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Is there a man alive that could look as cool as Adam Clayton in that illustrated trench coat? I very much doubt it. 'Cool' was the thought for the evening on a perishingly cold Trafalgar Square and it felt a very long time since that sunny and warm July day at Twickenham.
Even so, the set list had a familiar feel to it, with Sunday Bloody Sunday and Pride opening proceedings, followed by a brace of new songs. Get Out of Your Own Way came across very well with shimmering guitar bolstered by powerful drums and bass and a rousing chorus. You're the Best Thing About Me's distinctive riff sounds like it has been around for years.
Things warmed up considerably during the trio of Joshua Tree Tour encores Beautiful Day, Elevation and Vertigo before One closed the main set in typically contemplative fashion. This was not a normal U2 show, however, and what followed was a re-run of Get Out of Your Own Way for a video shoot complete with protest signs in the radical spirit of Trafalgar Square demonstrations past. It's a great song and I felt very priviliged to see both its first and second live outings. It will surely be a staple in the 2018 setlist.
All in all an odd, non-gig, but great fun and well worth braving the elements. With the new record just weeks away, and a new tour just over the horizon, these are great days to be a U2 fan.
Eternal thanks to redpanda27 over at Zootopia. Go raibh míle maith agat, J.
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-a perfectly round shape
-a line that is curved so its ends meet and every point on the line is equally far away from a single point inside.
I was thinking about many things after the show in Toronto on Friday June 23rd. A U2 show is a lot to process and I’m not sure I have even fully done that yet. I am, however, very thankful I will get to see the show again from a different vantage point. This night, I was fortunate to be front and center on the floor by the main stage. Being close enough to see the band member’s faces is something I know I will never forget. Even so, I know there are nuances that I missed. Reflecting back, somehow I kept coming back to the idea of circles and the various ways they were represented in this show.
It began with a crack in the ceiling then a strip of light as the Dome began to open shortly before U2 went on. This wasn’t a given as it had been raining earlier in the evening. Letting the light in was powerful agent for change, shifting and lifting the mood inside the stadium. That semicircle of light transformed the Rogers Centre from a concrete cavern to a hemisphere cradling thousands that literally got a breath of life and light. It was so fitting, then, that Bono had Leonard Cohen on his mind that night.
“There is a crack in everything.
That's how the light gets in."
When the “twinkles” for Bad began, the Rogers Center became its own galaxy. During Bad (with an extended snippet of Cohen’s Suzanne) we were all points of light in some semicircular constellation pulled inexorably into the band’s orbit. The spirit of Leonard Cohen, I’m sure, was present in our galaxy that night too.
A cycle is such because when you reach the end, you begin again. Sunday Bloody Sunday, New Year's Day and Pride feel as powerful and anthemic as they did when first released.
"I, I will begin again..." proclaims a new cycle and by singing the album lyrics the song gets a new twist in live performance.
One narrative thread of the show seen most clearly during Sunday Bloody Sunday, Bad and One, In God’s Country and Miss Sarajevo has Bono encouraging us to break cycles of addiction, behavior, violence, governance and negative power structures. Many of the organizations supported by the band recognize the cyclical nature of these issues and work to break and interrupt them to promote positive change.
That gorgeous, endless highway seen during Where The Streets Have No Name is like a circle that has no beginning and no end but in the context of the giant screen filled with Anton Corbijn’s sparsely beautiful imagery, manages to undo itself into a linear path that for multitudes stretches to another, higher place in our hearts and souls.
Black and white Joshua trees fill the screen for I Still Haven’t Found What I’m Looking For reminding us of the tree as it lived and stood tall in 1987. Seeing these vigorous live trees and knowing the original Joshua tree has fallen brings to mind cycles of living and dying. The album tree’s image is echoed in outline towering above the stage, its fallen counterpart the footprint that makes up the “tree stage” used at the opening and closing of the show.
Bono releasing the songs to the fans during With or Without You, "These songs are yours now! Sing your heart out!" takes them out of the stars, out of unreachable orbit, and brings them back down to earth, to us, the fans, both those who embraced and believed in them thirty years ago and those who continue to do so today. For a gift like that, I'll give up a coda.
Bullet the Blue Sky is a shape-shifter, spiraling into a new version to fit the times and tone of the day. Always pointed, poignant and hard-hitting, its many iterations over its 30 year existence are described in-depth in the Tour Book.
The beautiful oxymoron that is Running To Stand still describes that circle of destructive behaviour, like a dog chasing its tail. How Running to Stand Still winds up being bleak but not hopeless is just one of the musical miracles in this album.
With the invitation of "Welcome to Side 2!" the circle flips. This has been a nostalgic moment during the show hearkening back to albums and cassettes for fans who remember the interaction of having to turn the media to keep listening. Hearing Bono say, "This band is finally getting to know this album – Side 2 of it anyway, which we haven't played in all these yrs." is an absolute highlight!
Bono's delight with his performance of Red Hill Mining Town was clearly evident this night. Singing, "From father to son..." invokes the circle of family succession - another layer of meaning that must be an element in this presentation of the Joshua Tree tour. Perhaps the theme of family wasn't so much at the forefront in 1987. Certainly a song like Mothers of the Disappeared takes on new weight when you have children of your own. I missed watching for the visual of Bono's son and Edge's daughter on the screen at the end of the show. It is a nod to the future and the circle of life.
Side 2 has another circle supported very clearly with visuals on screen. Witnessing this one is much more fun: That circle of a lasso looping around - circling, circling, never touching in the sexy courtship dance that is Trip Through Your Wires.
During One Tree Hill the full, round, red orb of moon shines; the perfect shape of a circle is a fitting tribute to those who have left us too soon.
Then suddenly, there’s a break and another narrative takes over:
Life imitating art. With the help of an obscure black and white 50s film clip, our Irish shaman is preaching in his latest incarnation as the Shadow Man. Bono swirling and circling around the mic stand / pole has us mesmerized. When he calls, “Hold out your hand!” - we comply. We are transfixed as the show reaches its zenith. Repatriating Exit to the live set is exhilarating and satisfying.
The encore brought to mind concentric circles rippling out from a pebble thrown into a pond illustrating the effects of individual and corporate activism during One, Ultraviolet and Miss Sarajevo. It’s said the victor writes history. During this tour, Ultraviolet undergoes a metamorphosis from an intensely personal song to become an anthem for the cause of starting a new lap in the race that is human history with “Herstory”.
This tour has me thinking about the circle is a round disc of vinyl. Pressed with grooves, it makes an album. Respecting that body of work that is an album by performing it in its entirety, in sequence, opens an interesting dialogue for planning shows and perhaps opens a door for future album performances (feel free to read Achtung here!).
Indulge me for a few other circle references in closing:
A circle of trust between fans helping other fans to get tickets.
Arms encircling friends old and new with hugs as fans met each other for the first time or again after years.
Fans echoing the chorus to Mothers Of The Disappeared after the band left the stage for the encore break looped me back to the October 3rd, 1987 show singing 40 while exiting Exhibition Stadium after the show.
Calling for I Will Follow which was not on the printed set list closed the show and brought it full circle. "Your eyes make a circle..." had the band simultaneously looking ahead to Songs of Experience and glancing over their shoulder in a nod to their genesis with Boy.
Thirty years ago I was pulled into the band’s orbit on the first Joshua Tree tour and I’ve been pulled by the gravity of their music ever since. For myself, and many other fans, this tour brings us full circle.
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Not as many people looking for tickets tonight - unlike last night, where we had the guy mimicking the homeless, with a sign that read "Ticketless. Please help." And the couple who'd flown over from Amsterdam, on spec..
Possibly this was because it was earlier. We'd got there early, to grab my friend a t-shirt; goodness knows, I have enough! Mind you, there was a small queue when we got to the stand. We had plenty of time though, and with two of us it was easier to squeeze to the front. And she had soon secured a t-shirt of her choosing, in the correct size. Just as well she wasn't looking for a Dublin-specific one, though - they were already down to their last ones in white, selling the display shirts. And other styles only had Large sizes left..
Climbing to our elevated seats, I had an attack of the wobblies again, and the very kind usher trotted back to give me his arm. That makes such a difference! We had a good view, if further back than I'd have liked. It did occur to me that, if seats this high up / far back were sold at the premium price, where were the lower-priced ones?! Practically every seat there must have been sold at the higher price. The only ones I could think of that might have been sold cheaper were those end-on to the vidiwall, and those right at the far edges. Or maybe the back five rows. Few enough, anyhow.
I had a good look at the people sitting behind us, when they arrived, to see whether they looked likely to complain if I stood. They didn't seem the type, but you never know. Handily, for once the guy roaming the stands, selling wine, happened our way, and I treated myself to a bottle. It was the last show of the year for me, after all! And I could use the handy cup-holders attached to the seats. The wine was a little sharp, but never mind.
My friend asked whether I was excited. More nostalgic, was my reply. Just think - I've spent almost a year planning for these concerts, anticipating them, organising transport and accommodation, surmounting obstacles, waiting with bated breath.. and here I was, waiting for the very last one to start. 'Twould bring a tear to the eye.
The place duly filled to capacity, and it was time for Bono to come on. And to my delight, almost everybody in my section jumped to their feet as soon as there was a whiff of anything happening! Ah now, THIS is what a U2 concert is supposed to be like - just like the good old days. Bless - I could stand and sit when I wanted, and it was terrific to see the manic enthusiasm of people on all sides. This crowd was head and shoulders above any other on the tour.
I roared myself hoarse at the very start - well, why not? It'll be a while before I have a valid reason again. The Electric Co. was manic, and by the end of the first four, I was as breathless as usual.
Mysterious Ways was interesting - of course, Bono always brings someone onstage to dance with at the end of this song. Well, tonight - once again - he had a special guest lined up - enter Miss Panti Bliss! She made a spectacular entrance, in a sparkly dress and sky-high heels, strutting her stuff along the catwalk she was born to tread. And after she and Bono threw some shapes, he handed her the mobile, to Meerkat the next number, which turned out to be Desire. And he asked the "Queen of Ireland" to use it to film the "Queen of Rock and Roll" - enter Imelda May.. So Desire was Panti Bliss filming Imelda May singing a duet with Bono. Cue much confusion on Meerkat, with international viewers wondering (a) was Panti Bliss RuPaul? and (b) who was the other one..?
After the dramatic and unexpected entrances of these two, Angel of Harlem began with what Bono described as a third first.. when The Edge broke a guitar string! Always handy to have a spare.. guitar. The usual chorus of "Olé, olé, olé, olé" filled the gap, and again Bono had to quiet people so they could do the quiet numbers. Bullet the Blue Sky ripped its way through the auditorium - the rhythmic clapping of the audience was quite chilling, as scenes of brutality filled the screen.
The break before City of Blinding Lights gave the two ladies in the row in front of us an excuse to leave - they hadn't stood at all for the entire show, which I don't think they got much from. And yes, we got Bad, for the third night in a row - which is another first. Thank you, gentlemen - you made a few thousand people very happy. To end the best show of the best tour ever, they left us with 40 - movingly dedicated to the late Dennis Sheehan, whose family were there, it seems. And so, farewell from me to U2 for this year.. see you next year?
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It's my first U2 concert, so how can't I give this a 5! But seriously, it's a great bootleg. The band mixed up the setlist in preparation of Glastonbury and the high powered opener worked like a charm. I actually like the format in which there is only 1 encore break. It seems to work better for me.
THE FLY!! - tour debut, a super charged song, the whole stadium went crazy
One - an extremely powerful speech about shrinking the stadium down to one digit followed by a great performance of the song. I personally think Bono's speeches work way better than the pre-recorded segment. No offense, Aung San Suu Kyi. It's a great thing that you were released, but Bono plays the crowd better.
Streets - I remember my mind being absolutely blown when I heard that intro
Ultra Violet - This beauty makes a comeback after about a month and it's just as great as ever! I personally like this song way better than HMTMKMKM, simply because it works way better with WOWY and MOS.
MOS - very moving because of the Jungleland reading at the end.
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20 years of my life waiting to see them, and this is what I got.
The crowd was disappointing, even before getting to the stadium, maybe it's just anecdotal evidence, but there were a lot of people going because it would be cool to say "I went to see U2" even if they didn't know nothing but a couple of songs.
In the stadium, around me I was the only weirdo singing and screaming and jumping while everyone else just stared me from their own seats as if we were at some symphonic orchestra instead of at a U2 show.
In my mind it was just a "not-so-awesome" experience, but when I downloaded and listened to the bootleg it came back to me and no. It was not just "not-so-awesome". It was terrible.
The bootleg is even worse than reality with the few guys around the mic talking through the whole show.
Cielito Lindo was a bad choice itself for Bad, but it was worse that it was the only thing people decided to sing along. It looked like they didn't cared about Bad or anything else on the concert, oh but they can sing Cielito Lindo. I had forgotten how embarrased I felt at the moment (after the initial couple of seconds of "oh, that's cool!" when Bono started it), but the bootleg reminded it to me.
Finally, even after Love And Peace or Else had already started, the guys near the microphone in the bootleg are still discussing and betting that it's Desire what they're about to play.
I said finally because that's all that I could take and deleted it on the spot. Didn't even finished the song.
It was so bad I would find it funny if I hadn't been there.
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Brian and I had just recovered from Miami, and decided we could not miss this. Climbed in a car and left. Newly married wife was like "yes, you have to do this!" Philips arena was new back then, just beautiful.
the show was so much energy.
we came to feel good. we got satisfied.
I remember walking out after the show and I innocently sang a little too loudly "how long???..." and some people next to us sang it then instantly, the entire concourse erupted into "HOW LONG!!!! TO SING THIS SONG!!!'
Just unbelievable show. Like, did that band just do that??????
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Hey Lads and Lassies! It's been a long time since this show, nearly twenty years, but it's a story I've told a thousand times to a thousand people and I still can't believe how moving this show was.
The show tech was going so badly that Bono, ever the optimist, beat the life out of his microphone. He was pissed and we in the front row knew it. I don't think the rest of the stadium could see it. It was like being close to a fight. Only the people close by could see the emotion and anger.
So me and my friends did the only thing we knew how to do - we started singing. It ended up being the greatest U2 moment I think I could possible have had. Honestly.
I wrote a lot about it in a post on my blog HERE. I hope you'll like it.
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Very special concert because Bono screws up a lot but also makes it up by improvising, giving the songs something unique. Shame this bootleg didn't have more audience.
-- The Fly: Bono screws up the "Achtung y'all" part but in return, he improvises a rap and it's quite good!
-- Mysterious Ways. Very good intro by Bono
-- One of the best UTEOTW, Bono shouting "is this f***ing rock'n'roll?"
-- TTYAATW. The girl with Bono sings (badly) a few lines and Bono teases her a bit by singing "everything alright... a little off-key tonight", lol.
-- Angel Of Harlem. More improvised lyrics by the B. man.
-- Slow Dancing. I just love this song Sadly, it's a very short version.
-- ISHFWILF. This is the gem of the night. Acoustic, with a whole different verse in the middle, Bono sings the same line twice, it's almost like a new song!
-- BTBS. Again, Bono screws up a line but then he immediately improvises some weird lyrics with Alfred Hitchcock in them! Brilliant. He should have written 2 or 3 songs that day after this concert!
-- The MacPhisto speeches are always a treat. Bono was still figuring out his accent, so it sounds strange here. The first lines of UV were sung in that weird pitch.
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The band continued their epic residency in Melbourne with this 4th show and this is one of the best! This show is a lengthy one with 23 songs. The first 2 songs sound amazing together: Streets after Bullet. It worked! The show was just hinting to be one of the best Lovetown gigs of the 1st leg, with debuts of Gloria and Out Of Control. I am not a fan of the studio version of God Part II but in this bootleg it sounds amazing. It is then followed by one of the best Desire-> AATW combos, with Bono extending his harmonica part well into AATW. I heard a snippet of In God's Country at the end of AATW. Very powerful ending. Then we have something very interesting: an AIWIY/Bad medley that actually sounds very cool. It has the best of both worlds (they did this for a couple of other Lovetown shows). This is one of the first Van Diemen's Land performances and it still has the extended guitar part by Edge, which sounds very nice. WOWY is very powerful too. Check Bono's Shine Like Stars part: chills. BB King's powerful trio came early before the encore and it was as fantastic as usual. Love Rescue Me is dedicated to the victims of the Tiananmen Square massacre. The encore has still more surprises with Out Of Control and Stand By Me.
If you want great bootlegs of the 1st leg of Lovetown, get this, "Bad At Its Best" from the 8th and "Lovetown Power" from the 9th.
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The atmosphere was very foul. It was my first U2 concert, but not my first stadium concert, and I remember it well. The rain had started in the afternoon, but in the morning and around noon it had been very hot. There was a terrible pushing and shoving of the audience waiting at the entrances for doors open, and many seemed to be well drunk and I did see many, many empty drinks containers, beer cans, wine packs and bottles outside. The doors open seemed badly organised. Some a few yards away opened before others did, the seemed to be little coordination. People were pissed off by that, they wanted an equal chance in the run to the centre stage spots.
The openers, I remember The Pretenders, Big Audio Dynamite and Lou Reed, were all booed and generally badly accepted, at least in the part of the audience I happened to be stuck in, which was third, second row, slightly to the right of centre stage. The place looked like an open battle for the first row and of course I participated first, being rather stoutly built and not one to back off easily. This concert had meant the world to me, after I had gotten hold of a ticket, through a multitude of different lucky concurrences.
I believe, I cannot be sure anymore about it, that The Daltons opened last. I might confuse that, though, with a show I might have seen on the internet of that time, after all, it's been 28 years.
When WTSHNN began with its droning synth-sounds and the guitar's delayed arpeggios, and the band appeared one by one, the crowd went mad and the stifling squeeze got worse. But when the bass and the drums joined and slowly built up the song's hard pushing, driving beat the crowd went berserk. I had a fight with an American, a GI by his crew cut and confidence, and the security did not notice. He hit me in the nose, but luckily he could not swing properly, for lack of room to move. I could not get my arms up enough, so I hit where I could. The security were highly unprofessional (I did that job later in life myself) and completely taken aback with the sheer violence of the crowd's pushing forward, the yelling and the screaming of girls who obviously were in acute fear. The waves of people’s shoving often moved me ten or more yards away from where I had been before. I remember the moment when the band jumped into the first song and the red lights flooded all over the rain-drenched crowd. The heat from the electric lights washed over the people and actually felt quite warm on the face. Seconds afterwards clouds of vapour of the drying rain partially took away the sight of the stage.
I had had enough by then. I withdrew to the seats ranks, found myself a place and watched from about a hundred yards away. I was deeply disappointed with the on-goings and felt betrayed and let down. I had thought that we had all been there together to celebrate the same thing. I had been wrong. U2 had become a phenomenon and had stopped being a rock and roll band. They were a sensation, not music to dance and sing the lyrics and to feel alive by, because the songs spoke to you about your life and you inner self. This was a spectacle, not a concert. No one danced. They all fought. No one sang. Everybody screamed. No one had fun. They all tried to hold on to their place or get a better one by being more brutal than the opponent, because that is what everybody was, an adversary and a rival in trying to be as close to the band as possible. Do not think that I was naive about it. I understood as I do now that people want to be as close as possible to their lucky stars. But I wasn't expecting the brutality I encountered, and it did not seem to make sense, and I was not prepared to put up with it, as I would not be today. I do not think that it was anything else but sheer good fortune that there wasn't anyone killed in the throng in front of the stage. It was brutal enough for that. None of my later U2 shows had that quality and quantity of ruthlessness and viciousness.
When 40 began I was on my way out, walking outside the stadium trying to hitchhike my way back to where I was due. I remember feeling like hell. It took me weeks to be able to enjoy the music again.
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Everything I WASN'T looking forward to about this show, I loved. "Pride" and "Maggie's Farm", I wasn't all that cracked up about listening to. The former is on just about every show I ever listen to, and it gets tiring, the latter I just didn't care much about. They ended up both being phenomenal.
The "Norwegian Wood" intro to "Bad" is outstanding, and chorus gives me goosebumps. Listen to some recent shows (Vertigo, 360°), and then give this one a spin- Yes, folks- Bono DID used to sound like that
Everything about this show is simply gorgeous. Download it RIGHT. NOW.
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I recommend this bootleg for those wanting to capture U2 in full flight during their TUF period. They were in a really great phase here. They were excited about their TUF material and performed tracks from their previous three albums with loads of enthusiasm. Bono in particular was in true showman form, playing up to the crowd at every opportunity and Edge was on song (well, when isn't he really?)
A Sort of Homecoming - It's simply amazing and it doesn't matter whether its the early manifestations which are very similar to the album version or the latter performances from 1985 onwards which are more departures and like the Wide Awake In America version. I simply adore both!
The Cry/The Electric Co. - Reasons above.
Wire - Not a huge fan of this song but on this particular night, the boys nailed it!
Gloria screw up - I don't care if it was different or funny or whatever. I didn't enjoy it. Give me Gloria played proficiently any day!
(This is a picky one) Bad - It was played well here, don't get me wrong but we would have to wait until the second half of the TUF tour before the band recognised the value in having snippets towards the end of Bad.
Overall, a worthy 4-star rating. A really good boot to have in your collection.
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A must-have. Excellent quality bootleg, probably the best I've heard from the early tours.
-Surrender (best performance, somewhat different than the album and later live versions)
-I Threw a Brick Through a Window (best performance, somewhat odd music)
-A Day Without Me (best performance)
-An Cat Dubh (probably best performance)
-I Fall Down (best performance, even though Bono says Julie once when he should've said John)
-Fire (best performance)
-A Celebration (best performance)
A few songs are missing, which is a real shame.
Definitely download this show immediately if you've not already. Right now. Go.
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This and Lido Beach are perhaps the best October bootlegs you'll find. The setlist is great and some songs had slightly different lyrics, like The Cry part in Electric Co. According to Bono, they were almost arrested that day for trying to get into the St. Patrick's parade!
Highlights: Another Time, Another Place, An Cat Dubh/Into The Heart, Rejoice, Tomorrow (not the best version ever, I prefer the early War versions. Bono lied to the crowd saying it was the first performance ever. Naughty Bono!), Out Of Control and 11 O'Clock (Bono talks about Irish stereotypes and does a great snippet of Give Peace A Chance).
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I rediscovered this gig and it is truly fantastic. I listened to the old source a long time ago and didn't think much of it, but after listening to the upgrade, it really brings the show to another level. One of the best sounding Boy bootlegs and an extended performance with non standard songs like Touch and Boy-Girl. The latter includes a snippet of Let's Twist Again and segues into Out Of Control, a great highlight.
The band was trying to get a place in the U.S. and this show has the "innocence" feeling that they mention nowadays in songs like Twilight.
Perhaps the highlight of this show is a very early (and rough) performance of I Fall Down (at the time still called "When I Fall Down"). The band were writing new songs in the back of their van, as Bono says.
There are very funny moments too, like when Bono opens a bottle of champagne but is hesitant to drink it (not so shy later at ZooTV, huh?). Between Twilight and I Will Follow, the lights went out and Bono has to play the entertainer to the crowd. Luckily for him, the lights returned promptly.
Listen to the 2nd 11 O'Clock. The energy is incredible here. Another Boy show you can't miss.
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One of the earliest known bootlegs and a fun one to listen to. As many have said, only here you can listen to "demos" like King's New Clothes or a Ramones cover in Glad To See You Go. Fun songs but clearly they were going nowhere.
The versions of other early songs like Out Of Control or Stories For Boys are very similar to the 1980-02-26 Dublin show. Another Time Another Place was still in development, so it's interesting to listen to it.
Special mention to Bono interacting with the crowd and teasing them. He even asks a couple if a wedding is on plans. Awkward...
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Having seen a tweet late last Thursday afternoon from U2ComZooMods inviting a reply with just my name to maybe get tickets to the live broadcast of tfi Friday in London - I did just that.
tfi Friday launched the weekend for millions of fully signed up lads and ladettes back in the 90's. Brash and soaked in alcohol it was fast paced and at times funny, but always high energy.
Brought back off the shelf for a short run this year it jumped back into living rooms, now owned by the 90's lads and ladettes, on Friday past with U2 as the main draw.
So fast forward 20 hours and I am now stood outside a very small and now defunct theatre with a Production wrist band on my wrist and knowledge that the next two hours will be special.
The venue maybe had 150 in the performance area - a mix of 20 U2 fans, a handful of 40something women reliving their early twenties as Take That fans (for they were on the show as well) and I guess some members of the public. It was a strange crowd, but with the TV lighting it made for a hot sweaty club vibe.
Showtime - Raised By Wolves - the B Man is 6 feet away giving it everything. The sound was incredible and the lads played as if their very lives that night depended on it. I'm no writer, so there is no way that I can give you any understanding of how incredible it was to be in the room. Bizarrely, watching over the weekend on the extended playback, it came across as the worlds greatest live band did an ok job! By now you will have seen it for yourself, and I guess it plays back to way back when when U2 became the only band to ever go DOWN the charts after an appearance on Top of The Pops (UK TV chart show).
A very unenlightening interview later in the show away up on the theatre gallery was nothing more than swapping banter between host and band, and hosts Son and hosts Mother! That didn't matter the band weren't here to chat and we weren't there to listen to them talk!
They closed the TV broadcast with Vertigo. Edge's guitar sound taking our heads off! Song for Someone carried all the emotion and then the "This is our first single.." intro and a version of Out of Control that will be with me until I am no more. Just incredible. The room was too small to hold the energy! Bonotised with champagne and it was thank you, goodnight!
Dallas, Sammy, Jake and Stuart left to pick up the pieces as U" have left the building.
Insane evening - thank you to all who made it happen.
The venue was the Cochrane Theatre, London.
I was told that the tour will play indoors and outdoors next year, and then follow the yellow brick road to Aus/NZ in 2017........ Here's hoping!
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