HelloAngel
ONE love, blood, life
By Debbie Kreuser
2005.11
It’s an understatement to say that every U2 concert is unique—full of its own moments that stay with you forever. But it's true. And Saturday night, Oct. 29, 2005, those who were assembled at the American Airlines Center (AAC) in Dallas discovered this truth for themselves.
The night started out well with the performance by opening act Damian Marley and his group of hard-driving, heart-pounding musicians. Backed up on vocals by several energetic young women with some wicked dance moves and one very devoted man waving the Ethiopian flag of H.I.M. Haile Selassie I, Marley sang lyrics very similar to U2's—lyrics which sang of the need for love and peace in the world, lyrics which implored us to live as one with each other. Bono would later make reference to U2's delight in having the Marley family on tour with them by stating, "We're so proud to be here with Damian Marley and his band of merry pranksters."
Over half the songs Marley performed were from his new CD "Welcome to Jamrock" with the rest of the music being revised renditions of some of his father's best songs—“War," and “Could You Be Loved," among others. A big personal highlight for me was the appearance of his brothers, Kymani and Stephen Marley. As someone who saw their father, Bob, three times in concert when I was younger, the chance to see three of Bob Marley's children perform together was magical for me. It was a very "upful" (Rasta terminology) way to begin what would be an electrifying U2 concert.
"City of Blinding Lights" from “How to Dismantle and Atomic Bomb" remains the perfect way to start the night. Following shouts from Bono of "Dallas, Texas," the crowd roared its approval and the frenetic course of the night was set. "City " gave way to "Vertigo" with snippets of Patti Smith’s epic "Rock and Roll ******" at its end. Then on to "Elevation" with Bono allowing the crowd to carry the opening part of the song. Afterwards came an amazing "Electric Co." complete with a bit of The Who’s "See Me, Feel Me" from the rock opera “Tommy" tacked on to its end. It felt like Bono was making a direct appeal to the audience not only to see him, but also to feel him.
With his voice on fire, Bono playfully teased the audience with Elvis-like pelvic gyrations and other assorted movements. With the beginning chords of "The Ocean," Bono slowed down the pace to reminisce about U2's first appearance in Dallas on April 2, 1981 saying: "Driving into Dallas, Texas, shining city, glass and steel. So it's been 25 years. My, it's been fun. Twenty-five years since we arrived here in a blue bus, coming off the freeway with big ideas, about to meet you."
"The Ocean" gently brought in a rousing "I Still Haven't Found What I'm Looking For" along with snippets of "In a Little While" and Bob Marley's "Could You Be Loved." The song ended with Bono taking us "to church," complete with hand clapping.
Next came "Beautiful Day" and "Miracle Drug." The performance of "Miracle Drug" was especially memorable with Edge jumping up and down as he played and Adam Clayton unable to contain the power of his instrument. The audience response to "Miracle Drug" was so great that Bono said "thank you for that" to the audience.
"Sometimes You Can't Make It on Your Own" followed and became an instant crowd favorite. At times, it felt as if Bono had opened a vein to let out all his inner emotions. His singing turned into wailing and the crowd was captivated by it.
As the arena darkened, Larry Mullen Jr. proceeded to the front of the stage with "the drum." Everyone stirred with excitement over what was next—"Love and Peace or Else." Bono delivered his message of CoExisT with fervor stating, "it's wrapped around my head, my heart, CoExisT. It's getting harder to hold on to. You will hold on to it, won't you Dallas?" As the song ended, it seemed as if Bono was attempting to bring emphasis to the message of “Love and Peace" as he emphatically added a few extra drumbeats to the song.
"Sunday Bloody Sunday" followed with Bono pulling up on stage a young boy ("a son of Abraham" as Bono referred to him) to sing "No More!" The song ended with Bono's lament to "Father Abraham." "Bullet the Blue Sky" was next with its now familiar blindfold scene. As often as one sees this onstage, the image of a blindfolded person on their knees in fear never fails to captivate you. As "Bullet" moves through snippets of "When Johnny Comes Marching Home" and "Hands That Built America," the arena was overwhelmed with emotion. The audience responded well to Bono's plea "Johnny Safe Home" as this area of the country has a major military base nearby.
Next was "Miss Sarajevo." Bono's voice was sharp and clear and held the high notes of Luciano Pavarotti's part of this song longer than usual. Bono had joked before the song that while he's no Pavarotti, he has "been at the pasta." The way that "Miss Sarajevo" has transformed itself into a solo piece by Bono has made it one of the most stellar moments of the Vertigo tour.
After an appreciative response to the U.N. Declaration of Human Rights, "Pride (In the Name of Love)" was next. Bono made a special reference to Rosa Parks' dream as "the journey of equality continues" and then gave an inspired performance of the song known and loved around the world. As "Pride" ended, the opening chords of "Where the Streets Have No Name" began to tremendous audience response.
With the relentless bass line from Adam's bass and the mesmerizing musical notes emanating from Edge's guitar supported by the nearly flawless drumming of Larry, Bono can almost do no wrong with this song. It hits your heart (and if you're lucky, your soul) with the intensity of the African sun and fills you up with its warmth—a truly overwhelming experience.
The tone was perfectly set for "One." Calling us "crazy Texans," Bono asked for the audience to take out their cell phones and "turn this place into a Christmas tree in the middle of October. Look close under the Christmas tree, it's Dallas, Texas. We're gonna change the world. It's the truth." "One" segued into "Old Man River" (another personal favorite). U2 then thanked the crowd and exited the stage.
Beginning the first of two encores, Bono and Edge came to the front of the stage to do a beautiful rendition of "The First Time." At times, Bono's performance of this song almost takes on a confessional tone. He is completely in this song. I was especially moved by Bono's addition of the line "Grace gave it back to me" in reference to the key that he threw away.
Staying at the tip of the stage, Bono and Edge sang a lovely acoustic version of "Stuck in a Moment," dedicating it to the memory of late INXS frontman Michael Hutchence.
And then, the unpredicted highlight of the show. Bono scans the audience and finally picks a young man to come and join U2 onstage. Bono asks him what he can play and the young man replies "Angel of Harlem" to the audience's delight. Bono looks quizzically at Edge as if to ask, "What should we do?" When the audience member states again that he can indeed play this song, Bono agrees to it skeptically saying, "I hope this isn't a mistake." Of course, it isn't.
From the opening chords of this song, it’s obvious that the audience member indeed does know how to play the song. Bono is so impressed that he creates a new verse for "Angel of Harlem" dedicated to this young man. Completely comfortable on stage, he moves around strumming the chords of the song while Bono plays the harmonica. At the end of "Angel of Harlem," the young man kneels down in an "I'm not worthy" bow to Bono who reciprocated with the same. After a big hug and an exchange of shades, the young man disappeared back into the audience.
Next, Bono picked a young woman from the audience for "With or Without You." They held on to each other tightly during the song with Bono sweetly waving goodbye to her as she was escorted back into the crowd. Then he simply said to everyone in the AAC—"Don't forget about us."
The mood changed and "All Because of You" started. Dedicating the song to Chris Blackwell, founder of Island Records, Bono began a blistering rendition of the song. With Adam and Edge all over the stage playing their instruments with an authority that can only come after 25 years of practice and with a searing drumbeat from Larry, “All Because of You" was a perfect example of why U2 is the world's best rock 'n' roll band. It left the crowd wanting more.
But the night was nearly over and it was time to part. As U2 launched into "Yahweh," the crowd began to settle, knowing that our time together was almost up. As Bono sang a benediction on Dallas ("take this city's heart and keep it safe"), we all awaited to see what would be the night's final song. The honor would go to "40."
And as the strains of "40" diminished and each member of U2 disappeared from the stage, we left the AAC knowing that we had just witnessed one of the best concerts of the Vertigo Tour.
2005.11
It’s an understatement to say that every U2 concert is unique—full of its own moments that stay with you forever. But it's true. And Saturday night, Oct. 29, 2005, those who were assembled at the American Airlines Center (AAC) in Dallas discovered this truth for themselves.
The night started out well with the performance by opening act Damian Marley and his group of hard-driving, heart-pounding musicians. Backed up on vocals by several energetic young women with some wicked dance moves and one very devoted man waving the Ethiopian flag of H.I.M. Haile Selassie I, Marley sang lyrics very similar to U2's—lyrics which sang of the need for love and peace in the world, lyrics which implored us to live as one with each other. Bono would later make reference to U2's delight in having the Marley family on tour with them by stating, "We're so proud to be here with Damian Marley and his band of merry pranksters."
Over half the songs Marley performed were from his new CD "Welcome to Jamrock" with the rest of the music being revised renditions of some of his father's best songs—“War," and “Could You Be Loved," among others. A big personal highlight for me was the appearance of his brothers, Kymani and Stephen Marley. As someone who saw their father, Bob, three times in concert when I was younger, the chance to see three of Bob Marley's children perform together was magical for me. It was a very "upful" (Rasta terminology) way to begin what would be an electrifying U2 concert.
"City of Blinding Lights" from “How to Dismantle and Atomic Bomb" remains the perfect way to start the night. Following shouts from Bono of "Dallas, Texas," the crowd roared its approval and the frenetic course of the night was set. "City " gave way to "Vertigo" with snippets of Patti Smith’s epic "Rock and Roll ******" at its end. Then on to "Elevation" with Bono allowing the crowd to carry the opening part of the song. Afterwards came an amazing "Electric Co." complete with a bit of The Who’s "See Me, Feel Me" from the rock opera “Tommy" tacked on to its end. It felt like Bono was making a direct appeal to the audience not only to see him, but also to feel him.
With his voice on fire, Bono playfully teased the audience with Elvis-like pelvic gyrations and other assorted movements. With the beginning chords of "The Ocean," Bono slowed down the pace to reminisce about U2's first appearance in Dallas on April 2, 1981 saying: "Driving into Dallas, Texas, shining city, glass and steel. So it's been 25 years. My, it's been fun. Twenty-five years since we arrived here in a blue bus, coming off the freeway with big ideas, about to meet you."
"The Ocean" gently brought in a rousing "I Still Haven't Found What I'm Looking For" along with snippets of "In a Little While" and Bob Marley's "Could You Be Loved." The song ended with Bono taking us "to church," complete with hand clapping.
Next came "Beautiful Day" and "Miracle Drug." The performance of "Miracle Drug" was especially memorable with Edge jumping up and down as he played and Adam Clayton unable to contain the power of his instrument. The audience response to "Miracle Drug" was so great that Bono said "thank you for that" to the audience.
"Sometimes You Can't Make It on Your Own" followed and became an instant crowd favorite. At times, it felt as if Bono had opened a vein to let out all his inner emotions. His singing turned into wailing and the crowd was captivated by it.
As the arena darkened, Larry Mullen Jr. proceeded to the front of the stage with "the drum." Everyone stirred with excitement over what was next—"Love and Peace or Else." Bono delivered his message of CoExisT with fervor stating, "it's wrapped around my head, my heart, CoExisT. It's getting harder to hold on to. You will hold on to it, won't you Dallas?" As the song ended, it seemed as if Bono was attempting to bring emphasis to the message of “Love and Peace" as he emphatically added a few extra drumbeats to the song.
"Sunday Bloody Sunday" followed with Bono pulling up on stage a young boy ("a son of Abraham" as Bono referred to him) to sing "No More!" The song ended with Bono's lament to "Father Abraham." "Bullet the Blue Sky" was next with its now familiar blindfold scene. As often as one sees this onstage, the image of a blindfolded person on their knees in fear never fails to captivate you. As "Bullet" moves through snippets of "When Johnny Comes Marching Home" and "Hands That Built America," the arena was overwhelmed with emotion. The audience responded well to Bono's plea "Johnny Safe Home" as this area of the country has a major military base nearby.
Next was "Miss Sarajevo." Bono's voice was sharp and clear and held the high notes of Luciano Pavarotti's part of this song longer than usual. Bono had joked before the song that while he's no Pavarotti, he has "been at the pasta." The way that "Miss Sarajevo" has transformed itself into a solo piece by Bono has made it one of the most stellar moments of the Vertigo tour.
After an appreciative response to the U.N. Declaration of Human Rights, "Pride (In the Name of Love)" was next. Bono made a special reference to Rosa Parks' dream as "the journey of equality continues" and then gave an inspired performance of the song known and loved around the world. As "Pride" ended, the opening chords of "Where the Streets Have No Name" began to tremendous audience response.
With the relentless bass line from Adam's bass and the mesmerizing musical notes emanating from Edge's guitar supported by the nearly flawless drumming of Larry, Bono can almost do no wrong with this song. It hits your heart (and if you're lucky, your soul) with the intensity of the African sun and fills you up with its warmth—a truly overwhelming experience.
The tone was perfectly set for "One." Calling us "crazy Texans," Bono asked for the audience to take out their cell phones and "turn this place into a Christmas tree in the middle of October. Look close under the Christmas tree, it's Dallas, Texas. We're gonna change the world. It's the truth." "One" segued into "Old Man River" (another personal favorite). U2 then thanked the crowd and exited the stage.
Beginning the first of two encores, Bono and Edge came to the front of the stage to do a beautiful rendition of "The First Time." At times, Bono's performance of this song almost takes on a confessional tone. He is completely in this song. I was especially moved by Bono's addition of the line "Grace gave it back to me" in reference to the key that he threw away.
Staying at the tip of the stage, Bono and Edge sang a lovely acoustic version of "Stuck in a Moment," dedicating it to the memory of late INXS frontman Michael Hutchence.
And then, the unpredicted highlight of the show. Bono scans the audience and finally picks a young man to come and join U2 onstage. Bono asks him what he can play and the young man replies "Angel of Harlem" to the audience's delight. Bono looks quizzically at Edge as if to ask, "What should we do?" When the audience member states again that he can indeed play this song, Bono agrees to it skeptically saying, "I hope this isn't a mistake." Of course, it isn't.
From the opening chords of this song, it’s obvious that the audience member indeed does know how to play the song. Bono is so impressed that he creates a new verse for "Angel of Harlem" dedicated to this young man. Completely comfortable on stage, he moves around strumming the chords of the song while Bono plays the harmonica. At the end of "Angel of Harlem," the young man kneels down in an "I'm not worthy" bow to Bono who reciprocated with the same. After a big hug and an exchange of shades, the young man disappeared back into the audience.
Next, Bono picked a young woman from the audience for "With or Without You." They held on to each other tightly during the song with Bono sweetly waving goodbye to her as she was escorted back into the crowd. Then he simply said to everyone in the AAC—"Don't forget about us."
The mood changed and "All Because of You" started. Dedicating the song to Chris Blackwell, founder of Island Records, Bono began a blistering rendition of the song. With Adam and Edge all over the stage playing their instruments with an authority that can only come after 25 years of practice and with a searing drumbeat from Larry, “All Because of You" was a perfect example of why U2 is the world's best rock 'n' roll band. It left the crowd wanting more.
But the night was nearly over and it was time to part. As U2 launched into "Yahweh," the crowd began to settle, knowing that our time together was almost up. As Bono sang a benediction on Dallas ("take this city's heart and keep it safe"), we all awaited to see what would be the night's final song. The honor would go to "40."
And as the strains of "40" diminished and each member of U2 disappeared from the stage, we left the AAC knowing that we had just witnessed one of the best concerts of the Vertigo Tour.
