Fans Pick 22 Songs

U2 360 Tour / Mark Peterson

Fans your votes are in for the 22 live track double CD album to be released to celebrate the 360 tour.  Fans had 46 songs to choose from and of course the main stays like “Where The Streest Have No Name, One and some lesser known Ultravoulet and The Unforgettable Fire have been chosen. Take a look at the list. What do you think ? Did they get it right ? Or is something missing ?

U22 tracklist:

1. Bad
2. Where The Streets Have No  Name
3. Magnificent
4. One
5. Ultraviolet
6. Even Better than The Real Thing
7. With or Without You
8. Beautiful Day
9. City of Blinding Lights
10. The Unforgettable Fire
11. I Still Haven’t Found What I’m Looking For
12. All I Want is You/Love Rescue Me
13. Moment of Surrender
14. Until The End of the World
15. The Fly
16. One Tree Hill
17. Stay (Faraway, So Close)
18. Walk On
19. Zooropa
20. Elevation
21. Out of Control
22. Mysterious Ways

U2 wins Pollstar Award/Week Wrap up

The 21st annual Pollstar Concert Industry Awards honored its own Wednesday night at the Nokia Theatre at LA Live in Los Angeles. The awards are held annually and honors the promoters, artist managers, booking agents and technical companies.
The winners are chosen by the people that make the concert scene happen. The show honored music artists and companies that helped the concert business in the 2009 year. It’s an insider’s look at which bands mattered in 2009.

Comedian Katleen Madigan hosted the show. A few of the celebrity presenters included Jay Osmond, Lamont Dozier, Don Felder, Al Jarreau, Alan Parsons, Rob Halford of Judas Priest and actor John O’Hurley.

Final date for “360” North American leg

If you live in Salt Lake City and missed out on seeing U2’s “360” tour last year, now is your chance!

U2 will play at the Rice Eccles Stadium on June 3rd. Tickets go on sale Monday, but presale access for U2.com subscribers begins tomorrow.

This will be the final date announcement for the North American leg of the tour, but it will be the day that U2 actually starts “360” up again this summer!

There was also some whispers that U2 would be playing another show in Dublin this summer at the O2, but those proved to be just whispers.

Vatican’s rock top-10: Beatles, U2, Pink Floyd

VATICAN CITY — The Vatican newspaper has come up with a “semi-serious” list of 10 essential rock and pop albums, including works by the Beatles, U2, Michael Jackson and Pink Floyd.

The list was offered in a tongue-in-cheek article Feb. 14 as an alternative to the music of Italy’s biggest pop music festival, which was to begin two days later. The “10 albums worth taking to a desert island” were listed in the chronological order of their release:

  • “Revolver” by the Beatles, described as more innovative than any of their successive albums.
  • “If I Could Only Remember My Name” by David Crosby. Its songs used experimental musical forms to express an “existential fragility,” the article said.
  • “The Dark Side of the Moon” by Pink Floyd, which the newspaper called an “amazing” and eminently enjoyable milestone in the history of rock music.
  • “Rumours” by Fleetwood Mac, which the article said mixed the sounds of blues, pop and country.
  • “The Nightfly” by Donald Fagen of Steely Dan. A niche album, but “brilliant and ironical,” according to the Vatican newspaper.
  • “Thriller” by Michael Jackson. The article described this album as “the masterpiece of the king of pop” and said its original approach went against the stereotypes of black music.
  • “Graceland” by Paul Simon, who used South African music with his own to create a multiethnic album that marked the birth of “world music,” the newspaper said.
  • “Achtung Baby” by U2, a disk that stands out for its music and lyrics, and remains a symbol of the ’90s, it said.
  • “(What’s the Story) Morning Glory?” by Oasis. The group picks up the great tradition of the Beatles, but with a harder edge of punk and rock, it said.
  • “Supernatural” by Carlos Santana, seen as an avant-garde mix of blues, soul, salsa and rock.

The article ended by explaining why it left Bob Dylan off its list. While acknowledging his “great poetic vein,” it said Dylan’s greatest fault was to have inspired a generation of amateur singer-songwriters who have “severely tested the ears and patience of listeners, thinking that someone might be interested in their tortured meanderings.”

Google Drills into Geothermal; Bono and U2, too

The United States — especially California — gets a substantial amount of non-hydro renewable energy from geothermal.  We’ve reported on new geothermal technologies in this EPRI article and recently summarized last year’s geothermal action

In fact, while solar and wind get all the headlines, geothermal quietly produced 4.5 percent of California’s total system power in 2007, with more than 40 operating geothermal plants in the state. Most U.S. geothermal installed capacity remains concentrated in California; in 2005, California’s geothermal power capacity was more than that of every country in the world, according to the GEA.

Charles Baron, Google’s geothermal program lead, spoke in San Francisco at this week’s GeoPower Americas 2010 gathering.  Baron is a geothermal enthusiast, as is Google.

As testament to its earnestness about geothermal, Google has invested in geothermal start-ups Altarock Energy and Potter Drilling.  Google has also invested in a number of other renewable energy firms, including solar firms BrightSource Energy and eSolar and high-altitude wind innovator Makani Power

Google has issued geothermal grants, as well.

Google issued a grant to Southern Methodist University’s geothermal lab for geothermal resource mapping, in what seems an obvious synergy with Google Earth.  Much of today’s geothermal data mapping is based on data collected in the 1970s.  Since then, millions of geothermal data points have been collected from oil, gas and geothermal exploration but have not been aggregated and analyzed.  The grant supports SMU in aggregating data for the most under-sampled regions of the U.S. and in developing new methodologies for estimating geothermal resources, according to Google’s Baron. 

Stanford University also received a geothermal-focused grant from Google to investigate single-well systems. 

On the global side, the technical community faces a formidable challenge when it comes to developing ways “to speak apples to apples about geothermal” measurements across different regions.  It will be important to come up with a common language to communicate about global geothermal resources, according to Baron.

Baron also posed the question, is geothermal interesting to VCs?

The answer is somewhat nuanced.  If geothermal is going to be a good fit for the venture capital asset class, investments will have to be in technology that is, “extremely disruptive,” requiring significant “technology whitespace.”

U2, Lady Gaga and Westlife tipped for Meteor success

Irish rockers U2, ‘Poker Face’ star Lady Gaga and chart-toppers Westlife are being hotly tipped to clean up at this year’s Meteor Music Awards.

Voting lines have now closed and Paddy Power are now finished betting on the event but the closing odds suggest the three acts will walk away with major gongs on the night.

U2 finished up 1/4 favourites with Paddy Power to win Best Irish Live Performance, while Lady Gaga, who cleaned up at the Brits, finished at closing odds of 1/2 to win Best International Female.

As for Westlife, the lads are heading for their tenth consecutive Meteor Award for Best Irish Pop Act at odds of 1/10!

In other categories, Today FM’s Ray Foley has been backed off the boards to win Best National DJ at 1/6 while Florence & The Machine could pip Lady Gaga to the post in the Best International Album category following a late gamble at odds of 9/4.

In the Best Irish Male category Paddy Power prematurely suspended betting after seeing one-way traffic for folk legend Christy Moore at 8/13.

Sharon McHugh, spokesperson for Paddy Power said: “Most of the money has been for U2, Lady Gaga and Westlife but the Meteors have thrown up a few surprises over the years so as the saying goes it’s not over ‘til the fat lady sings!”

U2TOURFANS adds more features to iPhone/iTouch Application

A departure from the norm, thats what the Chief Editor called this new release. The idea that fans are only american or only from the UK seems a bit out of touch. This lastest release blends the best of the fan based U2 sites from around the world. Starting with South America, If you believe your site should be considered drop us an email.  Check them all out via our application.

 

360 Underworld View

The Edge - U2 360 Tour Plenty of attention has been given to the amazing structure built above the stage on the U2 360 world tour, but beneath the band’s feet lies the Underworld, a maze-like string of instrument maintenance areas, changing rooms and workspaces. The busiest spot down below is the monitor mix position, where engineers Niall Slevin, Dave Skaff and Alastair McMillan ensure U2 can hear itself over the 90,000-plus fans at every show.

Monitor duties are split up among the engineers, with Slevin providing mixes for guitarist the Edge, McMillan doing the same for singer Bono, and Skaff tackling sound for drummer Larry Mullen Jr., bassist Adam Clayton and offstage keyboardist Terry Lawless.

All the band members are wearing Future Sonics ear buds attached to Sennheiser G2 wireless systems, but below the deck, the gear uniformity ends. Slevin and McMillan both mix on DiGiCo SD7 desks, while Skaff is positioned behind a Digidesign D-Show

Profile. All of the engineers mix watching the show via video screens, keeping an eye on their respective charges for visual cues.

Since the SD7 still a relatively new desk, the tour marked the first time McMillan, a seasoned FOH and studio engineer, had used one: “I wasn’t sure of this at first and I’m still acclimating to the change, but I was pleasantly surprised,” he said. “It sounds good, that’s the main thing.”

Oddly enough, though, it works in concert with a second console. On the 2005-06 Vertigo tour, Bono found he was thrown off by the processing delay of the digital console used at that time.

U2 360 Tour Underworld The work-around invented for that production—and maintained on the current tour—is that the vocal goes direct into a Midas Venice analog board. Meanwhile, a stereo submix of everything from the SD7 is sent to two channels of the Venice, where it and Bono’s mic are sent back to his wireless pack, reducing processing time on the vocal to nil.

Over at the Digidesign Profile, Skaff keeps things rolling for the rhythm section, much as he as since joining the band’s live crew in 1985 (“I don’t count when I drove gear in ‘83”). In between the previous U2 world tour and this one, Skaff worked for Digidesign, but first began using a Profile on the Vertigo jaunt, noting, “When it finally came around that I had to make a switch, I really liked the platform, the sound of it.”


With that kind of background, it’s no surprise that he’s comfortable working with the multitude of plug-ins available for the desk: “For experimenting, it is really great because it’s like having a giant rack of gear available to you all the time. I use an awful lot of the McDSP stuff, Crane Song’s Phoenix and a lot of the Waves plug-ins as well. Phoenix is one of those one-knob, ‘I can’t believe what it does’ things. It’s just one knob that makes it better; whatever you put it on, it just brings it right out of the mix into whatever you’re listening to. Rob Scovill turned me on to it.”

U2 360 Tour Set ListWhile the band members all sport personal monitor systems, there’s still a handful of Clair 12AMII “stealth” wedges onstage with them. “Wedges have basically gone away,” admitted Skaff. “There’s a couple out there as a ‘just in case’—but several of the wedges are teleprompters that can screen song lyrics or translations; that kind of stuff.  There’s only one active wedge out of the whole thing and the rest is sub lows—two for Larry and a block of four right next to Adam’s bass rig.”

As Skaff’s tenure might indicate, much of U2’s audio staff have been with the band for years, but this tour is marks McMillan’s first time on the road with the group. Mixing for one of rock’s more unpredictable frontmen might seem daunting, but the engineer has found that a studio-quality mix isn’t always the right fit for Bono: “He’s all about energy, so it’s probably not that ‘Hi-Fi.’ It’s not a nice-sounding mix; generally ‘nice-sounding’ doesn’t work for him. It’s not necessarily loud for the sake of it, but finding the energy, that’s what he gets off on. There’s a lot of effects on his vocal, a lot of reverb, probably more than a record mix, but you know, it works for him. And I use an awful lot of ambience as well—I haven’t discussed it with him, but I’ve just discovered that over a little while. The more audience reaction I can put in, the more he likes it!”

U2TOURFANS Announces launch of iPhone Application

U2TOURFANS Announces launch of iPhone/iTouch Application

Today, U2TOURFANS announced the release of a new iPhone/iTouch application that integrates its multiple services into a single interface, making it easy for iPhone users to find, use and switch between U2TOURFANS social media properties like, Twitter, Youtube, Facebook, and more To use the application, iPhone/iTouch users can download directly from the iTunes Applicaition store, by searching U2TOURFANS or clicking here. (Free for a limited time ) Sign up on Facebook Fan Club for ulimited free use.

Search U2TOURFANS

To accomplish this, U2TOURFANS partnered with SeattleClouds, SeattleCloud is an online publishing platform that allows you to create your own iPhone applications. You can then submit and sell your apps in the AppStore so people all over the world can download or buy your app.

The people behind SeattleClouds are a team of dedicated individuals with a long history in the technology field. Because of the potential that we saw in iPhone applications, we have developed a platform that can let any user create iPhone applications; no programming skills are required.

U2TOURFANS and SeattleClouds wanted a 360 experience unlike any other fan site connecting all of the elements that make up U2TOURFANS 360 experience. By connecting social applications such as twitter, youtube and facebook fans will be able to have the complete experience.

Editor-in-Chief Dre was quoted last night during the introductionof the application as saying.” This as the greatest birthday present to date, the launch of the application creates the 360 expeience that has always been the main focus of our media property.

These new features provide iPhone users with a desktop-like U2TOURFANS web application experience in terms of ease-of-use, speed, and feature richness but optimized for the iPhone. This experience is made possible by the iPhone’s general usability and the capabilities of its web browser, combined with U2TOURFANS/SeattleClouds innovative mobile web applications. We plan to expand this experience with updated versions as we get closer to tour season. One of our goals is to support a complete U2 experience that are fulfilling the promise of the mobile web - like the iPhone - and to ultimately deliver unique and compelling mobile experiences that provides the best fan experience possible.

Birthday wishes to our Chief from the U2TOURFANS Team ! We selected this one for you !

Artificial Horizon

U2 today announced that its upcoming fan club CD will be titled Artificial Horizon and will feature 13 remixes of the band’s latter-period work by the likes of Trent Rreznor and David Holmes — including some that haven’t been released previously.

 Although the band hasn’t yet released the full tracklist, it did reveal, in an e-mail to fans, that the disc will include Reznor’s remix of “Vertigo,” Jacknife Lee’s mix of How to Dismantle an Atomic Bomb outtake “Fast Cars,” Holmes’ remix of “Beautiful Day,” in addition to mixes of “Staring at the Sun,” “City of Blinding Lights” and “If God Will Send His Angels.”

Not available in stores, the disc — a sequel of sorts to 1995’s fan-club Melon remix CD — will be sent to fans who sign up for or renew their $50 U2.com membership for 2010. The new remix disc is the latest in a series of exclusive U2.com releases, including ZOO TV Live and Go Home: Live From Slane Castle, Ireland. Subscription details are here.

The band promises to post “full details of the album” on U2.com in the next few days.

Vote for U2's 360 Tour 2009 Fan Video

Editor Note:  In case you lived under a rock for the past year and you found this website by mistake. Here is a small refresher before we ask you to vote. Real fans you know the story by now. So go directly to the bottom for the voting details.

The U2 360° tour that recently ended its first leg in the U.S. has taken the stadium show to a new level. The sheer scope of the production is mind-boggling. It took two years to design and develop, travels on 180 trucks, employs more than 400 people — including 12 system engineer/techs — and uses an astounding amount of audio and video gear. The best thing about the show is the communication and contact between the band and the audience provided by the 170-foot-tall steel structure perched over the stage.

Originally inspired by the Theme Building at Los Angeles’ LAX airport, the four-legged “spider” incorporates all of the lighting, some of the 12 manned cameras and spots, massive speaker arrays and a huge 360-degree vertically expandable LED video screen.

And as ridiculous as it sounds, once the show starts, you forget it’s there: Instead of being the elephant in the room, the structure focuses attention on the band and how they interact with the crowd, both near and far.

The inner ring nearest the main stage gives more than 3,000 fans close proximity to the band, while the outer ring gives the band access to standing and seated concert goers farther out.

At different times during the show, The Edge, Bono, Adam Clayton and even drummer Larry Mullins Jr. use two moving bridges to perform between the areas and are followed by video and audio all the way.

Voting: When the tour started we agreed to collect videos from every show from fans, guests, U2Tourfans team and crew. Its easy for us to say we have 50 to 60 videos from each show. Now the boys don’t mind punters shooting video. They are not cool with people selling them. Most fans would never buy or sell a bootleg video. (we hope) We have a process to post the videos to our channel (U2TOURFANS) or our Fan page on Facebook. We have selected a couple of videos to be the video of the year. Voting starts today and runs thru Monday - We ask that you vote only once per day (12hr) and that you view all the videos before voting.  Lets have some fun - Vote  Now- Please share and post your thoughts.

No Line On The Horizon revisted

Have you been living under a rock for sometime? U2 got the Grammy nod last night, most fans feel the boys have been ripped off that they should have one a Grammy last time around. Well that’s all water on the bridge now.

We have written a couple of stories about the Album(CD,MP3) and we must confess again that we really did not like the work. It seemed out of sorts, different. Not anything we have heard before. Ah a concept was born. The Album grows, has legs which turned us around. We thought we would pull up a old story to refresh minds and provide some prosective on the album as well as provide new listeners a chance to comment.

The U2 album, ‘No Line On The Horizon’ was released March 2nd  2009. It is a great record, and greatness is what rock and roll and the world needs right now. From the grittily urgent yet ethereal title track all the way to the philosophically ruminative, spacey coda of ‘Cedars Of Lebanon’ it conjures an extraordinary journey through sound and ideas, a search for soul in a brutal, confusing world, all bound together in narcotic melody and space age pop songs.

“Let me in the sound” is a repeated lyrical motif (showing up in three songs, including current single ‘Get On Your Boots’). The theme of the album is surrender, escaping everyday problems to lose (or perhaps find) yourself in the joy of the moment. For Bono, it clearly represents an escape from the politics of his role as a lobbyist and campaigner into the musical exultation of rock and roll, yet the very notion of escape remains political, if only with a small p.

“Every day I have to find the courage to walk out into the street / With arms out, got a love you can’t defeat” is the inspirational bridge in an epic, explosive rock anthem ‘Breathe’, that could be set in Gaza or at your own front door.

Scattershot half-spoken verses fire images like news reports from the battleground of life (”16th of June, Chinese stocks are going up / And I’m coming down with some new Asian virus … Doc says you’re fine, or dying”) til he is “running down the road like loose electricity”, tension building in thundering drums and grungey two note guitar riff until it all lets loose in a soaring, anthemic chorus, as Bono tells us “I found grace inside a sound / I found grace, it’s all that I found / And I can breathe”.

The theme is even more explicit on ‘Moment Of Surrender’, a pulsing, dreamily gorgeous 7 minute weave of synths, silvery guitars, sub-bass, handclaps, Arabic strings and soulful ululating vocals, in which the narrator experiences a spiritual epiphany at the very prosaic setting of an ATM machine. It is a beautiful piece that provides the album’s beating heart and shows how far U2 can drift from their stereotype as a stadium rock band into unknown territory while still making something that touches the universal.

Musically, these songs might be the two poles of an album that switches between overloaded rockers and hypnotic electro grooves: the U2 / Eno divide. ‘No Line On The Horizon’ was produced by the professorially brilliant Roxy Music synth magus Brian Eno with his rootsy, muso collaborator Daniel Lanois, the same team that has presided over U2’s finest albums, Unforgettable Fire (1984), The Joshua Tree (1987), Achtung Baby (1991) and their latterday reclaiming of pop’s high ground ‘All That You Can’t Leave Behind’ (2000). The chief difference is that here they have been explicitly invited into the songwriting process, with 7 of the 12 tracks credited to both band and producers, and recorded with a six-piece line up featuring Eno on electronics and Lanois on acoustic and pedal steel guitar.

It is these songs, in particular, which push U2 towards the invisible horizon of the title, at once more linear (they tend to be driven, with singular grooves, often pulsing along on particular sound effect or rhythmic repetitions) and lateral (they defy obvious song-structure, choruses drop rather than soar, Bono’s rich, high voice subsumed into stacked harmonic chants). These tracks draw out of Bono a contemplative depth, so even the fantastically odd ‘Unknown Caller’ hits a vein of emotional truth, when the spaced out singer is cast adrift on the soundbites of computer and communications networks (’Password, you enter here, right now / You know your name so punch it in’) yet seems to find himself talking to the inner voice of God (”Escape yourself, and gravity / Hear me, cease to speak that I may speak”). Words and music dovetail in surprising ways that send the senses spinning.

Dave Long 2009 Left to their own compositional devices, U2 produce rock songs of high-wire adrenalin and in-your-face immediacy. It is almost a relief when they arrive like a troop surge in the middle of the album, reclaiming familiar territory with a burst of shock and awe. This is U2 on safe ground, ramming home the kind of smack bang crunch pop rock that they know radio programmers will fall at their feet for, yet there is almost too much melody and a surfeit of lyrical ideas. Current single ‘Get On Your Boots’ is the prime example, walloping along with two note punk rock energy, a low-slung heavy metal guitar riff, an expansively melodic psychedelic chorus and playful sloganeering lyrics in which Bono gets off the soap box to pay homage to the more prosaic pleasures of a beautiful woman in comically “sexy boots”. Along with the Oasis on steroids singalong pop of ‘I’ll Go Crazy If I Don’t Go Crazy Tonight’ and pop Zepplin-esque grooviness and shuffling beats of ‘Stand Up Comedy’, these songs are the albums most immediate and yet least resonant tracks. They are light relief from the more demanding adventures into new sonic terrain.

Bono’s worst reflex as a lyric writer is sloganeering, partly because he is so good at it. On the three songs just mentioned, he piles catch-phrase upon soundbite to build up a thematic idea, often one that plays with his image. So in ‘Stand Up Comedy’ the diminutive rock star in stacked boots warns us to “stand up to rock stars / Napoleon is in high heels / Josephine be careful of small men with big ideas” and in ‘I’ll Go Crazy’ he confesses (or complains) “there’s a part of me in the chaos that’s quiet / And there’s a part of you that wants me to riot.” It is all good fun but too often sounds like a series of t-shirt slogans rather than a song with a heart of its own. His phrasemaking is put to much better effect when it pared back so that the emotion of the song takes precedence, as on the strange, addictive title track, where he loses himself in the blur of a mysterious love, a person whose unknowability represents a kind of Godliness and who tells him “infinity is a great place to start.”

On ‘Breathe’, U2 locate the emotional and philosophical heart in an out and out ball busting U2 anthem (which Eno, apparently, asserts to be “the most U2 song” they have ever recorded). It is matched, in this respect, by the quite wonderful ‘Magnificent’, in which the U2/Eno/Lanois combo conjure up an instantly recognisable U2 classic in a love song with the flag waving pop drive of ‘New Year’s Day’. These are songs that will fill their fans with joy, but it is in the album’s more intimate, off beat adventures that U2 lock into something that forces listeners to sit up and take note of them anew. There is a busy-ness in terms of sonic tapestry, the meshing together of Edge’s sci-fi guitars and Eno’s synths providing an intricate, detailed soundscape that constantly tugs at the ears and mind, but the U2/Eno/Lanois songs hold the centre, slowly revealing themselves, demanding repeat listens. It certainly sounds like U2 (as do a lot of groups these days) but in its boldest moments is as fresh and ambitious as the work of first timers, not veterans 33 years on the road.

If it has a flaw, it may be in U2’s inherent tendency to want to be all things to all people, so that in album of surrender, they can’t quite let themselves go all the way. They still want to bat the ball out of the stadium everytime, and so instinctively counterbalance their desire to reach something otherwordly with the safe bets of crunchy rock hits. In that respect, it doesn’t have the innocence or singularity of ‘Unforgettable Fire’ or ‘Joshua Tree’, nor does it quite affect the bold re-wiring of their sound that was ‘Achtung Baby’. To me, it is probably the album ‘Zooropa’ was supposed to be, building on the sonic architecture of classic U2 and taking it into the pop stratosphere. But what a place for a band to be, in orbit around their own myth, making music that bounces off the inside of a listeners skull, charged with ideas and emotions, groovy enough to want to dance to, melodic enough to make you sing along, soulful enough to cherish, philosophical enough to inspire, and with so many killer tracks it might as well be a latterday greatest hits. It is, at the very least, an album to speak of in the same breath as their best and what other band of their longevity can boast of that?

Anyway that’s my opinion. I can tell you what Bono thinks, because he has been texting me. He comes (as he explicitly says on ‘Breathe’) “from a long line of travelling salesmen” and he would probably sell his album door to door if he could. “Lifeforce, joy, innovation, emotional honesty, analogue not digital, home-made not pro-tooled, unique sonic landscape,” are his buzzwords (although punctuation and spelling are mine). “I pinch myself every morning, evenings no longer a trial. Soul music for the frenzied, rock music for the still. The album we always wanted to make. Now we f*** off …”

 

Twin City Annoucement Expected

U2’s 360 tour is expected to spin into the TCF Bank Stadium sometime next summer.

“June 27th, ” said Cities 97 radio personality Brian Turner.  “With tickets going on sale November 21st as it’s looking right now.”

It’s a stop music industry experts agree wouldn’t happen if it wasn’t for the new outdoor stadium.

Turner said fans—like the bands—enjoy playing outdoors and until recently the Twin Cities didn’t have a legitimate stadium venue, now there are two.

Target Field and TCF Bank Stadiums will open up opportunities the state hasn’t seen in decades.

The University of Minnesota could potentially earn nearly $2-million in ticket sales alone for a U2 concert.

Concession sales will also bring in a few bucks.

Unlike school-sanctioned events, alcoholic beverages will be available for purchase during concerts at the stadium.

More information about the show and an official date for the concert is expected Monday.