PLEBA Misc U2 News and Articles #2

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Maybe I completely missed this somewhere else but there was a fire near Edge and Bono's Eze houses on Sep. 5th. Here are the photos and I guess Bono invited the firefighters to his house for champagne in thanks. Anyone know more about this?

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thanks for the info onekea!

They all fit in Bono's huge balcony! :D




Glad Bono and his house are ok :wink:
 
Adam needs a woman! Form an orferly queue girls! Oh ok just stampede now :lol:

U2's Adam Clayton is looking for love | Entertainment in Ireland and Around the World | IrishCentral

And - to prove he's really an Irish boy at heart - he confessed that the one thing he always makes sure he has on tour is Barry's tea.
"I know it sounds crazy, but if you don't travel with your own tea, it never tastes the same."

A man after my own heart! :love: I usually take my own tea bags with me whenever I travel any where, the only time I didn't need to are the two times I visited Dublin!! :D

Thanks to everyone for all the interesting articles! :up:
 
Concert review: U2 360 Tour at Soldier Field
September 13, 2009
by Greg Kot


In a high-tech show beneath a four-pronged, 90-foot-tall canopy that
he referred to as "our spaceship," Bono dressed for the occasion in a
jacket outlined in neon and dangled from a glowing, steering-wheel-
shaped microphone as the band kicked into its encore. As he twirled
madly during "Ultra Violet (Light My Way)" and then more lazily during
"With or Without You," the two-hour, 10-minute concert took on a
surreal air, with a disco ball reflecting shards of light against the
balconies of Soldier Field, a tiny constellation in a galaxy of sound
and glitter. Stadium concerts usually tend to feel puffed up and
bombastic, but this was downright strange — and wonderfully so.

On its previous tours, U2 had started to resemble its generation's
answer to the Rolling Stones: a band that had started to become
predictable, a stadium act rolling out decades-old hits as its
songwriting stagnated. This time, the band reconnected to deeper
themes in its music and reinforced a recent development in its sound:
groove.

There was also the inescapable Godzilla in the room: that much-hyped
mega stage, which splits the difference between silly contrivance and
weird, sometimes awe-inspiring art object. It literally dwarfed
everything, and reached out to all corners of the stadium, allowing
the four ant-sized band members to play to the crowd on all sides. The
setting often made for compelling theater, though it wasn't on par
with the band's 1992-93 Zoo TV tour, a multimedia barrage that
mirrored the chaos and anxiety harnessed by its 1991 "Achtung Baby"
album. Ever since, U2 has been searching for the right mix of
spectacle and intimacy, pizzazz and poignance on the big stage, but
Zoo TV remains the finest supersized tour mounted by any band in the
last two decades.

The centerpiece of this year's stadium model, dubbed the 360 Tour in
honor of the circular stage, was the Irish quartet's latest hit-and-
miss studio album, "No Line on the Horizon"; seven of its songs were
performed, out of 23 on the set list. Though there was no salvaging
thin material such as the brash but empty "Get on Your Boots" and the
convoluted "Unknown Caller," the atmospheric yet expansive tone of the
title track connected U2 to the spiritual quest of its 1984 album "The
Unforgettable Fire."

Hence the "spaceship" concept and the embrace of infinite possibility
in the songs, ideas amplified by the video images of Desmond Tutu and
Burmese political prisoner Aung San Suu Kyi, who both appeared on a 54-
ton cylindrical screen. At times, the stage set-up seemed more like a
garish, environmentally challenged cover-up, as if to distract from
the band's recent, less riveting music. But it also dazzled,
especially when a spire of lights shot skyward during "City of
Blinding Lights."

The band was on its game. Not usually applauded for its sense of
swing, U2 has shown an underappreciated affinity for getting down
since "Mysterious Ways" bellydanced its way into discos during the
early '90s. Because bassist Adam Clayton owns the best moments on "No
Line on the Horizon," it was only fitting that the rhythm section
ruled Saturday. Clayton and drummer Larry Mullen amped up the dance
beats, and even Bono's vocals took on a more rhythmic sing-speak
cadence. Even a well-tested crowd-pleaser such as "Where the Streets
Have No Name" sounded refreshed, with the Edge's metallic-toned guitar
taking a ride on the bass-drums rhythm train. An even bigger surprise
was the transformation of the otherwise annoyingly trite "I'll Go
Crazy if I Don't Go Crazy Tonight" into a full-on house rave-up,
fitting given Chicago's rich club culture.

The stadium did indeed resemble a big outdoor club during the encore,
when the show's outsized ambitions produced a neon-lit moment that
nearly justified the entire costly enterprise. Bono, in fine voice all
night, sang with fervor during "Ultra Violet," crooned like a wounded
David Lynch lounge lizard in "With or Without You" and then channeled
his inner Otis Redding on the hymn-like closer, "Moment of Surrender."

The lights, the songs, the audience all synced up. Sometimes size
matters.
 
U2 never lets the massive 360 Tour props dwarf the music
September 13, 2009
By Edna Gundersen, USA TODAY

CHICAGO — U2 deserves props for the prop, a menacing metallic four-
pronged "claw" rising 150 feet from the stadium floor, its core a
brilliant lighted pylon with a broad cylinder of interlocking LED
panels. It looms over a massive stage with ramps and two steel bridges
that sweep like clock hands around the light-rimmed circular runway.

At Saturday's launch of U2's 360 Tour, this War of the Worlds
contraption seemed poised to dwarf the players, swamp the songs and
squash any communal spark.

Such would be the fate of bands less disarming than U2, who since
1992's Zoo TV Tour again and again have triumphed over the fallow and
vast acreage of stadiums. With 360, the band comes full circle to Zoo
TV's high-tech/higher-hopes master plan with dazzling and daring
production and, more important, songs and skills big enough to fill
the space.

Over the course of 2¼ hours, the District 9 spectacle does on occasion
overwhelm the musicians, but never the music. The Irish quartet works
up a sweat pounding out a raw, spirited, briskly paced show built on a
transcendent thunderous noise and bold, brash emotions, turning that
cold, futuristic hulk into an unlikely transmitter of human passion.

The agenda is set with defiantly optimistic opener Breathe, the first
of seven knockouts from 12th studio album No Line on the Horizon. The
brazenly sexy Get On Your Boots, gorgeous Magnificent and cathartic
Moment of Surrender are no less astonishing than such reliable
showstoppers as Sunday Bloody Sunday and Pride (In The Name of Love).

While U2 primarily powers through seismic sonics from Elevation and
Beautiful Day to Vertigo and a psychedelic City of Blinding Lights,
the band creates pockets of aching intimacy in their cavernous
workspace, particularly with the always heartbreaking One and a
poignant Stuck In a Moment You Can't Get out Of, an acoustic duet with
Bono and Edge, who briefly upstages his singing partner with a tender
falsetto.

The band has never sounded stronger. Drummer Larry Mullen Jr. and
bassist Adam Clayton drive the rhythms with a furious intensity.
Edge's guitar remains a kaleidoscopic wonder. And Bono's tenor soars
with an effortless grace and vigor. The sound? Full, crisp,
crystalline, not the muddy echo typical of stadium rock shows.

No question, concerts at the local football field can be a logistical
pain. U2 has fine-tuned the experience with fine tunes pouring from an
extraterrestrial jukebox that manages to radiate charisma, warmth and
imagination. It's a band that still gives you something you can feel.
In a word, liftoff
 
In 360 Degrees, Bono & Co. Will Face the Music
Washington Post
September 11, 2009
By: Chris Richards

With more than 120 trucks transporting a stage that cost $40 million to build, U2's 360 Degrees Tour is being touted as the most expensive rock-and-roll expedition ever waged. Could the timing be any worse? Fans are still reeling from a global recession and America's live music industry seems more harried than ever.

But U2 works in mysterious ways. For years, the band has thrived at the uncomfortable intersection of social uplift and capitalist sensationalism, and this time out, Bono and the boys appear to be placing their bets on the latter.

The stage itself is a true retina-scorcher. Unofficially dubbed "The Claw," it's a 164-foot-tall, dry-ice-belching monstrosity comprising four columns that resemble robotic crab pincers. Covered in strobe lights and subwoofers, each column reaches toward a central cylindrical JumboTron that serves as the eye of the concert's storm. When the band performs beneath this hulking piece of technology, it appears as if planet Earth has decided to sacrifice its highest-grossing Irish rock troupe to our new alien overlords.

The menacing, sci-fi aesthetic also feels completely at odds with the warm fuzzies U2 so desperately try to arouse. And while the 360-degree setup allows fans to experience the band in the round, it still gives the proceedings an acute sense of foreboding.

Perhaps there is something ominous about this trip for U2. The rockers are touring in support of their lowest-selling album of all time -- this year's adequate "No Line on the Horizon" -- and with the music industry still bleeding dollars by the millions, one has to wonder how much longer bands will be able to stage concerts this indulgent.

Meanwhile, the tour's summer romp across Europe hasn't gone without hiccups. Critics have accused Bono of trivializing a spectrum of political struggles from his $40 million pulpit, while venue neighbors in U2's native Dublin decided to protest after noise violations kept them awake at night. (Don't expect Bono to turn down the volume when Live Nation brings the 360 Degrees Tour to FedEx Field on Sept. 29 -- he's often long-winded at area appearances, perhaps in hopes that his sermons will carry all the way to the White House.

Mixed feelings about St. Bono aside, U2 still deserves credit for its refusal to become a nostalgia act. The tour features oodles of tunes from "No Line on the Horizon," some of them delivered compellingly.

Some fans might feel better singing new songs "Magnificent" and "Get on Your Boots" knowing that the band has donated heaps of the tour's proceeds to various charities and purchased the requisite carbon offsets, but I'm still conflicted. Sure, U2 may be trying to feed the hungry, but the band is also undeniably feeding the idea that spectacle is activism's only means of making an impact in our global mediascape.

When 360 Degrees descends upon FedEx Field, fans will be faced with a multi-sensory extravaganza that's utterly hideous, undeniably impressive and tough to reconcile. For better or for worse, it might be the last time we see anything like it.

(c) The Washington Post Company, 2009.
 
"Good Morning America" news anchor Chris Cuomo sat down with the international superstar band members of U2.



Read the transcript of the interview below. This transcript has been edited for clarity.


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Chris Cuomo and U2
CHRIS CUOMO: So last night. Here we are in Chicago. And it is amazing how U2 literally changes this place. ... And it was almost like a cultural festival last night as well. Everybody wanted to be a little Irish last night. Is that a common experience for you all?

LARRY MULLEN JR.: I think, in general, the whole -- whole idea of U2 is to, like, engage with, like, our audience. ... So we had to figure out how to do it and how to really engage with (INAUDIBLE). That's what's special about this show. It's in 360. And the audience is such a big part of what we do. And I think last night, you -- you -- see that. But Italians are welcome. (CHUCKLE).

CUOMO: Thank you. I -- I felt like that, although I was playing a little to the Irish side, according to me... You're trying to find a way to make things more special. Well, the stage alone is just one of the most fascinating things ever to happen. Were you surprised when the concept became the reality, when -- what -- what it actually is?

BONO: Dangerously, being a rockstar bec sometimes people give you what you ask for. (CHUCKLE) And -- it's a (UNINTEL) make the crowd center of the show. By playing -- that's what happened. But how do you do that? How do you lift all that gear up and out of the way of the crowd? That was the engineering trick. Started off at -- the dinner table with forks and knives, you know, tryin' to imagine what this thing looked like that we hang all the gear off(UNINTEL). And it turned into the space junk you see behind you.

CUOMO: (CHUCKLE) No, it's really fascinating. And also, before it could start off here in Chicago -- Adam, when you think about it, you guys were touring here 20 years ago in such a different way. And now to be back in such grand fashion.

ADAM CLAYTON: Well, Chicago has just be -- always been a great music town, hasn't it? You know -- you know, there was always that -- the blues musicians comin' up in the '50s. And there's always something going off here. And I think it's very musician-friendly. So it's good to be back. And we've always had great audience and a great reaction. I think on the PopMart tour, we did -- we did three nights here -- which was, like, unusual compared to the rest of them.

CUOMO: People were screaming and loving it. But what is -- what is it like for you. Edge, you know, you did this -- your first show. You know, you're tryin' to get going, get into a rhythm with it. What was it like to have the first show?

THE EDGE: Well -- it was very exciting to bring this (UNINTEL) the show to America. We've been touring in Europe for the last -- month and a half. Those shows were AMAZING. But, we're very proud to bring it here because, you know, we -- we're used to playing indoors in America where in Europe we play outside alot. And on this tour, I think we really worked hard to try and put together a production that made it -- made sense in the stadium ...

You know, we really wanted to make sense of the scale of the stadium venues. And our production, I have to say -- has -- has kind of -- it now looks like a piece of architecture designed to fit into this kind of venue. And weirdly enough, it creates a kind of intimacy which we never could have achieved in a stadium before because we're so kind of in the -- in the middle. We're so exposed. And -- and -- and when the four of us come together, there's this clear view for everybody. They can really see the interaction -- the chemistry.

CUOMO: Let me ask you, on the road, which of you -- what is the consensus? Who's the most fun on the road of you four guys?

THE EDGE: I think we all have our good nights and our -- our bad nights. It -- it changes. You know, the the baton gets passed Larry, I have to say, on this tour is -- is comin' up, comin' through on the fun stakes (UNINTEL). Adam obviously (CHUCKLE) -- Adam obviously was, early on. (CHUCKLE) But Adam's -- Adam's passed on the buck.

CUOMO: It's fun -- now, Larry, you started the band.

You know, there's this obviously famous mythical story, now about you putting up the ad saying, "I want to start a band." Do you ever regret about who you picked? You know, just to lay it out there? (CHUCKLE) You ever think, "Man -- "

MULLEN: No, no, I would -- I would like to say this. No... I didn't choose these guys. It (UNINTEL) turns out they chose me. AAAH.. I -- I -- so I didn't -- I didn't have much say in -- in how -- in how it worked. It's like -- it's like -- it's a little like -- (CHUCKLE)

CUOMO: Do you regret not sticking with the name Larry Mullen Jr. Band?

MULLEN: I do. As a matter of fact, that is one of my big regrets. I think we could've (UNINTEL) this --

THE EDGE: It would've been more popular -- U2 is such a crap name...

CUOMO: But it is interesting when you study the history, something that's so successful as your collaboration, the early thoughts of, "Oh, you know -- Bono, you know, takin' that name, later. Came in, no, the guitarist maybe, maybe not. Your voice, we'll see. But what charisma." You know, Adam used the right language and the Edge, obviously -- you know, you were taken with him as an addition right away. But do you ever think back on them, those kind of -- assessments?

MULLEN: Yeah -- you -- it is hard to look back and imagine that some kind of, you know, that you sat down with a blueprint and put things in place (UNINTEL). It's so random, in a way, and so extraordinary that randomly four people could have remained -- not only friends, but musical collaborators for such a long period. Now, we can't make that shit up. You know?


BONO: It just (CHUCKLE) -- it -- it's a really -- it's a very difficult thing full stop. -- thing. Business relationships, you know, marriage and lovers, whatever it is, sticking together is almost impossible.

These -- in fact, the odds are against us. And I think that's perhaps when we walk out on stage, what people are feeling, I think, these people come through a lot together. And -- and I've heard people say that even if they don't like the band, that they have an involuntary reaction when the band walks out on stage.

Their hair stands up. What they don't know is -- is -- and it's a strange thing, but, that also happens to us. I don't know what -- what that is. But something about -- I think it's something about that it -- it -- it's against the odds to have to suffer, you know, so -- so -- sublimate your ego, your -- 'cause someone wants to be the boss. And you can't be in this band.

CUOMO: You can't be, 'cause Larry's boss.

THE EDGE: Yeah, that's why its lasted so long 'cause -- 'cause everyone thinks it's their band.

CUOMO: You think you all let -- but it worked. It worked. It worked. And I thought it was interesting last night. Everybody knows that this band distinguishes itself in terms of sense of purpose, a message -- that you try to attach to the music. Some of the choices that you're making on this current tour, "Sunday Bloody Sunday," obviously a very, very famous song. You, the images last night, you were talkin' about the Iran election. You had Arabic up there. You had pictures and scenes from Iran. What's the thinking there? What are you -- what are you tryin' the relay to people?

BONO: That if the songs change their meaning and you get truth you know, they fit different aspects of life -- and it's strange, but the -- the heroes on the streets of Iran, those that are fighting for their freedom at the moment (UNINTEL) non-violently , fighting, a matter of fact, protesting, for their freedom, they chose the color green. So this sort of segue into the Irishness of -- of Sunday Bloody Sunday seems perfect.

I can't quite remember how it happened in our rehearsal, but we started using this beautiful Sufi singer from Iran. And we commissioned an Iranian artist -- who put up the -- put some of her video art. And now I -- I -- I -- I've heard on -- on the radio -- I think it's radio free Asia, They talk about this every day that U2's spending -- I mean, it's tiny things for us in Chicago. But it means a lot to people out on the streets of Iran that there's a sense that the world is watching.

CUOMO: And right now, Adam, what is your take in terms of what people's appetite are with their minds and their hearts for reaching out to other hard situations, to wanting to care what was going on? What do you sense?

CLAYTON: I think it's difficult for people. But fundamentally, people are decent and they have a lot of compassion for -- for what's going on in other parts of the world. And -- and I know, you know, everyone's thoughts are with the troops that are in Afghanistan and what's going on there.

And these moments of -- of -- of freedom that people glimpse at like what's happening in Iran, like what's happening in Burma, for instance Au Sung Su Kyi (UNINTEL), I think -- I think the world does watch. (UNINTEL)

THE EDGE: They really get this stuff. They care deeply about it. So they don't like (UNINTEL) impact in the band because they actually go on. They do it.

CLAYTON: They join Amnesty. So it's really a culture in the sense (UNINTEL) morale up and our views (UNINTEL). We're -- we're kind of the cheerleaders for their activism.

CUOMO: It's -- it is a good way to put it because there is an atypical approach. You do not lament things that are wrong with the world. Like, last night, you had Desmond Tutu come on. He didn't talk about any negative instruction. He's all about the power of the positive and what we can do through loving one another and being considerate in situation. Is that intentional, Larry? Anybody can say, "Things are bad out there." But you, more, are tryin' to raise awareness through saying how much better it can be.
 
((cont...))

MULLEN: I think that's part of it. I mean, you just -- you -- you don't -- you don't wanna get into a situation where it becomes one big hug and love fest. it's a rock and roll band. We come from a place where, you know, political activism, you know, it's part of the D.N.A. of great rock and roll.

Clash, Bob Dylan, Bob Marley, I mean -- the list goes on. So, it's part of who we are. And, you know, Desmond Tutu, and what he does and how he speaks -- and the fact that, you know, he -- you know, in charge of the truth and reconciliation -- court -- do they call it court? Yeah, in -- in -- in South Africa. Yeah, that's a huge political statement.

BONO: So, it's (UNINTEL) people -- they -- if people owned up to their crime, South African apartheid, they were -- they were set free. But one -- it -- honesty was -- the crux of it. The absolutely revolutionary radical thought --

MULLEN: I mean, so having him there, there's a lot of resonance there. It's not just about him talking about, you know, being positive about South Africa. He stands for something incredibly powerful.

THE EDGE: I think we've always believed (UNINTEL). I think our approach and, you know, early day punk rock's so moany. It's like everyone's writin' just phony lyrics about -- about -- we -- we were more like Bob Marley. We kinda, you know, knew there was bad shit goin' on. But we were -- we wanted to try and find some kind of hopeful angle to it all.

BONO: We always thought Ireland is kinda like a Jamaica type of situation. It's true, actually. Our music's (UNINTEL) community, family. It's a little rascaly actually.


CUOMO: They're actually parallel. It was interesting last night. I didn't hear any Obama talk. You guys performed at the inauguration.

BONO: Well, we mentioned the inauguration. We mentioned the inauguration and -- (UNINTEL) rights and -- and -- and what I said it was such an honor to serve the President on that occasion. But, you know, we didn't wanna get -- dragged into -- to any divisive stuff. See, the most incredible thing was around that election, you know, for those of us in Europe and people who love the United States were watchin'.

You look so close as a country. And politics are the -- you know, the way John McCain behaved with such dignity. Obama was amazing. They never, you know, they -- it was -- it was really something to see. And now, America seems so divided again.

And it's gettin' really messy out there. And -- and I -- I would say that that is the biggest casualty is that the biggest casualty of that is America itself, because the world needs America right now. Doesn't need this fractious... And whatever you think about somebody's politics -- you know, it's just very important not to demonize either on the left or on the right.

BONO: And there's a little bit of that creepin' back in. So we want our -- we're here to bring -- peace.

What we're sayin' is, "Let them Irish fight in the stadium. Everybody gonna be in (UNINTEL)." (CHUCKLE) Here, no problem, you can buy it. You can sell it. Whatever you (UNINTEL).

CUOMO: Have you -- is it -- encouraging to you that the tour has been as successful from the ticket sales, respective -- given the environment in the world right now, you know, with the recessionary -- year?

THE EDGE: We were blown away. I mean, you know, once -- like you say, we -- we weren't certain how the -- how the tickets would sell. But, it's been amazing. I mean, it's pretty much all sold out.

CUOMO: I mean, from -- everybody's havin' to adjust. You -- you hear about the big sports teams are pulling back. Big events are pulling back. There was speculation about the sales.

THE EDGE: But, so -- but I think 'cause we kept the ticket price low, which is one of the -- the other benefits of playing outdoors is because you're meeting demand, you don't get that awful scalping, secondary ticket market thing that happens when -- when you play in small venues. Here, the -- you know, what it says on the ticket's pretty much what you buy the ticket for. So, our younger fans have access prob'ly for the first time a few tourists took to these shows(UNINTEL), so it's really a thrill.


BONO: Yeah, and -- and they know that at the very -- the seat at the back and i've sat in about every one. And, you know, and -- yeah, I mean (UNINTEL) or even if they're playing, someone will be -- while -- while they're playing, I've gotten, you know, walked around and passing out -- and it is even better (CHUCKLE) right at the back. I mean, it's part rave, part, you know, I don't know what -- it's part political rally, part, you know, people can lose it -- down the front. But actually, up at the back, it's (UNINTEL). And it's a very, I think, very good -- value in that sense.

THE EDGE: Yeah, that's where the value of the (UNINTEL) really pays off.

BONO: I can't believe I just said the word value. But --

We -- all those times doin' the shows, I've done it all my life. You can't hear anything or see anything. It's like, you know, okay I'm tall so I can see. But, you know, all the people around me all the small people.

CUOMO: Gives you guys a real chance to exercise yourselves up on the stage. When I was watching yesterday, you were runnin' around. You had the bongo drum. You literally were havin' to, like, sprint over across the bridge you go. We were talkin' last night, Adam, 'bout the challenge of being on the moving bridge. How are you -- how are you adjusting to all this?

CLAYTON: A bit wobbly on the moving bridge... I don't like it.

CUOMO: So, you started here. You're heading up to Canada. When you start off on a tour like this, you have all these dates in front of you, who knows how far they'll extend, what kind of goal do you give yourself? Or where do you put your mind in terms of what you want to come out of this? Or do you not at all? Do you not even think of it that way?

THE THE EDGE: Oh, you know, the real challenge is to keep the show alive, so -- so that takes up a lot of time. But we're already working on the next album. I mean, you know, we're already talking about the new sounds.

CUOMO: Now, is there any chance the next album will actually be from the Larry Mullen band? (chuckle) is there any … 'cause I've heard that.

MULLEN: No. (chuckle)

CUOMO: 'Cause there is -- there's speculation.

BONO: I have to confess that Larry -- Larry put out that speculation.

MULLEN: I'm working' on my solo record


CUOMO: So, when you're taking this all in, right, this screen is a phenomenal dynamic that you have for being connected. Even though we've seen big screens, right… what do you think this does in terms of the dynamic that it's creating? 360 aside, like, just what it gives you in terms of presentation value?

THE EDGE:

Well, it makes (unintel). Terrible thing about most screens, you're -- you're looking' off -- off to the left or the right. You -- you can't get a sense of the performance and -- and -- and see it. So with this screen, it's right over. So the -- it's -- it's really it -- keep looking' at us and get a sense of what's happening on the screen.

CUOMO: Any funny stuff happened up on there, yet?

BONO: No, no -- nothing -- too comic, yet. But I will say the -- there's been a little bit -- of -- of magic. The magic act is that, you know, with all the trucks and all the engineers building this Spaceship, for me, there's a moment in the show when it just disappears. It just -- it seems to go away. And you're just playing a song with your audience and you're completely intimate, is the word. And that's the magic act of this show, because if people go away with just that, I -- I think we'd be disappointed. As sad as we are to be art objects.

CUOMO:

I guess the statement, too, was the power of the Music, in itself, right, is that you could have something as gigantic as This and it winds up becoming secondary in terms of people's experience.

THE EDGE: yup. Well, the thing about this during the day is so impressive looking at night is (unintel) light. The lesson is what you light is what you see. And -- a lot of the show is dark. All you're seeing is the band performing.

CUOMO:

It was phenomenal last night. It's a real kind of statement up how things have changed or how they stay the same. Last night you said, "We'll make a U2 milky way, here. Everybody hold up their cell phones, which is such a new thing. You know, you'd see obviously, lighters, right? But, I took a picture of that and I showed it to you last night. It really does look like -- just a complete celestial sea of cell (chuckle) phones. You don't see any of this. You just see all the people and what they've kind of made as a community around you.

BONO: Tonight, we're trying a piece for a song we've never played before from an obscure album called the (unintel). And it's where we connect with the people in the international space station.

CUOMO: Oh.

BONO: So we've been having this ongoing relationship with the astronauts and cosmonauts that they take two and half hours to -- to orbit the earth. And we have one of the astronauts performing a lyric. And he -- he recites a lyric at the end of the song. So, Tonight's the first time trying it.

CUOMO: Real time?

BONO:

It is -- no, he's being recorded doing it.

CUOMO: It was a real pleasure to see the first show. I know it's very important to you, certainly Important to everybody. I wish you continued luck.

BONO: Thank you, chris. And we wish you safety and in Afghanistan and for Diane. Also, we treasure your reporting, your, and -- your courage, and your pursuit of the truth

CUOMO: Thank you. You give us reason to do it because You keep people's awareness up.

BONO: Thank you.

CUOMO: Thank you.

Transcript: U2 Dishes to Chris Cuomo - ABC News
 
Colin Farrell/Neil Jordan interview - mention U2

Kind of funny remark from Colin Farrell ;)

TheStar.com | TIFF | Colin Farrell enjoying the fantasy life

At one point Jordan and Farrell were asked how they coordinated the unexpected appearance of U2's Bono and The Edge at the premiere on Monday night.

"We paid a fortune to get them there, man," said Farrell.

Jordan explained that U2 was in town for two concerts at the Rogers Centre tonight and tomorrow. He said in Ireland, the band practically lives next door.

Farrell added, "You should go and see the concert, they are going to be huge."
 
and a review...

...from Toronto:

TheStar.com | Music | U2 blows roof off Rogers Centre

U2 blows roof off Rogers Centre

VINCE TALOTTA/TORONTO STAR
U2 frontman Bono, left, drummer Larry Mullen Jr. and bass guitarist Adam Clayton in concert at the Rogers Centre, Sept. 16, 2009.

The weather has been a sore spot for Torontonians in recent months, but last night Mother Nature gave a boost to the year's biggest concert.

A breezy, but clear evening allowed the Rogers Centre's retractable roof to be open as U2 kicked off its two-night stand – a sellout concert for only the second time in the venue's history. (The first was a Bruce Springsteen show in the SkyDome six years ago.)

With the CN Tower beckoning like a lighthouse, it was the ideal setting for the four-legged, 30-metre-high, teal-and-orange spaceship contraption hovering over the quartet's circular stage. It gave the appearance that they had really dropped in from another galaxy.

It's a generous piece of machinery that takes four days to build; as a result, the group's been hanging about, allowing lead singer Bono to pick up the TTC and Yonge St. references he dropped into songs and patter last night.

Stuck as they were in the middle of a football field, the mammoth stage, which includes an expandable cylindrical video screen, worked to bring what some call the Biggest Band in the World a little closer to the 58,000 people who shelled out from $30 to $225 for the privilege.

The otherworldly theme was enhanced by a recording of David Bowie's "Space Oddity" that welcomed the veteran Irish rockers to the stage.

Not resting on any 30-year laurels, they kicked off with four songs from their current and 12th album No Line on the Horizon – the title track, "Breathe," "Get on Your Boots" and "Magnificent." The latter hit home with the hope and realism that defines their best work – "Only love can leave such a mark/But only love can heal such a scar."

Then they delved into their bag of hits for "Beautiful Day" and "I Still Haven't Found What I'm Looking For" – for which the crowd sang the first two choruses as Bono mouthed words, resuming the singalong when he segued into Ben E. King's "Stand By Me."

"We got old songs, we got new songs, we got songs we can hardly play," the frontman had joked. Never saw any signs of the latter.

This was the second city in the North American edition of the 360 Degree Tour that debuted in Europe this summer. (Live Nation reps say it's on track to be the year's top-grossing tour.)

It's a satisfying spectacle, with enviable musicianship – Edge the most dominant, with his intense ringing sound on electric guitar (and a deft acoustic turn on "Stay (Faraway, So Close)" – fantastic sound and consistent energy and emotion. They made use of the stage, wandering its outer rim and running across the moving bridges. Even drummer Larry Mullen Jr. left his kit at one point to walk around playing portable congas.

Bono, as limber physically as he was vocally, was jumping, skipping, spinning with arms outstretched. And they made sure to hit the political marks – dedicating "Walk On" to Burma's Aung San Suu Kyi as fans walk the stage perimeter with paper masks, and running a video message of peace and unity from South Africa's Bishop Desmond Tutu.

Yeah, they're big, but still bold, brilliant and true to form.
 
From atu2.com

U2 gets two Q Award nominations
Posted: September 17, 2009
By: m2

U2 picked up two Q Award nominations today: Best Live Act and Best
Album (No Line On The Horizon). They didn't get nominated in the big
category, Best Act In The World Today. Coldplay, Muse, Arctic Monkeys,
Kings of Leon, and Oasis -- which doesn't even exist anymore -- got
the nods for that award. Fans can vote online for who should win. The
awards ceremony is scheduled for October 26.

http://awards.qthemusic.com/
 
U2 opens roof for Toronto show
By JANE STEVENSON - Sun Media
September 16, 2009

U2's "spaceship" has landed.

That would be U2 frontman Bono's nickname for the Irish rock band's
current futuristic-looking stage, which will blow the roof off
(literally) the Rogers Centre tonight, as the Dublin quartet kicks off
the first of two sold-out Toronto shows on their 360 Degree Tour.

"The genesis of the whole thing was to create an in-the-round stadium
experience that shrank, in essence, these stadiums and brought people
in," said Arthur Fogel in an exclusive Canadian interview with Sun
Media. The Toronto ex-pat is the L.A.-based chairman of global music
and CEO of global touring at Live Nation.

"Yes, it opens up more capacity but it uniquely makes a stadium much
more intimate and inclusive, and it has absolutely achieved that.

"I think anybody who goes to the show is blown away on various levels.
Particularly in North America, where we haven't played stadiums since
PopMart in '97. That's a long interval, and the last tours being
indoors, I think really provided an opportunity for the band to re-
introduce themselves as the sort of ultimate stadium spectacle."

The big news for Toronto's 58,000 concert goers tonight and tomorrow
is that they'll have the added bonus of having the roof opened for
both shows, as long as the pleasant late-summer weather continues. The
only other rock show to have the lid open at the Rogers Centre was
Bruce Springsteen and The E Street Band in 2003.

"Well, the plan is to open the roof," Fogel said.

"Due to the good weather and obviously better sound quality -- and
this sound system is unbelievable -- it deserves the best possible
scenario. Those domed stadiums, the roofs are so high, the sound tends
to go up, and kind of swirl around and bounce around, a lot of metal
stuff and cement. So it's much better if it's open."

As a result, concert-goers should dress appropriately for a night of
music outside.

U2 arrived in Toronto on Sunday night after playing two shows in
Chicago at Soldier Field to kick off the North American portion of
their 2009 tour, which began June 30 in Barcelona.

Bono and guitarist The Edge, were spotted on the TIFF red carpet
Monday outside The Winter Garden for the Irish film, Ondine, starring
Colin Farrell.

Fogel said he didn't expect the band to be doing any real rehearsing
while they're in Toronto, as the show is pretty much set at the two-
hour-and-15-minute mark.

The set list includes about a half dozen songs from their latest
album, No Line On The Horizon, co-produced by Canadian Daniel Lanois
and Brian Eno, and changes only slightly in cities where they are
playing more than one show.

"They're playing really well and they're really confident," Fogel
said. "And it's fun. Bono's an amazing frontman and he's got an
amazing way of interacting with the audience and saying all of the
right things.

"I know people get bored sometimes with the whole thing -- (some)
people go, 'He's full of himself, he's trying to do too many things,'
or 'He thinks of himself as the saviour of the world.'

"But the reality is much of what he says is pretty spot-on and he does
a lot of amazing things around the world.

"And he's got a great sense of humour, he's very down to earth. But
he's got a very serious mission side of him which is very commendable"
 
U2's concerted effort noticed
Prepping for a 2-night run, bandmates indulge fan appreciation
Sep 16, 2009 04:30 AM

Local U2 fans had cause enough to be excited this week, as the rock
supergroup prepared for its two shows at the Rogers Centre. But now,
as they count down the hours to the first show tonight, superfans must
be bursting with excitement as more news about the band's activities
comes to light.

The band filmed an unusual episode of CTV's musical program Spectacle:
Elvis Costello With ... last night at Toronto's Masonic Temple. The
event was separate from the rest of the season's episodes, which have
yet to begin filming; last season's episodes (featuring Costello in
conversation and musical collaboration with gifted guests like Lou
Reed) were shot in Harlem's famed Apollo Theater. Though the identity
of Costello's guests was not disclosed in a CTV news release
yesterday, fans put two and two together, and lead singer Bono was
greeted by paparazzi and autograph seekers as he arrived for rehearsal
yesterday.

Positive reports are coming out from the start of the band's 360 Tour,
which is taking them through North America. Getting rave reviews, as
in European dates, is The Claw, the 50-metre-tall, crustacean-like
stage designed, Bono told a crowd in Chicago last week, with ramps and
bridges "to bring us closer to you." Billboard reported the band
livened up some familiar material by working in snippets of songs by
the Rolling Stones, The Beatles, Ben E. King and Elvis Costello.

It's been revealed that the 25th anniversary of The Unforgettable
Fire, U2's classic 1984 album that made the quartet superstars in
North America, will be celebrated with four different reissue
editions. The four options will offer B-sides, rarities, alternate
versions and previously unreleased songs, including "Disappearing
Act" (a.k.a. "White City"), a song originally started in 1983 with
producers Brian Eno and Canada's Daniel Lanois. The band finally
finished "Disappearing Act" recently in France, according to an
interview with the BBC.

The four versions will include a remastered CD, a vinyl album, a
deluxe double-CD version with a 36-page book, and a limited edition
box set including the two-CD version, a 56-page book, five portfolio
prints and a DVD that will feature rare videos, concert footage and a
making-of documentary.

A few of the best tickets ($252) for tonight's show, with opening act
Snow Patrol, were still available last night via Ticketmaster.
 
Stage is set for U2
Foxboro Reporter
September 17, 2009
By Frank Mortimer

Giant structure being erected in Gillette Stadium for concerts Sunday, Monday

Squeezing the clock no less than the Patriots did in their win over the Bills, construction crews began to prepare the field for the U2 concerts this Sunday and Monday even while football fans were leaving Gillette Stadium.

The goal posts came down first, then the field was covered by a protective surface.

Building commissioner William Casbarra said setting up the "unique" U-2 stage is an event in itself, taking about five days to complete.

"I've got three books of structural calculations here," Casbarra said, referring to the plans his office received for erection of the stage.

The stage, with a cylindrical video screen, resembles a giant, four-legged creature from outer space. It stands 90-feet high tall with a 150-foot center pylon. It has several bridge connections to it with an umbrella type structure, more than 100 feet high, that covers the stage.

"I've dealt with complicated structures with the Rolling Stones stage" but this stage is the most elaborate, Casbarra said.

The oval-shape will take up about half the football field.

The event was expected to draw about 65,000 fans each night, including 7,000 on the field.

For both U2 concerts, parking lots are scheduled to open at 3 p.m., stadium gates at 5:30 p.m. The opening act, Snow Patrol, goes on at 7 p.m.

For some area residents, noise may be less of a problem than in past years.

Sound levels may be especially lower across Route 1 in Walpole, where most noise complaints were made in the past.

Casbarra said Patriot Place buildings, notably CBS Scene and the Brigham and Women's/Mass General Health Care Center, seem to block some of the sound -- a pleasant bonus associated with the year-old mall.

He said he's heard no noise complaints from area neighbors during the current concert season.

During the concert, Casbarra will monitor sound levels outside the stadium's, responding to any complaints received on the Gillette Stadium hot line (508-543-0350).

TRAFFIC

The New England Patriots' home season opener also gave police a chance to try out a traffic plan that will be carried over to the two U2 events.

For the first time, the Foxboro Police Department for the first time will be posting detail officers at a number of local intersections under the same model used for Patriots games.

Officers will posted at at number of intersections, including along Mechanic Street; Beach and Meadowview; North Street at Payson Road; and Main Street and Pierce.

Among other traffic duties, detail officers at some locations try to make sure that only residents of those streets or their guests enter the neighborhoods during the peak times for event traffic.

The aim is to keep the event patrons from using the neighborhoods as shortcuts.

With global positioning devices common in vehicles these days, O'Leary said motorists are adept at finding alternate roads.

Officers try to perform this screening duty without unduly slowing the flow of traffic, but some additional delays do occur, he said.

"It was difficult to move people on the roads expeditiously," O'Leary said.

O'Leary said Sunday's U2 event will, at least, be free of the rush hour traffic that further clogged local roads during this week's football game. But the second night of the concert, coinciding wish rush hour, is expected to be more of a challenge.

U2 played Foxboro for two nights in 1997 with no unusual incidents, O'Leary said. To minimize tailgating disruptions, the stadium will continue its policy of denying parking lot access to people without tickets.

© Foxboro Reporter, 2009.
 
Bono featured in Calendar

Music Icons Rock HMV Charity Calendar
September 16, 2009 - Global | Retail

Music Icons Rock HMV Charity Calendar

By Andre Paine, London

U.K. entertainment retailer HMV has issued a limited edition charity calendar featuring the stars of its "my inspiration" advertising campaign. HMV hopes to raise £20,000 ($33,100) for CLIC Sargent, the children's and young person's cancer charity.

The three-year press campaign is a familiar one for U.K. consumers. Iconic artists and newcomers approached for the series are invited to share the lyric or lines that have inspired them. The calendar features the selections of David Bowie, Bob Dylan, Paul McCartney, Bruce Springsteen, the Killers, Bono, Deborah Harry, Tom Waits, Keith Richards and other icons. HMV's campaign began in September 2006, when Bowie selected Syd Barrett's "Gigolo Aunt."

The calendar is available priced £7.99 ($13.24) - up to £4 ($6.62) will go to the charity - in more than 270 HMV stores in the U.K. and can be ordered online at hmv.com.

Bob Dylan selected Scottish poet Robert Burns as his inspiration, while Dylan was in turn named by Bono and McCartney. The former Beatle went for "She Belongs To Me" and the U2 frontman chose "Visions of Johanna."

The late Bob Marley and Elvis Presley also feature: Island Records founder Chris Blackwell chose Marley's "One Love" for August 2010, while HMV staff selected "Suspicious Minds" for Elvis in March 2010.

The A3-sized calendar, produced at cost by manufacturer Danilo, has 18 months' worth of selections, ending January 2011 with Metallica's choice of "Overkill" by Motorhead. The artist shots are by celebrated rock photographers including Anton Corbijn and Lawrence Watson.

Graham Sim, HMV marketing director, said in a statement that the campaign "reminds us that songs and even a simple lyric can hold an intensely personal meaning for us all."

"We hope that music fans everywhere will enjoy this calendar, in the knowledge that they are also contributing to our charity, CLIC Sargent, and we're grateful to everyone that has given HMV their support in making this possible," he added.

The calendar is available for overseas customers via mail order from hmv.com.



Pin up Bono? :wink:



Great stuff :up:
 
Bono & Edge tape Spectacle with Elvis Costello

Posted: September 15, 2009
By: Matt McGee


5736.jpg


As you may know, U2 taped an edition of Spectacle Tuesday in Toronto. It's a music performance/interview program hosted by Elvis Costello that airs on the Sundance Channel, and typically involves Elvis and his band performing songs with his guests. The U2 appearance tonight -- which was actually just Bono and Edge -- stayed true to that format.

According to @U2 reader Jesse M., here's how it went down:

"Please" (just Elvis Costello and his band)
"Dirty Day" (ditto)
"Mysterious Ways" (ditto)

Elvis begins interview with Bono and Edge, but it's broken up by several performances:

"Stay" (Bono and Edge alone)
"Two Shots of Happy, One Shot of Sad" (Bono, with Elvis' rhythm section)
"Alison" (the whole ensemble - Elvis and his band with Bono and Edge)
"Stuck In A Moment" (whole ensemble)
"Pump It Up/Get On Your Boots" (whole ensemble)

Needless to say, we don't know yet when the program might air.

Update: Via another @U2 reader who was in the audience, we're told that "Dirty Day" required three takes, that Bono needed a second take for "Two Shots of Happy...", that "Alison" was performed twice, and that Edge wasn't happy with the "Pump It Up/Get On Your Boots" mashup, so they did a second version of that, as well.
 
Adam interview

Here's a recent interview that Adam gave to Canadian media. Love the part about Edge being a "slow walker" and how Adam hates that :lol:

And Bono lied once again ... this time about Adam using face cream :tsk:

Canadian audiences 'cooler': U2 bassist

By JANE STEVENSON -- Sun Media

CANOE -- JAM! Music - Artists - U2: Canadian audiences 'cooler': U2 bassist


U2 bassist Adam Clayton is the group's resident sophisticate.

Frontman Bono jokingly described him Wednesday night at the Rogers Centre, during the band's first show at the venue, as "Adam Clayton, the effortlessly stylish citizen of the world, and sexual predator -- the only man in U2 who uses face cream."

Clayton addressed some of those charges in an exclusive Canadian newspaper interview with Sun Media on Thursday night backstage at Rogers Centre. Clayton was funny, smart and charming.

Here's the best of what he had to say:

Sun Media: So, I have to ask, what kind of face cream do you use?

Clayton: As it happens, I don't use face cream. I'm very lucky. I have quite oily skin, which means that you don't need to moisturize that much. So he obviously just attributes me as using a lot face cream.

Sun Media: And what about the sexual predator reference?

Clayton: I wasn't sure about that one, no. It was the sexual predator and the knob twiddling (Bono's band introduction to guitarist The Edge as a knob twiddler) in the same paragraph, that I was a little worried about, but there you go.

Sun Media: Is there a reason for the order in which you guys walk out on stage every night - drummer Larry Mullen Jr, then you, The Edge and Bono?

Clayton: It's always been that sequence because Larry's has to get to his kit anyway and he has to get settled and put his earphones in and stuff. I've tried to go on after Edge but Edge is a really slow walker and I hate that. I want to get there. I want to check my stuff is working -- 1, 2, 3, let's go. So I kind of usually nip in front of him.

Sun Media: Do you find Canadian audiences are distinctive from other audiences?

Clayton: It's most notable if you happen to be in the U.S. for six or eight weeks and you really need a bit of sorbet and a bit of freshening up. You come up to Canada 'cause people, they're just that little bit cooler. And their musical taste, it's a little bit more rounded, it's a little bit more European. I think radio is still much better up here. I think the MuchMusic channel always plays much riskier, edgier stuff.

Sun Media: Do you spend much time in Canada?

Clayton: On the last tour, I spent a bit more time here. Myself and Larry used to nip up and spend time in the city 'cause it suited us to have days off up here. And I also have some very good friends here. I was going out with a girl from Toronto for a while so I kind of know (the city).

Sun Media: What do you think keeps you guys together after three decades?

Clayton: I acknowledge bands are inherently unstable concepts, they're not really built to last, but ours is made with different glue, I think. We made some decisions early on which is based on a version of democracy where everyone gets a vote. We pretty much split the income. And there's a code of loyalty, so for all those things we have stuck together and we've sort of got passed the point where, I'm not saying people couldn't decided to opt out, but we're past the point where any of those kind of emotional or musical differences can be an issue. (That's) because I think we all know within the band we can do far more than we could do individually. Everyone has a vested interested in the band going in a certain way, and those values are good values. And people want the band to be cool, they want the band to be great, and everyone's still growing.

Sun Media: So what's your band intro like?

Clayton: Bono, over a 30-year career, is probably the best there's ever been at this kind of thing. His understanding of all the geopolitical issues, and all the emotional stuff that he'll channel into a performance, and all the references he'll pull on, and where his lyrics come from -- I don't think anyone's been there before. And Edge is doing some amazing things with the guitar and with the technology and is a fantastic composer. And Larry's just the coolest drummer in the world. You wouldn't want to go to work with anyone else. And it's great work and you get to work outdoors as well.

Sun Media: Your accent sounds way more British than Irish, it seems.

Clayton: It's a combination. My parents were English. I moved to Ireland when I was six but I was in boarding schools in Ireland, so I never really knew what an Irish accent was until I joined the band with three other Irishmen.

Sun Media: And did you understand what they were saying?

Clayton: Not initially but I'm beginning to get the hang of it now (laughs).

Sun Media: Bono told me there is another album coming, with the working title, Songs Of Ascent, the more ambient songs done with Brian Eno and Daniel Lanois, from the sessions for your latest album No Line On The Horizon?

Clayton: Some of it, I'm sure, is true, especially for Bono. And those are great aspirations. I'm a little bit more nuts and bolts and until there are 10 songs finished, mixed and on a shelf, then that's not definite for me. It takes us a long time. When Bono hears two notes together he hears a song complete. When anyone else hears two notes together, we hear a starting point.

Sun Media: Bono was also hopeful you guys would go back to the shelved Rick Rubin sessions, which began before the Eno-Lanois sessions.

Clayton: I'd like to. Part of the reason we didn't feel like pursuing them at the time was that they were too purist, they were too fundamental, and we tend to like our music a little bit more complex -- so I don't know at what point we'll want something as straight forward as that. Rick strips everything away. There's no real dressing. He doesn't like atmospherics and textures or any of that stuff. I think we all thought we could do something interesting together if we applied that sort of discipline, but in the end I think we realized that we like the textures and colours and tones.
 
^Adam never fails to come off as a really chill guy



From atu2.com

U2 gets two Q Award nominations
Posted: September 17, 2009
By: m2

U2 picked up two Q Award nominations today: Best Live Act and Best
Album (No Line On The Horizon). They didn't get nominated in the big
category, Best Act In The World Today. Coldplay, Muse, Arctic Monkeys,
Kings of Leon, and Oasis -- which doesn't even exist anymore -- got
the nods for that award. Fans can vote online for who should win. The
awards ceremony is scheduled for October 26.

http://awards.qthemusic.com/

Love Q, very respectable magazine

They aren't gunna win, but that's awesome that they were nominated for Best Album...

KOL better thank U2 when they accept their "Best Act In The World Today" award....not for any reason in particular...just out of r-e-s-p-e-c-t
 
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