Review: U2 at the St. Pete Times Forum, Tampa, Nov. 16, 2005 *

By Kimberly "hippy" Egolf
2005.11

In science class we learn that energy is produced through a complicated series of processes somehow involving electrons and water and other such elements. U2 has found a simpler way to create energy—stage a rock show.

I must admit that, by Wednesday, my power pack was drained. Adrenaline had been pumping through my bloodstream at high speed since Sunday morning in anticipation of the week’s worth of shows I would be attending. I couldn’t sleep thinking about the incredible shows I had already experienced and the ones that were to come. By the time I arrived in Tampa at 7 Wednesday morning, I was fairly exhausted.

I hauled my general admission line supplies from the car to the queue, was branded No. 41 and parked myself on my designated slab of pavement for the day. I met many wonderful people in the line (shout outs to Sherry, Steve, John 51, Stephanie, John 48, Genie and Hal) and was able to share some very special moments with them. I mentioned in my Miami review that U2 is all about community, nowhere else can you find better evidence of that community than in a GA line. Though I was there by myself, I didn’t feel alone and that made all the difference for me.

By a magical stroke of luck, my GA buddy Hal scanned us into the ellipse. We quickly ran to The Edge’s side on the front rail and parked ourselves for the evening. Though I had been flagging in energy level, the ellipse scan put me on a high that lasted the entire evening. I’m sure I drove everyone around me crazy as I couldn’t stand still and I couldn’t stop talking. This was my one shot at GA for this week and I had just gotten the perfect place with a little help from my friends.

Institute, the opening band fronted by Gavin Rossdale, formerly of the band Bush, was a little more interesting from this vantage point. And it was a real treat to see Dallas Schoo, Edge’s guitar wrangler and general jack-of-all-trades, riffing on Edge’s guitars.

But absolutely nothing compares to the moment when U2 took the stage. Realizing that your heroes—these four men who have become such an invaluable part of your life—are standing directly in front of you is an awesome thing. And awe was the overwhelming feeling for most of the evening.

As The Edge’s chiming guitar intro to "City of Blinding Lights" brought the audience to a fever pitch and the multicolored confetti shimmered down on us, I pumped my fists in the air in sheer joy. The "Vertigo"/"Elevation" duo was a surreal experience from the floor. I don’t think I stopped jumping through either song.

Riding high off this smashing introduction, I didn’t pause to consider what was coming next. I’d already seen the band switch from an "Achtung Baby" set to a "Boy" set between the Miami concerts and was interested to see what happened that night. After a short, teasing pause to switch guitars, Edge launched into "Mysterious Ways." Though Edge didn’t shuffle, we were treated to a Bono dance of sorts. Unable to resist the temptation, Bono began to swivel his hips in belly-dancer fashion. This seductive and dangerous song and dance quickly turned into a different kind of seduction as "Mysterious Ways" bled into "Until the End of the World." The seduction of Judas into betrayal of Jesus is a subject that U2 has admittedly been fascinated with, and is reportedly the subject of this song. It’s a difficult question and one that has defined much of modern thought. Perhaps this is why "Until the End of the World" is so fascinating—it’s hard to tell what headspace Bono is in when he sings this song and it seems to morph into something new every time it is performed.

"I Still Haven’t Found What I’m Looking For" uplifted our spirits and set the perfect tone for the next song. "Beautiful Day," as always, was a moment to remember. Perhaps the most wonderful part is after the bridge when Bono sings, "After the flood all the colors came out." As the notes from Edge’s guitar vibrated in the air, the arena was bathed in light of all colors, providing not only an incredible light effect but also providing a symbol of the many different types of people present in the arena that night and, indeed, every night of the tour.

"Miracle Drug" was gone again in Tampa, replaced by the always beautiful "Original of the Species." During this song, Bono brought a young girl on stage and dedicated the song to her. It was a beautiful and moving gesture, like a father talking to his daughter about living life. "Sometimes You Can’t Make It on Your Own," by contrast, was a plaintive son speaking to his father. Bono introduced the song by talking about his own father, and how he would always tell Bono to "take off the fucking sunglasses." Bono did as he was asked and removed the glasses as he began the song. But by the end of the song, he had them back on again in rebellion.

"Love and Peace or Else," "Sunday Bloody Sunday" and "Bullet the Blue Sky" knocked us over with their power. I am continually impressed by the decision to group these heavy songs together. U2 does not let us off the hook for a moment. While obviously not the same as the Sarajevo broadcasts on the ZooTV tour, these songs do bring us a similar dose of reality in the midst of a rock show. Just as we are getting into the band playing the songs we all love, they come along and show us a glimpse of the world outside. And Bono places the responsibility for that world squarely on the audience, calling out, "This is your song now" during "Sunday Bloody Sunday."

"Miss Sarajevo" also reminded us, in a slightly different and more poignant way, of the world outside. Bono introduced the song by explaining how they met a girl in Sarajevo who had decided to stage a beauty pageant in the midst of the siege as a kind of surrealist statement about the indomitable spirit of the Sarajevans. Bono pointed to Sarajevo as the ultimate example of a modern city where Muslim, Jew and Christian coexisted and that city was destroyed while the world watched it all on television.

After this dose of reality, "Pride," "Where the Streets Have no Name," and "One" came along to remind us of the dream of unity, peace, and coexistence for the world. These songs brought the main set to a close.

As the crowd chanted and cheered for the band to return, Edge quietly assumed the stage, slipped his guitar over his head, and began to make his way to the tip of the ellipse while strumming the opening chords of "The First Time." I had not yet heard this in concert and was stunned by the vulnerability of Bono’s voice and the simplicity of the song performed acoustically. "Stuck in a Moment" was dedicated again to Michael Hutchence and Bono declared, "We still miss him." "With or Without You" saw another young woman pulled onto the stage to dance with Bono as he sang. This ended the second set of the night.

"All Because of You" jetted the energy level in the arena back up to maximum. Edge wailed away on the guitar, Larry Mullen pounded on the drums, and Adam Clayton strutted around with his bass, while Bono almost took flight. During "Yahweh" Bono brought a young boy on stage who stood next to Larry during the remainder of the song. The young boy, Joey, remained there as "40" started. As the audience chanted "How long to sing this song?" Bono brought Joey up to the front of the stage to help him shine the spotlight around the arena. After whispering instructions to the young boy, Bono proceeded to leave the stage. Joey shined the light directly on Bono, who flashed a brilliant smile and a peace sign before disappearing down the stairs. Adam was the next to leave the stage. As Edge and Larry continued the pulsing beat of the song, the crowd sustained the "How long to sing this song?" chant. Joey quietly walked over to Bono’s microphone stand and placed the still-bright spotlight on the floor facing the audience, passing the torch literally to us to continue the song and the sentiment as the show ended.

It’s an odd thing about U2 shows, though almost drained of energy going into the show, I somehow managed to find what I needed and more. So I have a proposal, forget about nuclear energy, solar energy, energy from fossil fuels. We already have an alternate source of completely renewable energy—U2.

Review: Vertigo 2005//U2 Live From Chicago*

By Chrissi Blaesing
2005.11

There’s a chill in the air, the leaves are on the ground and the stores already have holiday music playing. All of this can mean only thing—a new U2 product has hit the shelves.

U2, no doubt having great success with the multiple versions of 2004′s release of "How to Dismantle an Atomic Bomb," have released two versions of the companion live DVD. The regular edition comes packaged with only the concert DVD while the deluxe version includes a second disc with the "Beyond the Tour" documentary, show designer Willie Williams’s surveillance cuts and an alternate version of "Sometimes You Can’t Make It on Your Own" by Phil Joanou. I wish, however, that there had been a supreme deluxe version that had the members of U2 sitting down for a candid interview about the tour. Perhaps next time guys?

The extras on the bonus disc are a little disappointing with the exception of the "Beyond the Tour" documentary that includes some great interviews with Vertigo Tour personnel like manager Paul McGuinness, production director Jake Berry, Williams and, most interesting of all, an interview filmed in what appears to be a men’s restroom with Gavin Friday (consultant/tour midwife). The documentary also features fan interviews the documentary shows a clip of U2 rehearsing "Trash, Trampoline and the Party Girl" prior to the May 10th show, Bono’s 45th birthday. I also found the choices of songs played during the documentary interesting as well—"Crumbs from Your Table," "Lady with the Spinning Head," "Please" and "Acrobat" can be heard as backing tracks, all songs that any diehard U2 fan would love to hear live. It’s nice to know someone in the U2 organization has a sick sense of humor.

The concert DVD contains footage from both the May 9th and 10th Chicago shows at the United Center directed by Hamish Hamilton, who previously worked with the band directing "Elevation 2001/Live From Boston" and "U2 Go Home – Live from Slane Castle." While the feel of "Vertigo 2005//U2 Live From Chicago" is very much in the same vein as the Elevation DVDs there are some notable differences. Having attended both of these shows in person I can attest that very little was has been dropped from the show itself, with the major exception of "Party Girl," a song that was performed both nights. In essence this is as close to actually being at a typical U2 show on the first leg of the Vertigo Tour as a fan can be without attending the show itself.

The songs themselves get center stage in this concert DVD and while the audience’s presence is all encompassing, it’s not the main focus. As Hamilton relayed in "Beyond the Tour" documentary, he wanted to, "Feel the love, don’t give it a name" in regards to the audience. Hamilton also does a great job of portraying the band as not just Bono and three other musicians but as a true band, giving equal screen time to all four members. That being said, the standout performance of the DVD really does belong to bassist Adam Clayton. Gone is the barely interested, glued to side of Larry Mullen’s drum kit Adam Clayton of the Elevation Tour, on this tour and in this DVD Adam struts, smirks, interacts and in general flirts with the audience better than any other member of U2. During "New Year’s Day" Adam goes on walkabout around the ellipse, pausing to either wink at the audience or smile for the camera. Adam also creates one of the more memorable scenes with Bono at the tip of the ellipse during "Where the Streets Have no Name" where the singer gives the bassist a hug and a kiss prior to leaning on Adam while he sings the concert staple.

The main set list itself has already been discussed ad nauseam on various U2 fan sites but it does translate well as a clear message on the DVD. The footage has more of a live feel to it than Hamilton’s previous collaborations with U2. While the two shows have been spliced together, this DVD is more cohesive than the Elevation filming. The length of the DVD is also impressive clocking in at just shy of two hours and 20 minutes.

The show opens with a version of "City of Blinding Lights" that does a great job of translating the expectancy and pure drama of the song. "Vertigo" and "Elevation" do seem to stumble a bit with Bono’s voice failing him especially during the latter song. While a perfect version of the songs is unfairly expected it is refreshing to see the band really "live." The majority of the people buying this DVD will be the diehards who want to see the live experience in all its glory and I think that U2 and Hamilton have realized this fact and have incorporated it into this DVD. The "Boy" set of early catalog songs that follows includes "Cry/The Electric Co." and "An Cat Dubh/Into the Heart" is where the band really achieves the desired lift off. Bono does a great job of playing to the audience, the camera, and the other members of the band during this set. At the end of "The Electric Co." he playfully bangs on the symbols on Larry’s drum kit earning a surprised look from the drummer that would indicate that one only gets to touch the drum kit without Larry’s express permission. The usual "Miracle Drug" introduction that, during the first leg of the Vertigo Tour, recalled Christopher Nolen, the cerebral palsy-stricken author who inspired the song, was dropped in favor of the May 9th version that saw Bono taking aim at the Chicago Tribune‘s critical review of the May 7th show.

The main set concludes with a pleasant version of "One" and shows the "Milky Way" of blinking cellular phones in the United Center, one of the segments of the show that the transition to film doesn’t do justice. The first encore of the DVD shows the ZooTV opener that was characteristic of this leg of the tour and one of the best parts of the DVD. From the Zooropa baby opening to the stunning dancer Khelia during "Mysterious Ways" this encore is destined to be a fan favorite. The one drawback to the filming of this section is that Williams’s stunning visuals that included the "Propaganda" poses of the individual band members and then a full band staring off into the middle distance during "Zoo Station" were not utilized to their fullest extent. The visuals for "The Fly" make it one of the songs that is best viewed from the upper tier of the arena and yet we were instead given close ups of the band members on the DVD. In all, these are only minor irritations in an exceptionally well-shot video. I was pleasantly surprised at how well the second encore translated onto film. While many fans believe that "All Because of You" is overexposed on this tour it really is fun to watch. The band obviously enjoys performing this song and it shows.

While the presence of "Original of the Species" in the set list has been sporadic on the tour to date, the version seen on the DVD is especially touching as the dedication to Bono’s daughter, Jordan, whose birthday also falls on May 10th, is left in. The translation of "Yahweh" onto DVD format is by far the most pleasant surprise on the entire DVD. While the song was beautiful in the live setting on film, it is by far the most moving song in the entire set. The show ends with a great rendition of "40" that I’m sure all U2 fans will agree is great to finally have immortalized on DVD.

On the whole, “Vertigo 2005//U2 Live From Chicago” is a visually captivating and faithful DVD to U2 fans and collectors who enjoy watching the art of performance—especially a band like U2—who, to quote Bono at a recent California show—is “just getting started.” And all these years later, we’re still along for the ride.

Review: U2 at the American Airlines Arena, Miami, Nov. 13 & 14, 2005*

By Kimberly "hippy" Egolf
2005.11

Almost four years ago, my life was changed by four lads from Dublin who brought their "traveling show" to Miami for a night and succeeded in stealing my heart.

It’s almost cliché to talk about how the band has changed your life, but I believe that’s what weaves us as fans together in international bonds of friendship. No matter where we go or what U2 fans we meet, we know we’re always talking to someone who gets it. Though our families and friends might roll their eyes when we talk about U2, we can always delight in the flame that ignites in a fellow U2 fan’s eyes when the band is mentioned.

And U2 playing in Miami was all about that flame. From the first strains of Arcade Fire’s "Wake Up" as the band took the stage, the arena was on fire. Before the lights even dimmed, the place exploded in a roar that must have been heard across the entire city of Miami. During the second show, Bono described the noise of the crowd as a "fucking 747 taking off in here." Many times during both nights in Miami you could see the smiles on the faces of the band members as they marveled at the energy and love coming from the Floridian audience. Bono even stopped the show on the second night, right before "One," as the cheering reached fever pitch. With a huge grin on his face, he turned to the other members of the band and said, "This is crazy."

The audience gave all it could to U2 and U2 gave it back tenfold. Adam, Edge, Larry and Bono turned in two nights of the most fantastic, inspiring and fun performances I have seen yet. Smiles abounded in both band and audience as U2 blasted through many of its all-time hits and much of its newer material.

Miami 1 (November 13) began with the now-standard "City of Blinding Lights"/"Vertigo"/"Elevation" triple threat. But just because it was standard by no means diminished the power of these three songs on this night. As the confetti fell and the music built, the audience surged forward, ready to be taken wherever U2 might lead. We got Spanish lessons from Bono during "Vertigo" and flirting lessons from Larry during "Elevation" when Bono encouraged Larry to "flirt with the people," which he did by giving us a huge grin and then singing along with Bono for the rest of the song.

"Mysterious Ways" immediately followed the "top of the world" songs (as I like to call the "City of Blinding Lights"/"Vertigo"/"Elevation" combination). This is one of my personal favorites and the band did not disappoint. The highlight of the song was the "Edge shuffle" when Edge did some fancy footwork across the front of the stage while playing his guitar solo. The crowd cheered loudly as Edge showed us his moves and Bono laughed and yelled "Skinny white boy." This favorite song was immediately followed by perhaps my all-time favorite song, "Until the End of the World." It was an incredible treat to see this one live again and I could hardly stop myself from doing the spastic Bono shake like in the Boston Live DVD. But then I probably would have fallen out of the stands and missed the rest of the show, so I calmly refrained.

"I Still Haven’t Found What I’m Looking For" pulsed its way right into my heart, with Bono adding a snippet of "In a Little While." If ISHFWILF stole my heart, "Beautiful Day" flew away with it. This is the song that began my journey with U2 back in 2000. Since then it has become a personal mantra. It’s impossible for me to describe what seeing this song live again meant to me. But that goes back to the "U2 community" idea, I don’t think I have to describe it in order for you to understand.

"Miracle Drug" gave us an even more embellished story about The Edge being from the future. Apparently, "Gas is $39 … but it’s still better." Then came "Sometimes You Can’t Make It on Your Own." I will admit to being wary of this song in concert. I have heard a number of other U2 fans talk about how it has lost its power and feels contrived, etc., so I didn’t want to set myself up for disappointment. I actually did quite the opposite. I respected the simple graphic and the total emphasis on Bono’s vocal performance during the song. As an introduction, Bono described how he would spend Sundays with his dad, chatting about the week. And this song felt like a chat with his Dad, whose 80th birthday would have been on Sunday. As Bono made his way around the ellipse and the graphic walked along in the background, it occurred to me that Bono was indeed having a chat and a stroll with his dad. It was as if the two (Bono and the graphic Bob Hewson) were walking along together and Bono was pouring his heart out. Which made it all the more poignant when the graphic simply walked away toward the end of the song. The conversation was not over, but one of the parties had left. I was incredibly moved by this song, despite the bad rap it has gotten with some U2 fans.

If the crowd sounded like a 747 taking off, the band helped by adding the real sound effect in the background as "Love and Peace or Else" lead us directly into the "Heart of Darkness" set. Though standard by now as well, seeing the "Love and Peace or Else"/"Sunday Bloody Sunday"/"Bullet the Blue Sky" combination for the first time was amazing. And I have never heard the Universal Declaration of Human Rights cheered before. It gave me hope for the future of the world as we all listened to a young woman state that no one shall be subjected to torture; increasingly relevant in the United States recently.

Then came the tender "Miss Sarajevo" as the hope leading us out of the "Heart of Darkness." "Pride (In the Name of Love)" ignited the fire again as we all joined our voices in celebration of Martin Luther King’s dream, which Bono stated is "not just for Africa anymore." The dream continued into "Where the Streets Have no Name" as the entire crowd began to pogo. The main set ended with an emotional (but what version isn’t?) version of "One." Having just watched the Live 8 DVD that included this song, I was struck by how far we’ve come in the struggle against poverty and AIDS, but also by how far we have left to go.

Bono and Edge returned to the stage to dedicate "Stuck in a Moment" to the late INXS lead singer Michael Hutchence. Larry and Adam soon joined in for a full-band treat. Then "Who’s Gonna Ride Your Wild Horses" made its full band appearance, dedicated to "Patti [Smith], the punk rocker." "With or Without You" finished off the first encore and, while always a great song and a crowd pleaser, held no new or revelatory moments for me.

After a break to let the cheering build, the band wailed back onto the stage with "All Because of You." This featured Bono on tambourine, which then decided to do a bit of flamenco dancing around Adam during the guitar solo. Then the show began to slow down again with "Yahweh," which has taken on new meaning since being performed live. With the dove graphic flying in the background (a symbol that means a lot to me—I have a dove tattoo on my right wrist), Bono sang of hope in spite of hardship: "Always pain before a child is born." Then Phil, Bono’s guitar tech, was invited on stage to share his birthday with the entire crowd. While the cheering from "Happy Birthday" continued, Edge and Adam quietly changed instruments. The distinctive bass line stealthily crept up on us until Larry kicked in with the drums and we all realized that "40" had begun. "How long to sing this song?" was chanted over and over by the crowd as the band members slowly departed the stage in one of the most understated exits I’ve ever experienced. U2 let the crowd take over singing, as if passing the responsibility for all we had seen and experienced back to us. It was up to us to end the show (or not end it). It was up to us to determine what had happened in the arena that evening. And it was, ultimately, up to us to continue the feeling as we journeyed back home.

***********

It was hard to tell how U2 was going to top Sunday night in Miami. Would the energy be there? Would the setlist be exciting? Would the general atmosphere even begin to match Sunday night? These questions were answered with a resounding "yes" as soon as "Wake Up" started on Monday night. The atmosphere was even more playful and fun. Before the show, Bono and Edge met fans (I shook Edge’s hand) outside the arena. Edge led us in a less-than-rousing chant of "Where the streets have no name," which then morphed into "Bono, Bono" as he quickly realized that the "Streets" chant wasn’t working. Bono had a camera and walked the length of the line filming people and asking, "What do you think of The Edge?" Neither Bono nor Edge signed autographs; Bono because he was holding a camera and Edge made his excuses saying, "I have to go, I’m the guy that does that music" and mimed playing a guitar. As if we didn’t know.

(The Edge leads us in a chant while Bono films him. Credit: Kimberly Egolf)

As "City of Blinding Lights" opened, Bono appeared on stage holding the same camera and filming the crowd and The Edge. "Vertigo" and "Elevation" followed, burning up the house for the second night in a row. I held my breath as we got to the portion where changes might be introduced. Earlier in the day, I had been talking with other fans and expressing my desire to see some of the older stuff. I especially wanted to see "Electric Co." and "I Will Follow." Well, apparently the band was listening because both songs followed in quick succession! "I Will Follow" started and I had a hard time not leaping off the stairs upon which I was standing. "Electric Co." kicked in with incredible energy and was one of the highlights of the evening for me.

We returned to "I Still Haven’t Found What I’m Looking For" and "Beautiful Day" as we had the night before. I found myself remaining quiet during these songs, as I stood in awe of what U2 can do with a crowd. I felt like I had 20,000 close friends all sharing the same secret. It’s at moments like those that I simply cannot understand how anyone can not love U2—the unity, the love, the community—it’s an incredible feeling.

After these few moments of awe, "Original of the Species" blindsided me. I don’t think anyone saw it coming (at least not so early in the set). It was a full band version introduced by Bono as "the best song on the album." And live, it was hard to dispute that claim. I’m not sure where I got the idea, but I have always thought that "Original of the Species" was written in one sense about Bono’s daughters. It’s a tender song, making it the perfect couple to Bono’s song about his father, "Sometimes You Can’t Make It on Your Own."

(U2 plays "Original of the Species." Credit: Kimberly Egolf)

After the tenderness of "family time," we returned to the "Heart of Darkness" for a similar emotional rollercoaster as we had experienced on Sunday night. The anger and scorching fire of "Love and Peace or Else"/"Sunday Bloody Sunday"/"Bullet the Blue Sky" (symbolized by devastating red light) led into the calm and healing of "Miss Sarajevo"/"Pride"/"Streets" (symbolized by blue and green light). After "Streets" the cheering became so incredible that Bono, as mentioned earlier, paused to listen and exclaimed "This is crazy!" before proceeding into "One."

Then we started to get antsy again. Encores are generally where some setlist changes occur and I was eager to see what would happen. I had already been stunned by "I Will Follow" and "Electric Co." The encore did not disappoint. The Zoo Baby appeared on the screen and started calling "Mama, Mama" as the guitar wailed into "Until the End of the World." I went crazy. Two nights in a row is lucky for a song that has been largely absent on the tour so far. "Until the End of the World" led right into "The Fly" which was as wicked as ever. Bono still gets into the Fly character during this song as was strutting around the stage as the platitudes from ZooTV era flashed across the screen in a multimedia overload. This overload was immediately countered by the incredible simplicity of "With or Without You," which once again thrilled everyone but held no really new moments, except for the fact that I know the girl who was pulled onstage.

("The Fly." Credit: Kimberly Egolf)

The second encore began with the ear-splitting screech of Edge’s guitar as he launched into "All Because of You." As Bono sang the line "all because of you," every finger in the arena was pointing toward the band. Not that this hasn’t been said before, but the song should rightly be called "All Because of U2." That’s why we were there and that’s why we were loud! Adam and Larry disappeared as Edge and Bono came to center stage and performed an acoustic version of "Walk On." But by far the most incredible moment of the evening was the closing song—"Bad" took my breath away. Bono turned in an amazing vocal performance, no doubt boosted by the fact that 20,000 people were also singing along. There was no hint of tiredness in the band as the song stretched, faded, and grew again. When Bono, backed by the fans, sang, "I’m wide awake" no one in that arena was silent. If I had to choose one moment as the pinnacle of these two shows, it would be that moment. I think it says a lot that perhaps the most amazing moment of the two-day run in Miami happened as the band was closing the set.

It was difficult to leave the arena and return home last night. I had such an incredible experience in Miami that was largely due to the people I met and hung out with on Sunday and Monday. I want to thank those people (you know who you are) who honored me by sharing a portion of their lives and opening up their hearts. I started by writing about the U2 community and it is, as always, to the U2 community that I return. Thanks for helping me make great memories. See you in Tampa, Atlanta, and Boston.

A Look At: The Arcade Fire*

By Caroline Eaton
2005.11

When name-dropped in certain circles, The Arcade Fire has an electrifying effect. Punky, devil-may-care women go weak-kneed while ultra-cool, detached, artsy guys light up like schoolgirls used to at *NSYNC shows. After the past few years, in which everything seemed to be homage to The Strokes, the members of The Arcade Fire have been hailed as musical messiahs for their unusual brand of baroque pop. Upon the release of 2004′s "Funeral," the culture critic at Britain’s Sunday Times, Dan Cairns, simply said, "Buy this. Right now."

Almost just as astonishing as the band’s music—though the "giddy energy" (The Guardian) and "word-defying beauty" (Sunday Times) of its "brutal and beautiful distorted noise collages" (Rolling Stone) should in no way be underestimated—is how brief its history as a collective actually is. Formed in mid-2003, by March 2005 the group had nabbed the cover of Canadian Time, where it was hailed as "Canada’s Most Intriguing Rock Band," and U2 was blasting the band’s smash single "Wake Up" at every show just before taking to the stage on its current Vertigo Tour.

Besides the name, which comes from a story lead vocalist Win Butler heard about an arcade that burned down, the first thing that strikes you about The Arcade Fire is that it has a whole lot of members. It’s hardly the Polyphonic Spree (membership: 20+), but at a time when quartets and quintets are the norm, The Arcade Fire has nearly enough for a baseball team. Throw the instruments into the mix and its line-up gets downright unwieldy.

According to Arcadefire.net, a semi-official fan site that the band promotes on its official site, Butler (more formally Edwin Farnham Butler III) also plays guitar, bass guitar, keyboards and harmonica. Régine Chassagne, his wife, is on lead and backing vocals while playing keyboards, accordion, xylophone and drums. Will Butler, Win’s brother, does backing vocals, percussion, helmet (a real crowd pleaser), guitar, bass guitar and, in the website’s words, "general mayhem." Richard Parry is on guitar, percussion, helmet, backing vocals, upright bass, keyboards and general mayhem as well, while Tim Kingsbury rocks the bass, backing vocals and guitar. Sarah Neufeld plays violin and sings backup along with Jeremy Gara, who plays drums and guitar. In May 2005, Owen Pallett joined the touring band on violin.

The Arcade Fire formed around the husband and wife duo of Butler, a Houston native who was studying religion at Montreal’s McGill University, and Chassagne, a music major. They first connected when he spotted her singing at an art exhibition. The pair was soon inseparable and married in the fall of 2004. Personal and professional collaborators, they continue to compose lyrics together, twisting their separate experiences into a single narrative.

Quickly characterized by its unique sound—a raucous blend of instruments and vocals that swerve from delicately intimate solos to boisterous choral blasts—and lively performances, the group inked a record deal with the North Carolina-based indie label Merge Records in the fall of 2003. Recorded in late 2003/early 2004, "Funeral" draws heavily upon a series of tragedies suffered by the band during that time. In June 2003, Chassagne’s grandmother passed away. The Butlers’ grandfather, swing-era composer/arranger Alvino Rey, who is credited with the popularization of the pedal steel guitar, and Parry’s aunt would then pass on within a month of each other in the spring of 2004. Hence, the nostalgic longing that colors the album and the sense, as expressed in "The Backseat," of a "family tree [ . . . ] losing all its leaves."

"Funeral" made its US debut in September 2004 and arrived in the UK the following winter. Without the backing of a major label, the success of the band and the album has been largely considered an Internet phenomenon due to the intensely loyal support of bloggers. For its 2004 tour, the group booked small clubs but demand so far exceeded expectations that they were forced to switch to larger venues. High voltage performances on "Late Night With Conan O’Brien," "The Late Show with David Letterman," and VH1′s "Fashion Rocks" has gradually carried the nearly deafening buzz over into the mainstream, culminating in a headliner slot on the third leg of U2′s fall Vertigo Tour—fittingly, at the Ottawa and Montreal shows. It’s bound to be a sweet homecoming.

Butler, a lifelong U2 fan, was thrilled by the invite. He told NME, "I saw them play when I was 16 and I didn’t know any better at the time. It was one of the best shows I have ever seen." Butler is particularly excited about getting to see the crowd’s response to "Wake Up" in person. "The first time they played ‘Wake Up’ on tour somebody e-mailed a clip of the show to me and it looked incredible seeing all those people at their shows jumping up and down," he told NME. "It would be amazing to see in person."

After the 2005 fall tour, The Arcade Fire plans to return to Montreal and begin recording the next album in its new studio, built within a converted church.

For further information on The Arcade Fire, visit the band’s official website at http://www.arcadefire.com or the fan site at http://www.arcadefire.net.

A Look At: Dashboard Confessional*

By Brenda Clemons
2005.11

Dashboard Confessional has been busy lately following the success of its latest album, 2003′s "A Mark, A Mission, A Brand, A Scar," touring, doing benefits for hurricane relief and recording a new album. Still the band made time to open for U2 during the September start of the third leg of the Vertigo Tour.

But Florida-based Dashboard Confessional might never have existed if lead singer, guitarist and songwriter Chris Carrabba had followed his first dream of becoming a professional skateboarder. Luckily, his uncle gave him a guitar and his musical talent flourished.

Carrabba taught himself to play guitar in high school and played in a number of punk bands such as Vacant Andies after graduation. Looking for a change, he decided to go solo. It was during this time that Carrabba experimented with acoustic guitar and discovered the mellow sound that critics and fans rave about, and when the band’s other three members joined up—Scott Shoenbeck (bass), John Lefler (guitar) and Mike Marsh (drums). The Dashboard name came from a line in a song that Carrabba had written and performed acoustically, "Sharp Hint of Tears" ("On the way home, this car hears my confessions").

The band’s first album, "The Swiss Army Romance," was released in 2000 to rave reviews but it was 2003’s "A Mark, A Mission, A Brand, A Scar" and an appearance on the soundtrack to "Spiderman 2" that launched the band into the big time. Dashboard Confessional was the first band not to have gone platinum to be given an unplugged performance on MTV and the band has since won an MTV VMA and made the cover of Spin magazine.

The band is currently in the studio working with U2 producer Daniel Lanois on an album due to be released next year. Like U2, Dashboard Confessional has a reputation for being honest with its music. Both fans and critics alike describe Carrabba as a master storyteller who wears his heart on his sleeve with lyrics that leave you feeling like you know something intimate about him. His collaboration with Lanois may just be the album that takes Dashboard Confessional truly over the top.

For more information on Dashboard Confessional, visit the band’s official website.

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