlash the group faced in the US. In addition, they had grown dissatisfied with their live performances; Mullen recalled, "We were the biggest, but we weren't the best".[117] With a sense of musical stagnation, Bono said to fans on one of the last dates of the tour that it was "the end of something for U2" and that they had to "go away and ... just dream it all up again".[118]
Achtung Baby, Zoo TV, and Zooropa (1990–1993)[edit]
"Buzzwords on this record were trashy, throwaway, dark, sexy, and industrial (all good) and earnest, polite, sweet, righteous, rockist and linear (all bad). It was good if a song took you on a journey or made you think your hifi was broken, bad if it reminded you of recording studios or U2 ..."
—Brian Eno, on the recording of Achtung Baby[119]
Stung by the criticism of Rattle and Hum, the band sought to transform themselves musically.[120] Seeking inspiration from German reunification, they began work on their seventh studio album, Achtung Baby, at Berlin's Hansa Studios in October 1990 with producers Daniel Lanois and Brian Eno.[121] The sessions were fraught with conflict, as the band argued over their musical direction and the quality of their material. While Clayton and Mullen preferred a sound similar to U2's previous work, Bono and the Edge were inspired by European industrial music and electronic dance music and advocated a change. Weeks of tension and slow progress nearly prompted the group to break up until they made a breakthrough with the improvised writing of the song "One".[122] They returned to Dublin in 1991, where morale improved and the majority of the album was completed.
"The Fly" (1991)
"The Fly" features hip-hop beats, distorted vocals, and a hard industrial edge that differed from U2's typical sound.[123]
Achtung Baby was released in November 1991. The album represented a calculated change in musical and thematic direction for the group; the shift was one of their most dramatic since The Unforgettable Fire.[124] Sonically, the record incorporated influences from alternative rock, dance, and industrial music of the time, and the band referred to its musical departure as "four men chopping down the Joshua Tree".[125] Thematically, it was a more introspective and personal record; it was darker, yet at times more flippant than the band's previous work. Commercially and critically, it has been one of the band's most successful albums. It produced five hit singles, including "The Fly", "Mysterious Ways", and "One", and it was a crucial part of the band's early 1990s reinvention.[126] In 1993, Achtung Baby won the Grammy Award for Best Rock Performance by a Duo or Group with Vocal.[127] Like The Joshua Tree, many publications have cited the record as one of rock's greatest.[109]
Bono in March 1992 on the Zoo TV Tour portraying his persona "The Fly", a leather-clad egomaniac meant to parody rock stardom.
Like Achtung Baby, the 1992–1993 Zoo TV Tour was an unequivocal break with the band's past. In contrast to the austere stage setups of previous U2 tours, Zoo TV was an elaborate multimedia event. It satirised the pervasive nature of television and its blurring of news, entertainment, and home shopping by attempting to instill "sensory overload" in its audience.[125][128][129] The stage featured large video screens that showed visual effects, random video clips from pop culture, and flashing text phrases, along with a lighting system partially made of Trabant automobiles.[130] Whereas U2 were known for their earnest performances in the 1980s, the group's Zoo TV performances were intentionally ironic and self-deprecating;[125] on stage, Bono performed as several over-the-top characters, including the leather-clad egomaniac "The Fly",[131] the greedy televangelist "Mirror Ball Man", and the devilish "MacPhisto".[132] Prank phone calls were made to President Bush, the United Nations, and others. Live satellite link-ups to war-torn Sarajevo caused controversy.[133] Zoo TV was the highest-grossing North American tour of 1992, earning US$67 million.[134]
In June 1993, U2 signed a long-term, six-album deal to remain with Island Records/PolyGram.[135] The Los Angeles Times estimated that the deal was worth US$60 million to the band,[136] making them the highest-paid rock group ever.[137] The following month, the group released a new album, Zooropa. Quickly recorded during a break in the Zoo TV Tour in early 1993, it expanded on many of the themes from Achtung Baby and the Zoo TV Tour. Initially intended as an EP, Zooropa ultimately evolved into a full-length LP album. It was an even greater departure from the style of their earlier recordings, incorporating further dance influences and other electronic effects.[138] Johnny Cash sang the lead vocals on "The Wanderer". Most of the songs were played at least once during the 1993 legs of the tour, which visited Europe, Australia, New Zealand and Japan; half the album's tracks became permanent fixtures in the setlist.[139] Although the commercially successful Zooropa won the Grammy Award for Best Alternative Music Album in 1994, the band regard it with mixed feelings, as they felt it was more of "an interlude".
On the final leg of the Zoo TV Tour, Clayton was unable to perform for the group's 26 November 1993 show in Sydney due to a hangover, causing him to miss the dress rehearsal for filming Zoo TV: Live from Sydney. Bass guitar technician Stuart Morgan filled in for him, marking the first time any member of U2 had missed a show. After the incident, Clayton gave up drinking alcohol.[140] The tour concluded the following month in Japan, having sold 5.3 million tickets overall.[141] Q's Tom Doyle called Zoo TV "the most spectacular rock tour staged by any band".[142]
Passengers, Pop, and PopMart (1994–1998)[edit]
In 1995, following a long break, U2 contributed "Hold Me, Thrill Me, Kiss Me, Kill Me" to the soundtrack album of the film Batman Forever.[143] The song was a hit, reaching number one in Australia and Ireland, number two in the UK, and number 16 in the US.[144] In November, the band released an experimental album called Original Soundtracks 1, a collaboration with Brian Eno, who contributed as a full songwriting and performing partner. Due to his participation and the record's highly experimental nature, the band chose to release it under the moniker "Passengers" to distinguish it from U2's conventional albums.[145] Mullen said of the release: "There's a thin line between interesting music and self-indulgence. We crossed it on the Passengers record."[146] It was commercially unnoticed by U2 standards and it received generally mixed reviews.[147] However, the single "Miss Sarajevo" featuring Luciano Pavarotti was among Bono's favourite U2 songs.[148]
U2 began work on their next studio album, Pop, in mid-1995, holding recording sessions with Nellee Hooper, Flood, and Howie B. The band mixed the contrasting influences of each producer into their music, in particular Howie B's experiences with electronica and dance music.[149] Mullen was sidelined due to back surgery in November,[150] prompting the other band members to take different approaches to songwriting, such as programming drum loops and playing to samples provided by Howie B.[149] Upon Mullen's return in February 1996, the group began re-working much of their material but struggled to complete songs, causing them to miss their mid-year deadline to complete the record.[151] Further complicating matters, the band allowed manager Paul McGuinness to book their 1997–1998 PopMart Tour with the album still in progress;[152] Bono called it "the worst decision U2 ever made".[153] Rushed to complete the album, the band delayed its release date a second time from the 1996 holiday season to March 1997,[151][154] cutting into tour rehearsal time.[23][155] Even with the additional recording time, U2 worked up to the last minute to complete songs.[149][152]
The PopMart Tour stage featured a golden arch, mirrorball lemon, and 150-foot-long LED screen. The band emerged from the lemon during encores, although it occasionally malfunctioned.
In February 1997,[156] the group released Pop's lead single, "Discotheque", a dance-heavy song with a music video in which the band wore Village People costumes.[157] The song reached number one in the UK, Japan, and Canada, but did not chart for long in the US despite debuting at number 10.[156] Within days of the single's release, the group announced the PopMart Tour with a press conference in the lingerie section of a Kmart department store.[156] Tickets went on sale shortly after, but Pop would not be released until March.[158] The album represented U2's further exploration of nightclub culture, featuring heavy, funky dance rhythms.[159] The record drew favourable reviews.[160] Rolling Stone stated that U2 had "defied the odds and made some of the greatest music of their lives".[161] Other critics, though, felt that the album was a major disappointment.[162] Despite debuting at number one in over 30 countries, Pop dropped off the charts quickly.[156] Bono admitted that the album "didn't communicate the way it was intended to",[153] while the Edge called it a "compromise project by the end".[152]
PopMart commenced in April 1997 and was intended as a satire of consumerism.[158] The stage included a 100-foot-tall (30 m) golden yellow arch reminiscent of the McDonald's logo, a 40-foot-tall (12 m) mirrorball lemon, and a 150-foot-long (46 m) LED video screen, at the time the world's largest.[163] U2's "big shtick", however, failed to satisfy many who were seemingly confused by the band's new kitsch image and the tour's elaborate set.[164] The reduced rehearsal time for the tour affected the quality of early shows,[165] and in some US markets, the band played to half-empty stadiums.[166][167] On several occasions, the mirrorball lemon from which the band emerged for the encores malfunctioned, trapping them inside.[168] Despite the mixed reviews and difficulties of the tour, Bono considered PopMart to be "better than Zoo TV aesthetically, and as an art project it is a clearer thought."[169] He later explained, "When that show worked, it was mindblowing."[170]
The European leg of the tour featured two highlights. The group's 20 September 1997 show in Reggio Emilia was attended by over 150,000 people, setting a world record for the largest paying audience for a one-act show.[171] U2 also performed in Sarajevo on 23 September, making them the first major group to stage a concert there following the Bosnian War.[172] Mullen described the show as "an experience I will never forget for the rest of my life, and if I had to spend 20 years in the band just to play that show, and have done that, I think it would have been worthwhile."[173] Bono called the show "one of the toughest and one of the sweetest nights of my life".[174] The tour concluded in March 1998 with gross revenues of US$171.7 million and 3.9 million tickets sold.[175] The following month, U2 appeared on the 200th episode of the animated sitcom The Simpsons, in which Homer Simpson disrupts the band on stage during a PopMart concert.[176] In November 1998, U2 released their first compilation album, The Best of 1980–1990,[177] which featured a re-recording of a 1987 B-side, "Sweetest Thing", as its single.[178] The album attained the highest first-week sales in the US of any greatest hits record,[177] while "Sweetest Thing" topped the singles charts in Ireland and Canada.[177]
All That You Can't Leave Behind and Elevation Tour (1998–2002)[edit]
Following the mixed success of their musical pursuits in the 1990s, U2 sought to simplify their sound; the Edge said that with Pop, the group had "taken the deconstruction of the rock 'n' roll band format to its absolute 'nth degree".[179] For their tenth album, All That You Can't Leave Behind, the group wanted to return to their old recording ethos of "the band in a room playing together".[179] Reuniting with Eno and Lanois, U2 began working on the album in late 1998.[179][180] After their experiences with being pressured to complete Pop, the band were content to work without deadlines.[179] With Bono's schedule limited by his commitments to debt relief for Jubilee 2000 and the other band members spending time with their families, the recording sessions stretched through August 2000.[179][181]
Released in October of that year, All That You Can't Leave Behind was seen by critics as a "back to basics" album,[182] on which the group returned to a more mainstream, conventional rock sound.[179][183] For many of those not won over by the band's forays into dance music, it was considered a return to grace;[184][185] Rolling Stone called it U2's "third masterpiece" alongside The Joshua Tree and Achtung Baby.[186] The album debuted at number one in 32 countries[187] and sold 12 million copies.[188] Its lead single, "Beautiful Day", was a worldwide hit, reaching number one in Ireland, the UK, Australia, and Canada, while peaking at number 21 in the US.[189] The song earned Grammy Awards for Song of the Year, Best Rock Performance by a Duo or Group with Vocal, and Record of the Year.[190] At the awards ceremony, Bono declared that U2 were "reapplying for the job ... [of] the best band in the world".[191] The album's other singles were worldwide hits as well; "Stuck in a Moment You Can't Get Out Of", "Elevation", and "Walk On" reached number one in Canada,[192] while charting in the top five in the UK and top ten in Australia.[44][193]
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.
The band's 2001 Elevation Tour commenced in March, visiting North America and Europe across three legs.[194] For the tour, U2 performed on a scaled-down stage, returning to arenas after nearly a decade of stadium productions.[185] Mirroring the album's themes of "emotional contact, connection, and communication", the tour's set was designed to afford the group greater proximity to their fans;[195] a heart-shaped ramp around the stage extended into the audience, encapsulating a number of concertgoers,[196] and festival seating was offered in the US for the first time in the group's history.[197] During the tour, U2 headlined a pair of Slane Concerts in Ireland, playing to crowds of 80,000.[198][199] Following the September 11 attacks in the US, All That You Can't Leave Behind found added resonance with American audiences,[109][200] as the album climbed in the charts and songs such as "Walk On" and "Peace on Earth" garnered radio airplay.[201] In October, U2 performed at Madison Square Garden in New York City for the first time since the attacks. Bono and the Edge said these shows were among their most memorable and emotional performances.[200][202] The Elevation Tour was the year's top-earning North American tour, grossing US$109.7 million, the second-highest figure ever for a North American tour at the time;[203] in total, the tour grossed US$143.5 million globally from 2.18 million tickets sold.[204] Spin named U2 the "Band of the Year" for 2001, saying they had "schooled bands half their age about what a rock show could really accomplish".[185]
U2 perform during the Elevation Tour in Kansas City in 2001
On 3 February 2002, U2 performed during the halftime show of Super Bowl XXXVI. In a tribute to those who died in the September 11 attacks, the victims' names were displayed on a backdrop, and at the end, Bono opened his jacket to reveal an American flag in the lining.[205] SI.com, Rolling Stone, and USA Today ranked the band's performance as the best halftime show in Super Bowl history.[206] Later that month, U2 received four additional Grammy Awards; All That You Can't Leave Behind won Best Rock Album, while "Walk On" was named Record of the Year, marking the first time an artist had won the latter award in consecutive years for songs from the same album.[207] In November 2002, the band released its second compilation, The Best of 1990–2000, which featured several remixed 1990s songs and two new tracks, including the single "Electrical Storm".[208]
How to Dismantle an Atomic Bomb and Vertigo Tour (2003–2006)[edit]
Looking for a harder-hitting rock sound than that of All That You Can't Leave Behind,[209] U2 began recording their eleventh studio album, How to Dismantle an Atomic Bomb, in February 2003 with producer Chris Thomas.[210] After nine months of work, the band had an album's worth of material ready for release, but they were not satisfied with the results; Mullen said that the songs "had no magic".[209] The group subsequently enlisted Steve Lillywhite to take over as producer in Dublin in January 2004.[211] Lillywhite, along with his assistant Jacknife Lee, spent six months with the band reworking songs and encouraging better performances.[209] Several other producers received credits on the album, including Lanois, Eno, Flood, Carl Glanville, and Nellee Hooper;[212] Bono acknowledged that the involvement of multiple producers affected the record's "sonic cohesion".[213]
"Vertigo" (2004)
"Vertigo", which the Edge described as "visceral rock 'n' roll",[209] became a hit worldwide and was used in a cross-promotion with Apple.
Released in November 2004, How to Dismantle an Atomic Bomb received favourable reviews from critics.[214] The album featured lyrics touching on life, death, love, war, faith, and family.[215] It reached number one in 30 countries,[214] including the US, where first-week sales of 840,000 copies nearly doubled those of All That You Can't Leave Behind, setting a personal best for the band.[216] Overall, it sold 9 million copies globally.[217] For the album's release, U2 partnered with Apple for several cross-promotions: the first single, "Vertigo", was featured in a television advertisement for the company's iPod music player, while a U2-branded iPod and digital box set exclusive to the iTunes Store were released.[218] "Vertigo" was an international hit, topping the charts in Ireland and the UK,[219] while reaching number two in Canada, number five in Australia,[220] and number 31 in the US.[221] The song won three Grammy Awards, including one for Best Rock Song.[222] Other singles from the album were also hits; "Sometimes You Can't Make It on Your Own", written as a tribute to Bono's late father, went to number one in the UK and Canada, while "City of Blinding Lights" reached number two in both regions.[223] In March 2005, U2 were inducted into the Rock and Roll Hall of Fame by Bruce Springsteen in their first year of eligibility.[224][225] During his speech, Springsteen said the band had "beaten [the odds] by continuing to do their finest work and remaining at the top of their game and the charts for 25 years".[226]
The outdoor stage of the Vertigo Tour, pictured in June 2005, featured a massive LED screen.
U2's 2005–2006 Vertigo Tour was preceded by several complications. A sudden illness to the Edge's daughter nearly resulted in the tour's cancellation, before the group decided to adjust the tour schedule to accommodate her treatment.[227] Additionally, ticket presales on the band's website were plagued with issues, as subscribing members encountered technical glitches and limited ticket availability, partially due to scalpers exploiting the system.[228] Commencing in March 2005,[226] the Vertigo Tour consisted of arena shows in North America and stadium shows internationally across five legs.[229] The indoor stage replaced the heart-shaped ramp of the Elevation Tour with an elliptical one and featured retractable video curtains around the stage,[230] while the stadium stage used a massive LED video screen.[231] Setlists on tour varied more than in the group's past and included songs they had not played in decades.[232] Like its predecessor, the Vertigo Tour was a commercial success, ranking as the top-earning tour of 2005 with US$260 million grossed.[233]
U2 performing at Madison Square Garden on 21 October 2005
In February 2006, U2 received five additional Grammy Awards, including Song of the Year for "Sometimes You Can't Make It on Your Own", and Best Rock Album and Album of the Year for How to Dismantle an Atomic Bomb;[234] the awards made the album and its singles winners in all eight categories in which U2 were nominated, spanning two separate Grammy ceremonies.[235] The group resumed the Vertigo Tour that month with a Latin American leg,[234] on which several shows were filmed for the concert film U2 3D.[236] It would be released in theatres nearly two years later,[237] and was the world's first live-action digital 3-D film.[236] In March, the band postponed the tour's remaining shows until the end of the year due to the health of the Edge's daughter.[234][238] On 25 September 2006, U2 and Green Day performed at the Louisiana Superdome prior to an NFL football game, the New Orleans Saints' first home game in the city since Hurricane Katrina. The two bands covered the Skids' song "The Saints Are Coming" during the performance and for a benefit single,[239] which reached number one in Australia and throughout Europe.[240] U2 issued an official autobiography, U2 by U2, that month,[239] followed in November by their third compilation album, U218 Singles.[241] The Vertigo Tour concluded in December, having sold 4.6 million tickets and having earned US$389 million, the second-highest gross ever at the time.[231]
In August 2006, the band incorporated its publishing business in the Netherlands following the capping of Irish artists' tax exemption at €250,000.[242] The Edge stated that businesses often seek to minimise their tax burdens.[243] The move was criticised in the Irish parliament.[243][244] The band defended themselves, saying approximately 95% of their business took place outside Ireland, that they were taxed globally because of this, and that they were all "personal investors and employers in the country".[245] Bono later said, "I think U2's tax business is our own business and I think it is not just to the letter of the law but to the spirit of the law."[246]
No Line on the Horizon and U2 360° Tour (2006–2011)[edit]
At 164 feet tall, the stage structure from the U2 360° Tour was the largest ever constructed. The tour is the highest-grossing in history, having earned US$736 million.
Recording for U2's twelfth album, No Line on the Horizon, began with producer Rick Rubin in 2006, but the sessions were short-lived and the material was shelved.[247] In May 2007, the group began new sessions with Brian Eno and Daniel Lanois in Fez, Morocco, involving the producers as full songwriting partners.[248] Intending to write "future hymns"—songs that would be played forever—the group spent two weeks recording in a riad and exploring local music.[249][250] The Edge called it "a very freeing experience" that "reminded [him] in many ways of early on and why [they] got into a band in the first place. Just that joy of playing."[251] However, as recording on the album continued in New York, London, and Dublin, the band scaled back their experimental pursuits, which Eno said "sounded kind of synthetic" and were not easily married with the group's sound.[252] No Line on the Horizon was released in February 2009, more than four years after How to Dismantle an Atomic Bomb, marking the longest gap between albums of the band's career to that point.[253] It received generally positive reviews, including their first five-star Rolling Stone review, but critics found it was not as experimental as originally billed. The album debuted at number one in over 30 countries,[254] but its sales of 5 million were seen as a disappointment by U2 standards and it did not contain a hit single.[255][256]
The group embarked on the U2 360° Tour in June 2009; it was their first live venture for Live Nation under a 12-year, US$100 million (£50 million) deal signed the year prior,[257] through which the company assumed control over the band's touring, merchandising, and official website.[258]. The U2 360° Tour concerts featured the band playing stadiums "in the round" on a circular stage, allowing the audience to surround them on all sides.[259] To accommodate the stage configuration, a large four-legged structure nicknamed "The Claw" was built above the stage, with the sound system and a cylindrical, expanding video screen on top of it. At 164 feet (50 m) tall, it was the largest stage ever constructed.[260] The tour visited Europe and North America in 2009. On 25 October 2009, U2 set a new US record for single concert attendance for one headline act, performing to 97,014 people at the Rose Bowl in Pasadena.[261] At year's end, Rolling Stone named U2 one of eight "Artists of the Decade".[262] The band continued the 360° Tour in 2010 with legs in Europe, Australia, and New Zealand. However, their scheduled headline appearance at the Glastonbury Festival 2010 and their North American leg that year were postponed following a serious injury to Bono's back.[263][264][265] These appearances were rescheduled for 2011 after the South African and South American legs of the tour.[266] By its conclusion in July 2011, U2 360° had set records for the highest-grossing concert tour (US$736 million) and highest-attended tour (7.3 million tickets sold).[267]
Songs of Innocence and Innocence + Experience Tour (2011–2015)[edit]
U2 performing at the Apple product launch at which Songs of Innocence was announced in September 2014
Following the release of No Line on the Horizon, U2 announced tentative plans for a follow-up record of songs from the album's sessions entitled Songs of Ascent. Bono described the project as "a meditative, reflective piece of work" with the theme of pilgrimage.[268][269] However, the group could not complete it to their satisfaction, and ultimately it did not come to fruition.[270] The band continued to work on other album projects,[271] including a traditional rock album produced by Danger Mouse and a dance-centric album produced by RedOne and will.i.am.[272][273] U2 suspended work on their next album late in 2013 to contribute a new song, "Ordinary Love", to the film Mandela: Long Walk to Freedom.[274][275] The track, written in honour of Nelson Mandela, won the 2014 Golden Globe Award for Best Original Song.[274][276] In November 2013, U2's long-time manager Paul McGuinness stepped down from his post as part of a deal with Live Nation to acquire his management firm, Principle Management. McGuinness, who had managed U2 for over 30 years, was succeeded by Guy Oseary.[277] In February 2014, another new song, the single "Invisible", was debuted in a Super Bowl television advertisement and was made available in the iTunes Store at no cost to launch a partnership with Product Red and Bank of America to fight AIDS.[278][279] Bono called the track a "sneak preview" of its pending record.[280]
On 9 September 2014, U2 announced their thirteenth studio album, Songs of Innocence, at an Apple product launch event, and released it digitally the same day to all iTunes Store customers at no cost.[281] The release made the album available to over 500 million iTunes customers in what Apple CEO Tim Cook called "the largest album release of all time."[282] Apple reportedly paid Universal Music Group and U2 a lump sum for a five-week exclusivity period in which to distribute the album[283] and spent US$100 million on a promotional campaign.[282] Produced by Danger Mouse with Paul Epworth, Ryan Tedder, Declan Gaffney, and Flood, Songs of Innocence recalls the group members' youth in Ireland, touching on childhood experiences, loves and losses, while paying tribute to their musical inspirations.[284] Bono described it as "the most personal album we've written".[285] The record received mixed reviews and drew criticism for its digital release strategy; it was automatically added to users' iTunes accounts, which for many, triggered an unprompted download to their electronic devices.[286][287][288] Chris Richards of The Washington Post called the release "rock-and-roll as dystopian junk mail".[289] The group's press tour for the album was interrupted after Bono was seriously injured in a bicycle accident in Central Park on 16 November 2014. He suffered fractures of his shoulder blade, humerus, orbit, and pinky finger,[290] leading to uncertainty that he would ever be able to play guitar again.[291]
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
Following Bono's recuperation, U2 embarked on the Innocence + Experience Tour in May 2015,[292] visiting arenas in North America and Europe from May through December.[293] The group structured their concerts around a loose autobiographical narrative of "innocence" passing into "experience", with a fixed set of songs for the first half of each show and a varying second half, separated by an intermission—a first for U2 concerts.[294] The stage spanned the length of the venue floor and comprised three sections: a rectangular main stage, a smaller circular B-stage, and a connecting walkway.[294] The centerpiece of the set was a 96-foot-long (29 m) double-sided video screen that featured an interior catwalk, allowing the band members to perform amidst the video projections.[295][296] U2's sound system was moved to the venue ceilings and arranged in an oval array, in hopes of improving acoustics by evenly distributing sound throughout the arena.[294] In total, the tour grossed US$152.2 million from 1.29 million tickets sold.[297] The final date of the tour, one of two Paris shows rescheduled due to the 13 November 2015 attacks in the city, was filmed for the video Innocence + Experience: Live in Paris and broadcast on the American television network HBO.[298][299]
The Joshua Tree Tour 2017 and Songs of Experience (2016–present)[edit]
The video screen from the Joshua Tree Tour 2017 is the largest and highest resolution screen of any concert tour.
In 2016, U2 worked on their next studio album, Songs of Experience, which is intended as a companion piece to Songs of Innocence.[300] The group had mostly completed the album by year's end and planned to release it in the fourth quarter, but after the shift of global politics in a conservative direction, highlighted by the UK's Brexit vote and the 2016 US presidential election, they chose to put the record on hold and reassess its tone.[301] The group spent the extra time rewriting lyrics, rearranging and remixing songs, and pursuing different production techniques.[300][302] In 2017, the group is staging a tour marking the 30th anniversary of The Joshua Tree, on which they will perform the album in its entirety at each show.[303] It is the first time U2 is touring in promotion of an album from their back catalogue, rather than a new release.[304] The Edge cited the same world events that caused the group to delay Songs of Experience for what he judged to be renewed resonance of The Joshua Tree's subject matter and a reason to revisit it.[303] The tour's stage features a 7.6K video screen measuring 200 ft × 45 ft (61 m × 14 m)[305] that is, according to The Guardian, the largest and highest resolution screen used on a concert tour.[306] The tour included a headlining appearance at the Bonnaroo Music Festival in June.[307]
On 6 September 2017, the group released Songs of Experience's first single, "You're the Best Thing About Me".[308] The song is one of many from the album that are letters written by Bono to people and places closest to his heart. The personal nature of the lyrics reflects a "brush with mortality" that he had during the album's recording.[302][309] It will be released on 1 December 2017.[310]
Musical style[edit]
Instrumentation[edit]
U2 performing in 2009. The Edge has described U2 as a fundamentally live band.
Since their inception, U2 have developed and maintained a distinctly recognisable sound, with emphasis on melodic instrumentals and expressive, larger-than-life vocals.[311] This approach is rooted partly in the early influence of record producer Steve Lillywhite at a time when the band was not known for musical proficiency.[312] The Edge has consistently used a rhythmic echo and a signature delay[313] to craft his distinctive guitar work, coupled with an Irish-influenced drone played against his syncopated melodies[314] that ultimately yields a well-defined ambient, chiming sound. Bono has nurtured his falsetto operatic voice[315] and has exhibited a notable lyrical bent towards social, political, and personal subject matter while maintaining a grandiose scale in his songwriting. In addition, the Edge has described U2 as a fundamentally live band.[314]
Despite these broad consistencies, U2 have introduced brand new elements into their musical repertoire with each new album. U2's early sound was influenced by bands such as Television and Joy Division, and has been described as containing a "sense of exhilaration" that resulted from the Edge's "radiant chords" and Bono's "ardent vocals".[316] U2's sound began with post-punk roots and minimalistic and uncomplicated instrumentals heard on Boy and October, but evolved through War to include aspects of rock anthem, funk, and dance rhythms to become more versatile and aggressive.[317] Boy and War were labelled "muscular and assertive" by Rolling Stone,[78] influenced in large part by Lillywhite's producing. The Unforgettable Fire, which began with the Edge playing more keyboards than guitars, as well as follow-up The Joshua Tree, had Brian Eno and Daniel Lanois at the production helm. With their influence, both albums achieved a "diverse texture".[78] The songs from The Joshua Tree and Rattle and Hum placed more emphasis on Lanois-inspired rhythm as they mixed distinct and varied styles of gospel and blues music, which stemmed from the band's burgeoning fascination with America's culture, people and places. In the 1990s, U2 reinvented themselves as they began using synthesisers, distortion, and electronic beats derived from alternative rock, industrial music, dance, and hip-hop on Achtung Baby,[113] Zooropa, and Pop.[318] In the 2000s, U2 returned to a more stripped-down sound, with more conventional rhythms and reduced usage of synthesisers and effects.[319]
Lyrics and themes[edit]
U2 perform "Mothers of the Disappeared" in Chile in 1998 with the families of Detenidos Desaparecidos. The song was written as a tribute to the women whose children were killed or forcibly disappeared at the hands of the El Salvadoran government.
U2's lyrics are known for their social and political commentary, and are often embellished with Christian and spiritual imagery.[320] Songs such as "Sunday Bloody Sunday", "Silver and Gold", and "Mothers of the Disappeared" were motivated by current events of the time. The first was written about the Troubles in Northern Ireland,[321] while the last concerns the struggle of a group of women whose children were killed or forcibly disappeared at the hands of the El Salvadoran government during the country's civil war.[322] The song "Running to Stand Still" from The Joshua Tree was inspired by the heroin addiction that was sweeping through Dublin—the lyric "I see seven towers, but I only see one way out" references the Ballymun Towers of Northern Dublin and the imagery throughout the song personifies the struggles of addiction.[323]
Bono's personal conflicts and turmoil inspired songs like "Mofo", "Tomorrow" and "Kite". An emotional yearning or pleading frequently appears as a lyrical theme,[311] in tracks such as "Yahweh",[324] "Peace on Earth", and "Please". Much of U2's songwriting and music is also motivated by contemplations of loss and anguish, coupled with hopefulness and resiliency, themes that are central to The Joshua Tree.[78] Some of these lyrical ideas have been amplified by Bono and the band's personal experiences during their youth in Ireland, as well as Bono's campaigning and activism later in his life. U2 have used tours such as Zoo TV and PopMart to caricature social trends, such as media overload and consumerism, respectively.[318]
While the band and its fans often affirm the political nature of their music, U2's lyrics and music have been criticised as apolitical because of their vagueness and "fuzzy imagery", and a lack of any specific references to actual people or characters.[325]
Influences[edit]
The band cites the Who,[326] the Clash,[327] Television,[24] Ramones,[328] the Beatles,[329] Joy Division,[330] Siouxsie and the Banshees,[331] Elvis Presley,[332] Patti Smith,[333] and Kraftwerk[334] as influences. In addition, Van Morrison has been cited by Bono as an influence[335] and the Rock and Roll Hall of Fame points out his influence on U2.[336] U2 have also worked with and/or had influential relationships with artists including Johnny Cash, Green Day, Leonard Cohen, Bruce Springsteen, B.B. King, Lou Reed and Luciano Pavarotti.[337]
Campaigning and activism[edit]
Bono with then-US President George W. Bush in 2006
Since the early 1980s, the members of U2—as a band and individually—have collaborated with other musicians, artists, celebrities, and politicians to address issues concerning poverty, disease, and social injustice.
In 1984, Bono and Adam Clayton participated in Band Aid to raise money for the 1983–85 famine in Ethiopia. This initiative produced the hit charity single "Do They Know It's Christmas?", which would be the first among several collaborations between U2 and Bob Geldof. In July 1985, U2 played Live Aid, a follow-up to Band Aid's efforts. Bono and his wife Ali, invited by World Vision, later visited Ethiopia where they witnessed the famine first hand. Bono would later say this laid the groundwork for his Africa campaigning and some of his songwriting.[191][319] In 1986, U2 participated in the A Conspiracy of Hope tour in support of Amnesty International and in Self Aid for unemployment in Ireland. The same year, Bono and Ali Hewson also visited Nicaragua and El Salvador at the invitation of the Sanctuary movement, and saw the effects of the Salvadoran Civil War. These 1986 events greatly influenced The Joshua Tree album, which was being recorded at the time.[98][99]
During their Zoo TV Tour in 1992, U2 participated in the "Stop Sellafield" concert with Greenpeace to protest a nuclear factory.[338] Events in Sarajevo during the Bosnian War inspired the song "Miss Sarajevo", which premiered at a September 1995 Pavarotti and Friends show, and which Bono and the Edge performed at War Child.[150] U2 fulfilled a 1993 promise to play in Sarajevo during the PopMart Tour in 1997.[167] The following year, they performed in Belfast days prior to the vote on the Good Friday Agreement, bringing Northern Irish political leaders David Trimble and John Hume on stage to promote the agreement.[339] Later that year, all proceeds from the release of the "Sweetest Thing" single went towards supporting the Chernobyl Children's Project.[340]
U2 with Brazilian president Dilma Rousseff in 2011 (from left to right): Mullen, Bono, Rousseff, Clayton, and the Edge
The band dedicated their 2000 song "Walk On" to Burma's pro-democracy leader Aung San Suu Kyi, who had been under house arrest since 1989.[341] In late 2003, Bono and the Edge participated in the South Africa HIV/AIDS awareness 46664 series of concerts hosted by Nelson Mandela.[342] In 2005, the band played the Live 8 concert in London, which Geldof helped stage on the 20th anniversary of Live Aid to support the Make Poverty History campaign. The band and manager Paul McGuinness were awarded Amnesty International's Ambassador of Conscience Award for their work in promoting human rights.[343]
Since 2000, Bono's campaigning has included Jubilee 2000 with Geldof, Muhammad Ali, and others to promote the cancellation of third-world debt during the Great Jubilee. In January 2002, Bono co-founded the multinational NGO DATA, with the aim of improving the social, political, and financial state of Africa. He continued his campaigns for debt and HIV/AIDS relief into June 2002 by making high-profile visits to Africa.[344] Product Red, a for-profit licensed brand seeking to raise money for the Global Fund, was co-founded by Bono in 2006.[345] The ONE Campaign, originally the US counterpart of Make Poverty History, was shaped by his efforts and vision.
In late 2005, following Hurricane Katrina and Hurricane Rita, the Edge helped introduce Music Rising, an initiative to raise funds for musicians who lost their instruments in the storm-ravaged Gulf Coast.[346] In 2006, U2 collaborated with pop punk band Green Day to record a remake of the song "The Saints Are Coming" by the Skids to benefit Music Rising.[347] A live version of the song recorded at the Louisiana Superdome was released on the single.
At the 3rd iHeartRadio Music Awards in April 2016, U2 were honored with the Innovator Award for "their impact on popular culture and commitment to social causes."[348]
U2's and Bono's social activism have not been without its critics, however. Several authors and activists who publish in politically left journals such as CounterPunch have decried Bono for allowing his celebrity to be co-opted by an association with political figures such as Paul Wolfowitz,[349] as well as his "essential paternalism".[350] Other news sources have more generally questioned the efficacy of Bono's campaign to relieve debt and provide assistance to Africa.[351] Tax and development campaigners have also criticised the band's move from Ireland to the Netherlands to reduce its tax bill.[352]
Other projects and collaborations[edit]
The members of U2 have undertaken a number of side projects, sometimes in collaboration with some of their bandmates. In 1985, Bono recorded the song "In a Lifetime" with the Irish band Clannad. The Edge recorded a solo soundtrack album for the film Captive in 1986,[353] which included a vocal performance by Sinéad O'Connor that predates her own debut album by a year. Bono and the Edge wrote the song "She's a Mystery to Me" for Roy Orbison, which was featured on his 1989 album Mystery Girl.[354] In 1990, Bono and the Edge provided the soundtrack to the Royal Shakespeare Company London stage adaptation of A Clockwork Orange (one track, "Alex Descends into Hell for a Bottle of Milk/Korova 1", was on the b-side to "The Fly" single).[355][356] That same year, Mullen co-wrote and produced a song for the Republic of Ireland national football team in time for the 1990 FIFA World Cup called "Put 'Em Under Pressure", which topped the Irish charts for 13 weeks.[357]
Bono and the Edge wrote the song "GoldenEye" for the 1995 James Bond film GoldenEye, which was performed by Tina Turner.[358] Clayton and Mullen reworked the "Theme from Mission: Impossible" for the franchise's 1996 film.[359] Bono loaned his voice to "Joy" on Mick Jagger's 2001 album Goddess in the Doorway.[360] Bono also recorded a spare, nearly spoken-word version of Leonard Cohen's "Hallelujah" for the Tower of Song compilation in 1995. Additionally, in 1998, Bono collaborated with Kirk Franklin and Crystal Lewis along with R. Kelly and Mary J. Blige for a successful gospel song called "Lean on Me".
Aside from musical collaborations, U2 have worked with several authors. American author William S. Burroughs had a guest appearance in U2's video for "Last Night on Earth" shortly before he died.[361] His poem "A Thanksgiving Prayer" was used as video footage during the band's Zoo TV Tour. Other collaborators include William Gibson and Allen Ginsberg.[362] In early 2000, the band contributed three songs to The Million Dollar Hotel movie soundtrack, including "The Ground Beneath Her Feet", whose lyrics are taken from Salman Rushdie's book of the same name.[363]
In 2007, Bono appeared in the film Across the Universe and performed songs by the Beatles.[364] Bono and the Edge also wrote the music and lyrics for the Broadway musical Spider-Man: Turn Off the Dark.[365] Additionally, the Edge created the theme song for seasons one and two of the animated television series The Batman.[366]
In April 2017, U2 were featured on a Kendrick Lamar song, "XXX", from his album DAMN.[367]
Legacy[edit]
Main article: List of awards and nominations received by U2
Rolling Stone ranked the Edge and Bono among the greatest guitarists and singers, respectively.
U2 have sold more than 170 million records, placing them among the best-selling music artists in history.[2] The group's fifth studio album, The Joshua Tree, is one of the best-selling albums in the US (10 million copies shipped) and worldwide (25 million copies sold).[368][369] With 52 million certified units by the RIAA, U2 rank as the 21st-highest-selling music artist in the US.[370] U2 have seven albums that have reached number one in the US, tied with Led Zeppelin for the third-most of any group.[371] In the UK, the group has had seven number-one singles, tied for 14th-most of any artist, and ten number-one albums, tied for 7th-most of any artist. The band's 1,452 weeks spent on the UK music charts ranks 11th all-time.[44]
According to Billboard Boxscore, the band grossed US$1.67 billion in ticket sales from 1990 to 2016, second only to the Rolling Stones.[372] U2 were the only band in the top 25 touring acts from 2000 to 2009 to sell out every show they played.[373] Forbes estimates that U2 earned US$78 million between May 2011 and May 2012, making them the fourth-highest-paid musical artist.[374] The Sunday Times Rich List 2013 estimated the group's collective wealth at €632,535,925.[375]
Rolling Stone placed U2 at number 22 on its list of "The 100 Greatest Artists of All Time",[3] while ranking Bono the 32nd-greatest singer[376] and the Edge the 38th-greatest guitarist.[377] The magazine placed the two musicians at number 35 on its list of the 100 Greatest Songwriters of All Time.[378] In 2004, Q ranked U2 as the fourth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show.[379] VH1 placed U2 at number 19 on its 2010 list of "The 100 Greatest Artists of All Time".[380] In 2010, eight of U2's songs appeared on Rolling Stone's updated list of "The 500 Greatest Songs of All Time", with "One" ranking the highest at number 36.[381] Five of the group's twelve studio albums were ranked on the magazine's 2012 list of "The 500 Greatest Albums of All Time"—The Joshua Tree placed the highest at number 27.[109] Reflecting on the band's popularity and worldwide impact, Jeff Pollack for The Huffington Post said, "like The Who before them, U2 wrote songs about things that were important and resonated with their audience".[382]
U2 received their first Grammy Award in 1988 for The Joshua Tree, and they have won 22 in total out of 34 nominations, more than any other group.[108][383] These include Best Rock Performance by a Duo or Group, Album of the Year, Record of the Year, Song of the Year and Best Rock Album. The British Phonographic Industry has awarded U2 seven BRIT Awards, five of these being for Best International Group. In Ireland, U2 have won 14 Meteor Awards since the awards began in 2001. Other awards include one American Music Award, four MTV Video Music Awards, eleven Q Awards, two Juno Awards, three NME Awards, and two Golden Globe Awards. The band were inducted into the Rock and Roll Hall of Fame in March 2005.[224] In 2006, all four members of the band received ASCAP awards for writing the songs "I Still Haven't Found What I'm Looking For" and "Vertigo".[384]
Members[edit]
Principal members
Bono – lead vocals, rhythm guitar, harmonica (1976–present)
The Edge – lead guitar, keyboards, backing vocals (1976–present)
Adam Clayton – bass guitar (1976–present)
Larry Mullen Jr. – drums, percussion (1976–present)
Early members
Dik Evans – guitar (1976–1978)
Ivan McCormick – guitar (1976)
Discography[edit]
Main articles: U2 discography and List of songs recorded by U2
Studio albums
Boy (1980)
October (1981)
War (1983)
The Unforgettable Fire (1984)
The Joshua Tree (1987)
Rattle and Hum (1988)
Achtung Baby (1991)
Zooropa (1993)
Pop (1997)
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)
Tours[edit]
Main article: List of U2 concert tours
U2-3 Tour (1979–1980)
11 O'Clock Tick Tock Tour (1980)
Boy Tour (1980–1981)
October Tour (1981–1982)
War Tour (1982–1983)
The Unforgettable Fire Tour (1984–1985)
The Joshua Tree Tour (1987)
Lovetown Tour (1989–1990)
Zoo TV Tour (1992–1993)
PopMart Tour (1997–1998)
Elevation Tour (2001)
Vertigo Tour (2005–2006)
U2 360° Tour (2009–2011)
Innocence + Experience Tour (2015)
The Joshua Tree Tour 2017 (2017)
References[edit]
Footnotes
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Jump up ^ McCormick (2006), p. 27
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Jump up ^ McCormick (2008), p. 37
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Jump up ^ McGee (2008), pp. 11–12
Jump up ^ McGee (2008), p. 14
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Jump up ^ McCormick (2006), pp. 53–56
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^ Jump up to: a b McGee (2008), pp. 29–31
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^ Jump up to: a b McGee (2008), p. 32
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1980
"Another Day"
"11 O'Clock Tick Tock"
"A Day Without Me"
"I Will Follow"
1981
"Fire"
"Gloria"
1982
"A Celebration"
"I Will Follow" (live recorded by Veronica's Countdown)
1983
"New Year's Day"
"Two Hearts Beat as One"
"Sunday Bloody Sunday"
1984
"I Will Follow" (live, from Under a Blood Red Sky)
"Pride (In the Name of Love)"
1985
"The Unforgettable Fire"
1987
"With or Without You"
"I Still Haven't Found What I'm Looking For"
"Where the Streets Have No Name"
"In God's Country"
1988
"One Tree Hill"
"Desire"
"Angel of Harlem"
1989
"When Love Comes to Town" (feat. B.B. King)
"All I Want Is You"
1990s
1991
"The Fly"
"Mysterious Ways"
1992
"One"
"Even Better Than the Real Thing"
"Who's Gonna Ride Your Wild Horses"
1993
"Numb"
"Lemon"
"Stay (Faraway, So Close!)"
1995
"Hold Me, Thrill Me, Kiss Me, Kill Me"
"Miss Sarajevo" (as Passengers)
1997
"Discothèque"
"Staring at the Sun"
"Last Night on Earth"
"Please"
"If God Will Send His Angels"
"Mofo"
1998
"Sweetest Thing"
2000s
2000
"Beautiful Day"
2001
"Stuck in a Moment You Can't Get Out Of"
"Elevation"
"Walk On"
2002
"Electrical Storm"
2004
"Vertigo"
2005
"All Because of You"
"Sometimes You Can't Make It on Your Own"
"City of Blinding Lights"
"Sgt. Pepper's Lonely Hearts Club Band" (live, with Paul McCartney)
2006
"One" (with Mary J. Blige)
"The Saints Are Coming" (feat. Green Day)
2007
"Window in the Skies"
2008
"The Ballad of Ronnie Drew" (with The Dubliners, Kíla, and A Band of Bowsies)
2009
"Get On Your Boots"
"Magnificent"
"I'll Go Crazy If I Don't Go Crazy Tonight"
2010s
2011
"I Will Follow" (live from Glastonbury)
2013
"Ordinary Love"
2014
"Invisible"
"The Miracle (Of Joey Ramone)"
"Every Breaking Wave"
2015
"Song for Someone"
2017
"You're the Best Thing About Me"
[show]
v
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Grammy Award for Album of the Year
1959–1979
The Music from Peter Gunn – Henry Mancini (1959)
Come Dance with Me! – Frank Sinatra (1960)
The Button-Down Mind of Bob Newhart – Bob Newhart (1961)
Judy at Carnegie Hall – Judy Garland (1962)
The First Family – Vaughn Meader (1963)
The Barbra Streisand Album – Barbra Streisand (1964)
Getz/Gilberto – Stan Getz, João Gilberto (1965)
September of My Years – Frank Sinatra (1966)
A Man and His Music – Frank Sinatra (1967)
Sgt. Pepper's Lonely Hearts Club Band – The Beatles (1968)
By the Time I Get to Phoenix – Glen Campbell (1969)
Blood, Sweat & Tears – Blood, Sweat & Tears (1970)
Bridge over Troubled Water – Simon & Garfunkel (1971)
Tapestry – Carole King (1972)
The Concert for Bangladesh – Various (1973)
Innervisions – Stevie Wonder (1974)
Fulfillingness' First Finale – Stevie Wonder (1975)
Still Crazy After All These Years – Paul Simon (1976)
Songs in the Key of Life – Stevie Wonder (1977)
Rumours – Fleetwood Mac (1978)
Saturday Night Fever – Bee Gees/Various (1979)
1980–2000
52nd Street – Billy Joel (1980)
Christopher Cross – Christopher Cross (1981)
Double Fantasy – John Lennon and Yoko Ono (1982)
Toto IV – Toto (1983)
Thriller – Michael Jackson (1984)
Can't Slow Down – Lionel Richie (1985)
No Jacket Required – Phil Collins (1986)
Graceland – Paul Simon (1987)
The Joshua Tree – U2 (1988)
Faith – George Michael (1989)
Nick of Time – Bonnie Raitt (1990)
Back on the Block – Quincy Jones and various artists (1991)
Unforgettable... with Love – Natalie Cole (1992)
Unplugged – Eric Clapton (1993)
The Bodyguard – Whitney Houston (1994)
MTV Unplugged – Tony Bennett (1995)
Jagged Little Pill – Alanis Morissette (1996)
Falling into You – Celine Dion (1997)
Time Out of Mind – Bob Dylan (1998)
The Miseducation of Lauryn Hill – Lauryn Hill (1999)
Supernatural – Santana (2000)
2001–present
Two Against Nature – Steely Dan (2001)
O Brother, Where Art Thou? Soundtrack (2002)
Come Away with Me – Norah Jones (2003)
Speakerboxxx/The Love Below – Outkast (2004)
Genius Loves Company – Ray Charles and various artists (2005)
How to Dismantle an Atomic Bomb – U2 (2006)
Taking the Long Way – Dixie Chicks (2007)
River: The Joni Letters – Herbie Hancock (2008)
Raising Sand – Robert Plant & Alison Krauss (2009)
Fearless – Taylor Swift (2010)
The Suburbs – Arcade Fire (2011)
21 – Adele (2012)
Babel – Mumford & Sons (2013)
Random Access Memories – Daft Punk (2014)
Morning Phase – Beck (2015)
1989 – Taylor Swift (2016)
25 – Adele (2017)
[show]
v
t
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Grammy Award for Record of the Year (2000s)
"Smooth"* by Santana (Rodney Holmes, Tony Lindsay, Karl Perazzo, Raul Rekow, Benny Rietveld, Carlos Santana, Chester Thompson) featuring Rob Thomas
engineered/mixed by David Thoener, produced by Matt Serletic (2000) "Beautiful Day"* by U2 (Bono, Adam Clayton, The Edge, Larry Mullen Jr.)
engineered/mixed by Richard Rainey & Steve Lillywhite; produced by Brian Eno & Daniel Lanois (2001)
"Walk On" by U2 (Bono, Adam Clayton, The Edge, Larry Mullen Jr.)
engineered/mixed by Richard Rainey & Steve Lillywhite; produced by Brian Eno & Daniel Lanois (2002) "Don't Know Why"* by Norah Jones
engineered/mixed by Jay Newland; produced by Arif Mardin, Jay Newland & Norah Jones (2003)
"Clocks" by Coldplay (Guy Berryman, Jon Buckland, Will Champion, Phil Harvey, Chris Martin)
engineered/mixed by Coldplay, Ken Nelson & Mark Phythian; produced by Coldplay & Ken Nelson (2004) "Here We Go Again" by Ray Charles and Norah Jones
engineered/mixed by Al Schmitt, Mark Fleming, & Terry Howard; produced by John R. Burk (2005)
"Boulevard of Broken Dreams" by Green Day (Billie Joe Armstrong, Mike Dirnt, Frank Edwin Wright III)
engineered/mixed by Chris Lord-Alge & Doug McKean, produced by Green Day & Rob Cavallo (2006) "Not Ready to Make Nice"* by Dixie Chicks (Martie Maguire, Natalie Maines, Emily Robison)
engineered/mixed by Chris Testa, Jim Scott & Richard Dodd; produced by Rick Rubin (2007)
"Rehab"* by Amy Winehouse
engineered/mixed by Tom Elmhirst, Vaughan Merrick, Dom Morley, Mark Ronson & Gabriel Roth; produced by Mark Ronson (2008) "Please Read the Letter" by Alison Krauss and Robert Plant
engineered/mixed by Mike Piersante; produced by T Bone Burnett (2009)
Complete list
(1960s)
(1970s)
(1980s)
(1990s)
(2000s)
(2010s)
[show]
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Rock and Roll Hall of Fame Class of 2005
Performers
Buddy Guy
The O'Jays (Eddie Levert, Bobby Massey, William Powell, Sammy Strain, Walter Williams)
The Pretenders (Martin Chambers, Pete Farndon, James Honeyman-Scott, Chrissie Hynde)
Percy Sledge
U2 (Bono, Adam Clayton, The Edge, Larry Mullen Jr.)
Lifetime achievement
Frank Barsalona
Seymour Stein
Authority control
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VIAF: 124268369
LCCN: n85208690
ISNI: 0000 0001 2150 5903
GND: 5122685-6
SELIBR: 265478
SUDOC: 02938530X
BNF: cb13907265z (data)
MusicBrainz: a3cb23fc-acd3-4ce0-8f36-1e5aa6a18432
NLA: 35820260
NDL: 00308170
NKC: xx0009080
BNE: XX95935
Retrieved from "https://en.wikipedia.org/w/index.php?title=U2&oldid=803922985"
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