U2 drop big Glastonbury hint!


U2 have dropped a big hint that they’ll be at Glastonbury Festival next year.

Posted on their official website (here) last night, around 36 hours before tickets are due to go on sale, are the following words…

Tickets for Glastonbury 2011 go on sale this weekend. Will U2 fans finally see ‘Glastonbury’ at Glasto?

Glastonbury’s Michael Eavis has said he’d like U2 to play in 2011 after they missed their slot at Worthy Farm this past June.

Looking at the tour dates - there is a gap in the band’s schedule ahead of the East Lansing show on June 26th which would make the Friday night a possibility.

The most Paul McGuinness would say was, ‘We’re certainly excited about our plans for next year. Watch this space!’

The fact that they’re putting these words on their website suggests that they’re likely to play and to encourage people who want to see them to buy tickets.


U2 Comeback ?

U2 are making their latest comeback. Following Bono’s back surgery (which forced the cancellation of their North American tour), the group will hit the road in Europe for a series of dates and be back around the United States next summer.

U2 have had a fascinating career, as even though they’ve been one of the biggest bands in the world for the better part of the past three decades, they have still regularly been cast as underdogs on the comeback trail. Their story arc is remarkable, and it hit an interesting point when they released Pop in 1997.

When you consider most albums, you have to consider the context along with the songs. But in the case of Pop, it’s almost all about the context. The last time U2 had appeared, it was a part of the absolutely gigantic ZooTV tour, which at the time was one of the most ambitious stadium-sized rock shows ever produced.

It was in support of the hugely successful Achtung Baby, a moody art rock album masquerading as pop music (it helped that “One,” the one track on the album that doesn’t really fit, was a huge international hit). The band followed Achtung with a pair of strange experiments: 1993’s Zooropa, which was an album that leaned heavily on electronics and was written and recorded in between legs of ZooTV, and 1996’s Original Soundtracks 1, a heavily ambient album produced by Brian Eno and credited to Passengers (it was so out there that the label didn’t want them to release it under their own name).

That meant it had been nearly six years since a “proper” U2 album had been put on the market, so expectations were high. Those expectations were compounded by the fact that in the run-up to Pop’s release, people were suggesting that U2 had somehow managed to solve the conundrum that was facing rock music at the time.

Back in 1996, a reasonable portion of the population believed that dance music was going to take over as the next great underground genre to blow up to stadium size. Everybody was extremely excited about the Prodigy, and the Chemical Brothers were being treated like big time rock stars and not just a pair of DJs.

More and more bands were dipping into the electronic pool, augmenting their rock tunes with breakbeats, bits of trip-hop and whatever else floated over from the United Kingdom. It was seen as a conundrum that needed to be solved, as though somebody would eventually crack the code and deliver a song or an album that would successfully bring together the two disparate worlds to create a new genre.

Everybody was convinced that Pop was that album. Before anybody heard any music, people who thought about pop music for a living seemed to think that U2 had solved it, and when they dropped the single “Discotheque” a month before, it seemed like Pop was going to change everything. “Discotheque” grafted some super-distorted guitars, techno-funky bass and a sweaty breakbeat, and it still allowed for a killer chorus it sounded like the collision of modern dance music and rock and roll.

But when the album came out and fans listened to the other 11 songs on the album, there was much confusion. The first three songs on the album — “Discotheque,” “Do You Feel Loved” and “Mofo” — made an effort to attach disparate dance genres (like techno, house and drum and bass) to U2’s refined approach to stadium rock.

The problem is that none of those songs particularly succeed as dance songs or as rock workouts. “Discotheque” runs out of steam, “Do You Feel Loved” isn’t dynamic enough and “Mofo” devolves into a beat-happy mess.

And then U2 seem to abandon the premise entirely. Luckily, they do it for the sake of “If God Will Send His Angels” and “Staring at the Sun,” neither of which contain very much in the way of electronics but both of which contain blissful melodies and hypnotic hooks. (“If God Will Send His Angels,” in particular, seemed to be laying the groundwork for their throwback 2000 album All That You Can’t Leave Behind.) “Gone” is also a spectacular anthem with a giant chorus — in fact, Bono has a great time on Pop, as there are places for him to experiment as well as to hit his usual high notes. (Conversely, the Edge has the roughest time on Pop, as his guitar tones are often subverted, distorted or lost entirely.)

Latter day U2 albums also contain a healthy amount of obsessions with American culture, and Pop contains two such tracks: “Miami” and “The Playboy Mansion.” The former is an intense beat experiment that does a lot of swirling but doesn’t go much of anywhere, and “The Playboy Mansion” is about the closest thing the band has ever come to making a novelty song. Still, it’s charming in spots and has a jaunty little melody.

The album wraps up with the smoldering “If You Wear That Velvet Dress,” the lurching “Please” and the sparse, powerful “Wake Up Dead Man.” Really, those three songs act as a microcosm for U2’s entire career, as it has the right combination of romanticism, Catholicism, passion and darkness. Unfortunately, none of those songs have the sort of sweetness that lurks under even the most militant U2 tunes, which makes for a rather uneven finish to what ends up being a bizarre, disjointed album.

So Pop didn’t change the way we think about rock music, nor did it change the way we think about U2 (they ended up really coming back with All That You Can’t Leave Behind a few years later). Bono, the Edge, Adam Clayton and Larry Mullen, Jr. seemed to be distracted by keyboards and irony, which may explain why Pop is by far the most schizophrenic release in U2’s canon.

It’s an interesting entry in the band’s history (and a fascinating look at the state of rock music in 1997), but not up there with the essential All That You Can’t Leave Behind, Achtung Baby and The Joshua Tree.

One thing is for sure, U2 has created something that you can’t leave behind.

Bono, Live Aid 25

To mark the 25th anniversary of Live Aid, take a listen to this  landmark two-part documentary telling the story of the 1985 event staged to raise funds for famine relief in Ethiopia.

The documentary will look at how the gig came about, what happened on the day, both on-stage and back-stage, and its lasting legacy and will feature exclusive interviews from members of the original Live Aid line up including Bob Geldof, Bono, Sting, Mark Knopfler, Elton John, Brian May, Roger Taylor, Paul McCartney, Midge Ure, Phil Collins, Chrissie Hynde, Bryan Adams, Francis Rossi, Rick Parfitt, Gary Kemp, Tony Hadley, Paul Young, Elvis Costello and Billy Connolly amongst others who will all recount their memories of the history-making event.

Download the podcasts

You can download a series of Live Aid 25 podcasts, for free, with Absolute Radio podcasts.

Glastonbury Appearance !

Another year, another Glastonbury — and another fresh round of what-ifs and maybes for the festival rumour mill.

This year the most-whispered tale involves two of the 2010 festival’s headliners – or, rather, one of the headliners and a band who were supposed to be topping the bill on the Pyramid Stage.

Saturday’s headliners Muse had hinted they were planning something special for their headline slot. On Friday, BBC 6 Music reported that the band might be joined by U2’s guitarist the Edge for their slot.

U2, of course, were supposed to be headlining the festival on Friday night but had to pull out after Bono underwent surgery, leading them to pull a series of dates on their world tour.

Festival organiser Michael Eavis had been asked by the station if the rumours were true, and did not deny the story – though he did not confirm it either.

Whether Matt Bellamy and company are joined by the veteran guitar great, only a time machine or patience will tell. Stay tuned.

360° tour to Australia in December

The Music Network said the band will officially confirm the news we’ve all been waiting for when they announce new dates of their cancelled US tour.

Bono will be back on stage in a few weeks. This comes directly from Paul McGuinness, U2’s manager. Bono who is 50 had been operated on after becoming temporarily paralysed. By now you know this forced the cancelation of the North American tour as well as the headline slot at Glastonbury.

“He’s making a full recovery. The doctors told me he’s going to be fine. It was serious surgery but we expect him to make a full recovery. He’s pretty fit.” Said Paul during a recent interview.

McGuinness said there was no reason to believe the tour’s massive stage production had anything to do with the singer’s injury.

“Rescheduling the American leg is quite difficult because it is an outdoor show; we can’t do it in the winter because it’s the northern hemisphere.

“So what we’re doing now is trying to seek availability of the buildings that we had already pretty much sold-out, so we’re getting availabilities and routing a coherent tour for next summer in the U.S. and Canada. We’ve nearly done it so I hope we’ll be able to announce that shortly.”

McGuinness insisted the rest of the band hasn’t been enjoying an impromptu holiday while Bono recovers.

Joshua Tree narrowly beats out Achtung Baby

U2 Fans yesterday woke up around the world to the question of the day on Facebook. If you could only have one U2 ablum with you what ablum would that be. Of course we had some differences. War, Best of, How to Build, but for the most part it was neck neck these two ablums. For us we think its Joshua tree. A defining period for all of us.

The Joshua Tree is the fifth studio album by rock band U2, released on 9 March 1987 on Island Records. Written and recorded in Dublin throughout 1986, it was produced by Daniel Lanois and Brian Eno. The album is dedicated to lead singer Bono’s assistant, Greg Carroll, who was killed in a motorcycle accident during the album’s recording.

There is within music an ability to tap into the raw, revelatory power of beauty; music can give itself to the unknown whisper of the eternal in ways that other forms of art only hint at. The collage of sounds communicates something deep to the heart and, when combined with the presence of the voice, can be downright liberating. Few individuals, let alone bands, ever really reach a point where they are that open to the Unknown that it can give itself so freely through their music. U2 has done so time and again, but never with the level of directness and sincerity as they accomplished on the Joshua Tree.

A joshua tree is a real tree that thrives despite the dry environment it lives in. The image - the icon - of life amidst its seeming absence, embodied in the joshua tree, is one that is fully appropriate to U2 - particularly at the end of their first decade. U2, like the joshua tree, stood in stark contrast to its environment: ascetic, prophetic and disarmingly (some would say “naively”, but let the tension stand) sincere. (Their foray into the realm of post-modern sampling, irony and sarcasm was an identity crisis fully in line with where they stood in the 80s: cynicism is frustrated optimism.)

“I Still Haven’t Found What I’m Looking For”, the second song, really expresses the kernel of The Joshua Tree; every other song fleshes it out in some way or another. The album is, in the end, about distance: “I have run, I have crawled, I have scaled these city walls only to be with you: But I still haven’t found what I’m looking for.” While one may take this to be an admission of defeat - and distance whispers of despair as much as consummation - doing so is incorrect: “I’m still running,” Bono sings. The song is an expression of hope more than anything.

Faith is a raw and disarmingly rough beauty; it looks within and it looks without. “Bullet the Blue Sky” and “Mothers of the Disappeared” give full expression to U2’s long-time political engagement, while “With or Without You” gives a glimpse into U2’s more tender side. “With or Without You” may very well be the best love song of the 80s. “One Tree Hill”, a deeply personal song about the death of a friend, moves with passion and rugged grace - and, again, with hope: “I’ll see you again when the stars fall from the sky and the moon has turned red over one tree hill.”

The album received critical acclaim, topped the charts in over 20 countries, and sold in record-breaking numbers. According to Rolling Stone, the album increased the band’s stature “from heroes to superstars”. It produced the hit singles “Where the Streets Have No Name”, “With or Without You”, and “I Still Haven’t Found What I’m Looking For”. The album won Grammy Awards for Album of the Year and Best Rock Performance by a Duo or Group with Vocal in 1988. The Joshua Tree is frequently cited as one of the greatest albums in rock history, and it is one of the world’s all-time best-selling albums, selling 25 million copies. In 2007, a remastered version of the album was released to mark the 20th anniversary of its original release.

Achtung Baby is the seventh studio album by rock band U2. Produced by Daniel Lanois and Brian Eno, it was released on 19 November 1991 on Island Records. Stung by the criticism of their 1988 release Rattle and Hum, U2 shifted their musical direction to incorporate alternative rock, industrial, and electronic dance music influences into their sound. Thematically, the album is darker, more introspective, and at times more flippant than the band’s previous work. Achtung Baby and the subsequent multimedia-intensive Zoo TV Tour were central to the group’s 1990s reinvention, as U2 replaced their earnest public image with a more lighthearted and self-deprecating one.

Seeking inspiration on the eve of German reunification, U2 began recording Achtung Baby in Berlin’s Hansa Studios in October 1990. The sessions were fraught with conflict, as the band argued over their musical direction and the quality of their material. After weeks of tension and slow progress, the group made a breakthrough with the improvised writing of the song “One”. They returned to Dublin in 1991, where the majority of recordings were completed. The album’s title and colourful multi-image sleeve were chosen to confound expectations of U2 and their music.

One of U2’s most successful records, Achtung Baby earned favourable reviews and debuted at number one on the US Billboard 200, while topping the charts in many other countries. It spawned the hit singles “One”, “Mysterious Ways”, and “The Fly”. The album has sold 18 million copies worldwide and won a Grammy Award in 1993 for Best Rock Performance by a Duo or Group with Vocal. One of the most acclaimed records of the 1990s, Achtung Baby is regularly featured on lists of the greatest albums of all-time.


'an extraordinary day' -Bono

Did you happen to catch the NY Times this weekend, Bono had a chance to comment on the Saville report.  Bono’s Op-Ed  points out very directly that a 11 minute report does not clear away the wounds of a life time. Yet this does provide closure for some. What are your thoughts ? Bono holds back no punches to say that this report outlines the causes and the conflict between those that witnessed this event. Event may not be the right word. What we now know is that this was wrong, as if we needed a report to highight that fact. 11 people are dead for what ? Bono’s words below should give you something to think about. Often we brush things under the carpet to avoid conflict. This time its right in your face. 


ONE of the most extraordinary days in the mottled history of the island of Ireland was witnessed on both sides of the border last Tuesday.

The much-anticipated and costly Saville report … the 12-years-in-the-making inquiry into “Bloody Sunday,” a day never to be forgotten in Irish politics … was finally published.

On that day, Jan. 30, 1972, British soldiers fired on a civil rights march in the majority Catholic area of the Bogside in Derry, killing 14 protesters.

It was a day that caused the conflict between the two communities in Northern Ireland — Catholic nationalist and Protestant unionist — to spiral into another dimension: every Irish person conscious on that day has a mental picture of Edward Daly, later the bishop of Derry, holding a blood-stained handkerchief aloft as he valiantly tended to the wounded and the dying.

It was a day when paramilitaries on both sides became the loudest voices in the conflict, a day that saw people queuing to give up on peace … mostly young men but also women who had had enough of empire and would now consider every means necessary — however violent or ugly — to drive it from their corner.

It was a day when my father stopped taking our family across the border to Ulster because, as he said, the “Nordies have lost their marbles.” And we were a Catholic-Protestant household.

Contrast all this with last Tuesday … a bright day on our small rock in the North Atlantic. Clouds that had hung overhead for 38 years were oddly missing … the sharp daylight of justice seemed to chase away the shadows and the stereotypes of the past. No one behaved as expected. The world broke rhyme.

A brand-new British prime minister, still in his wrapping paper, said things no one had imagined he would … could … utter ….

“On behalf of our country, I am deeply sorry.”

And there was more ….

“What happened should never ever have happened,” said the new prime minister, David Cameron. “Some members of our armed forces acted wrongly. The government is ultimately responsible for the conduct of the armed forces. And for that, on behalf of the government, indeed on behalf of our country, I am deeply sorry.”

It was inconceivable to many that a Tory prime minister could manage to get these words out of his mouth. It was also inconceivable — before he uttered the carefully minted phrasing — that he would be listened to by a hushed crowd gathered in Guildhall Square in Derry, a place not famous for its love of British leaders of any stripe, and that he would be cheered while speaking on specially erected screens that earlier had been used to relay images from the World Cup.

Thirty-eight years did not disappear in an 11-minute speech — how could they, no matter how eloquent or heartfelt the words? But they changed and morphed, as did David Cameron, who suddenly looked like the leader he believed he would be. From prime minister to statesman.

Joy was the mood in the crowd. A group of women sang “We Shall Overcome.” There was a surprising absence of spleen — this was a community that had been through more than most anyone could understand, showing a restraint no one could imagine. This was a dignified joy, with some well-rehearsed theatrics to underscore the moment.

As well as punching the sky and tearing up the first “Bloody Sunday” inquiry — a whitewash by a judge named Lord Widgery who said the British troops had been provoked — these people were redrawing their own faces from the expected images: from stoic, tight-lipped and vengeful to broad, unpolished, unqualified smiles, unburdened by the bile the world often expects from this geography.

Derry is a community and these Derry people looked like guests at a wedding — formal only for as long as they had to be, careful of their dead but not at all pious. Some began to speak of trials and prosecutions but most wanted to leave that talk for another day.

Figures I had learned to loathe as a self-righteous student of nonviolence in the ’70s and ’80s behaved with a grace that left me embarrassed over my vitriol. For a moment, the other life that Martin McGuinness could have had seemed to appear in his face: a commander of the Irish Republican Army that day in 1972, he looked last week like the fly fisherman he is, not the gunman he became … a school teacher, not a terrorist … a first-class deputy first minister.

Both Mr. McGuinness and Gerry Adams, the leader of Sinn Fein, seemed deliberately to avoid contentious language and to try to include the dead of other communities in the reverence of the occasion. Though a few on the unionist side complained that the $280 million spent on the inquiry, commissioned by Prime Minister Tony Blair in 1998 and led by Lord Saville, a top judge, could have been used to improve Northern Ireland’s schools or investigate unionist losses, they mostly accepted the wording of the report that the deaths were “wrong” and “unjustified”; Protestant clergymen spoke of “healing” and held meetings with families of the victims.

Healing is kind of a corny word but it’s peculiarly appropriate here; wounds don’t easily heal if they are not out in the open. The Saville report brought openness — clarity — because at its core, it accorded all the people involved in the calamity their proper role.

The lost lives rose up from being statistics in documents in the Foreign Office to live once again. On the television news, we saw them … the exact time, the place, the commonplace things they were doing … William Nash, age 19, shot in the chest at close range, his father wounded trying to reach him … William McKinney, age 26, shot in the back while tending the wounded … Jim Wray, age 22, shot twice, the second round fired into his back while he was lying on the ground outside his grandparents’ house. We saw their faces in old photographs, smiles from 38 years ago … the ordinary details of their ordinary and, as Lord Saville repeatedly pointed out, entirely innocent lives.

It’s not just the Devil who’s in the details … God, it turns out, is in there too. Daylight …

Even the soldiers seemed to want the truth to be out. In the new report, some contradicted statements they had been ordered to make for the Widgery report.

It is easily forgotten that the British Army arrived in Northern Ireland ostensibly to protect the Catholic minority.

How quickly things can change.

In just a couple of years, the scenes of soldiers playing soccer with local youths or sharing ice creams and flirting with the colleens had been replaced by slammed doors on house-to-house raids … the protectors had become the enemy … it was that quick in Derry.

In fact, it can be that quick everywhere. If there are any lessons for the world from this piece of Irish history … for Baghdad … for Kandahar … it’s this: things are quick to change for the worse and slow to change for the better, but they can. They really can. It takes years of false starts, heartbreaks and backslides and, most tragically, more killings. But visionaries and risk-takers and, let’s just say it, heroes on all sides can bring us back to the point where change becomes not only possible again, but inevitable.

U2 is in a studio in Dublin, playing its new song, “Sunday Bloody Sunday,” to the record company. The melody is a good one but the lyric is, in hindsight, an inarticulate speech of the heart. It’s a small song that tries but fails to contrast big ideas … atonement with forgiveness … “Bloody Sunday” with Easter Sunday. The song will be sung wherever there are rock fans with mullets and rage, from Sarajevo to Tehran. Over time, the lyric will change and grow. But here, with the Cockneyed record company boss at the song’s birth, the maternity ward goes quiet when the man announces that the baby is “a hit”… with one caveat: “Drop the ‘bloody.’ ‘Bloody’ won’t bloody work on the radio.”


Win a U2 - 360° AT THE ROSE BOWL

U2 Tourfans is giving away copies of U2 - 360° AT THE ROSE BOWL Deluxe !

U2 360° At The Rose Bowl was the penultimate gig of last year’s U2360° Tour in support of their Grammy nominated album No Line on The Horizon.

The Rose Bowl performance was the band’s biggest show of 2009 and U2’s biggest ever US show, with a live audience in excess of 97,000.

U2 - 360° AT THE ROSE BOWL [Super Deluxe Edition]


The show was also streamed across seven continents via YouTube. The first ever live streaming of a full-length stadium concert, U2360° at the Rose Bowl had over 10 million views on the channel in one week.

Enter to win. Easy - Post your comments and Photos to the show you attended or why you love U2 on Facebook/U2TOURFANS, selections will be made in random different hours of the day.  If you attended a show last year tell us about it. If your planning to attend a show this year tell us about. Post a photo and share your comments. 

Shot entirely in HD, the concert was filmed with 27 cameras and directed by Tom Krueger who had previously worked on U23D, the first live action 3D concert movie taken from U2’s Vertigo Tour.

Available in standard and 2-disc deluxe DVD formats (see below), U2360° At The Rose Bowl will also be U2’s first concert available in Blu-ray. The deluxe formats and the Blu-ray will feature a new documentary called Squaring the Circle: Creating U2360° with new interviews from U2, Paul McGuinness and the team behind the touring production.

Enter to win. Easy - Post your comments and Photos to the show you attended or why you love U2 on Facebook/U2TOURFANS, selections will be made in random different hours of the day.  If you attended a show last year tell us about it. If your planning to attend a show this year tell us about. Post a photo and share your comments. 

Faith Follows Fans, Bono Follows the World

Right now news from around the tour maybe a bit slow, nothing really new to report. Great time to catch up on other stories,become  fan, follow the litle bird and await for the return.  We have been reading some interesting books about U2, Bono and Faith it seems that everyone wants to place a label on the band and yet know one really has an idea of where to place it. 

To call them a Christian band may cause a shift in the world reglion. Yet many churchs will tell you allowing U2 music to play within the church has returned some people to God.

The title track from the band’s latest album, No Line on the Horizon — an album as steeped in spirituality as any since U2’s earliest years — seems to speak to that. There’s the image itself, the absence of a line, a final destination. A character in the song also says two things worth noting: “Infinity is a great place to start,” and “Time is irrelevant, it’s not linear.”

Razim sees it as similar to the parting of the Red Sea. “To me, it’s about God making a way when there seems to be no way.”

It’s a vast vision of the cosmos and the beyond that doesn’t exactly jive with the idea of heaven as a victorious endgame.

So it is that Bono told Christianity Today, “I generally think religion gets in the way of God.”

Or in 2002, the Edge told Hot Press, “I still have a spiritual life, but I’m not really a fan of religion per se.”

Christianity Today referred to Bono’s tour of American churches on behalf of African aid as “an arm’s-length experience of churches (that) leaves Bono with a paper-thin ecclesiology that measures the church’s mission [or its “relevance”] almost exclusively in geopolitical terms.”

But Garrett sees progress in Bono’s nonmusical works. “I think we’re seeing more people believe in that sense of the church needing to be more responsive to the needs of the world and less fixated in individual salvation. Especially among younger Christians. I think they were on the front end of that.”

The band’s music has found its way into American churches in the form of U2charists, which have been taking place over the past five or six years.

Razim has overseen two of them at Palmer, New Year’s Eve 2008 and Juneteenth 2009, both of which filled the church to capacity. A third is planned for the coming New Year’s Eve. U2 music is sung and money is raised for the United Nations’ Millennium Development Goals, a stipulation by the band in exchange for allowing its music to be sung without royalties.

She says the U2charist is “true to who we are” and in keeping with the church’s outreach.

And despite a somewhat strained relationship between U2 and any particular organized religion, Razim, like Garrett, sees kinship in the band’s spirituality. “It’s about searching and seeking,” she says. “The first time I heard a U2 song I detected it. It’s a journey, with faith developing and asking hard questions.

“I think their music is affirming and empowering, and it’s a true expression of who we are in this place and time.”


Sometimes U2’s songs are fairly obvious in their religious reference points. 40 is just a modified version of Psalm 40. Then there’s Mysterious Ways, which could just as easily be about a woman as it could about some other spirit. Some songs are questioning (most of Pop),others reverent (much of Boy). Here are just a few of the band’s spiritual songs that represent just some of the breadth of U2’s spiritual journey. As to which spirit they’re summoning, that’s in the ear of the behearer.

Twilight (from Boy, 1980)

I Will Follow (from Boy, 1980)

Gloria (from October, 1981)

Rejoice (from October, 1981)

40 (from War, 1983)

The Unforgettable Fire (from The Unforgettable Fire, 1984)

I Still Haven’t Found What I’m Looking For (from The Joshua Tree, 1987)

Bullet the Blue Sky (from The Joshua Tree, 1987)

Mysterious Ways (from Achtung Baby, 1991)

The Wanderer (from Zooropa, 1992)

Wake Up Dead Man (from Pop, 1997)

Grace (from All That You Can’t Leave Behind, 2000)

Elevation (from All That You Can’t Leave Behind, 2000)

Peace on Earth (from All That You Can’t Leave Behind, 2000)

Love and Peace or Else(fromHow to Dismantle an Atomic Bomb, 2004)

Sometimes You Can’t Make It on Your Own (fromHow to Dismantle an Atomic Bomb • , 2004)

Magnificent (from No Line on the Horizon, 2009)

Bloody Sunday killings unjustified !

Nearly 40 years after British soldiers shocked the world by shooting to death 14 protesters in Northern Ireland, an official investigation concluded Tuesday that the demonstrators posed no threat and that the killings were completely unjustified.

The massacre on the streets of Londonderry on Jan. 30, 1972, was seared in the British and Irish consciousness as Bloody Sunday and marked one of the most important turning points in the conflict in the British province of Northern Ireland. The incident radicalized Roman Catholic republican activists and ratcheted up the level of sectarian violence in “the Troubles,” which ultimately claimed more than 3,000 lives.

Tuesday’s long-awaited report overturned a government inquiry conducted immediately after the shootings, which acknowledged that the security forces’ actions might have “bordered on the reckless” but alleged that the victims had been armed with guns and homemade bombs.

Sunday Bloody Sunday” is the opening track from U2’s 1983 album, War. The song was released as the album’s third single on 11 March 1983 in Germany and The Netherlands.”Sunday Bloody Sunday” is noted for its militaristic drumbeat, harsh guitar, and melodic harmonies. One of U2’s most overtly political songs, its lyrics describe the horror felt by an observer of The Troubles in Northern Ireland, mainly focusing on the Bloody Sunday incident in Derry where British troops shot and killed civil rights marchers. Along with “New Year’s Day”, the song helped U2 reach a wider listening audience. It was generally well-received by critics on the album’s release.

The priest, Edward Daly, who is now retired, told the BBC in Londonderry on Tuesday that the new report has given him “a sense of enormous relief that this burden has been lifted from my shoulders and off the shoulders of the people of this city. It’s wonderful when the truth emerges.”

I want my U2

How many of you remember when MTV first came on air in the Tri state area. On August 1, 1981, at 12:01 a.m., MTV: Music Television launched with the words “Ladies and gentlemen, rock and roll,” spoken by John Lack.

Those words were immediately followed by the original MTV theme song, a crunching guitar riff written by Jonathan Elias and John Petersen, playing over a montage of the Apollo 11 moon landing.

With the flag having a picture of MTVs logo on it. MTV producers Alan Goodman and Fred Seibert used this public domain footage as a conceit, associating MTV with the most famous moment in world television history.

Seibert said they had originally planned to use Neil Armstrong’s “One small step” quote, but lawyers said Armstrong owns his name and likeness, and Armstrong had refused, so the quote was replaced with a beeping sound.

At the moment of its launch, only a few thousand people on a single cable system in northern New Jersey could see it.

Appropriately, the first music video shown on MTV was “Video Killed the Radio Star” by The Buggles. The second video shown was Pat Benatar’s “You Better Run”. Sporadically, the screen would go black when an employee at MTV inserted a tape into a VCR.

Video of the launch of MTV was uploaded onto YouTube in 2009, with the original commercials, and the “black screens” between videos. The “MTV lettering” differed on its first day, and included record label information like year and label name.

As programming chief, Robert W. Pittman recruited and managed a team for the launch that included Tom Freston (who succeeded Pittman as CEO of MTV networks), Fred Seibert, John Sykes, Carolyn Baker (original head of talent and acquisition), Marshall Cohen (original head of research),Gail Sparrow (of talent and acquisition), Sue Steinberg (executive producer), Julian Goldberg, Steve Casey (creator of the name MTV and its first program director), Marcy Brafman, Ronald E. “Buzz” Brindle, and Robert Morton.

So what’s the point? Well it’s summer in North America, hot and getting hotter. Many of us have grown have a couple of kids, raising a family trying to make ends meet and yet we all when out and purchased tickets to see the boys. It was kind of a chance to go back to that happy time. Summer 1982 ! 

Now fast forward to December 1982, the band arrived in Sweden with director Meiert Avis to shoot a video for New Year’s Day, first single from the their third album ‘War’.

The song, which made its 360 debut in Dublin a few days ago, was inspired by Lech Walesa, the leader of Solidarity, the trade union in Poland which helped bring down communism.

‘Snow as an image of surrender,’ explained Bono, talking about the lyric. ‘And these little glimpses of narrative, which are really just excuses for the overarching theme, which was Lech Walesa being put in prison and his wife not being able to see him…’

Adam remembers the video: ‘We needed snow so the director suggested northern Sweden. It was very basic, us performing in the snow, just kind of wrapped up, so you couldn’t really see us. I think Bono sussed that to be in a video you had to look like yourself, so he wasn’t wearing wooly hats or anything. I don’t even think he was wearing thermal underwear, just the same clothes he had on when we got off the plane from Dublin.’

Edge: ‘Bono’s mouth almost froze solid; if you watch him lip-syncing his mouth won’t quite work. But the video has an epic quality, there was something about that song that seemed to conjure up images of Dr Zhivago and European winterscapes. People always ask me: ‘Was it difficult riding the horse, in the video?’ And I have to tell them that was shot the day after we left. Apparently the four figures on horseback were all women, dressed similarly to ourselves.’

So there you go…. a random U2 connection from Sweden to Poland. (Maybe you can think of a better one…)

Congratulations U2.com

The peoples voice ! U2.com is one of five sites nominated for ‘Best Celebrity/Fan Site’ at the 14th Annual Webby Awards - and the votes are now being cast.

There’s four other sites nominated alongside us and U2.com is eligible for two awards: The Webby Award and The Webby People’s Voice Award. Voting is easy.

Visit the Webby site here.

When you register with a username and password, they instantly send you a link to confirm your account.

Click on that and you’re in: look for the Celebrity/Fan category and vote for U2.Com.

U2.com has also been made an  ‘Official Honoree’ in the Music category - selected from 8,000 entries. The Webby Awards is the leading international award honoring excellence on the Internet and presented by The International Academy of Digital Arts and Sciences.

U2 has thousands of unoffical U2 fan sites around the world in many lanuages. However there can only be one offical U2 site. U2.com - Congratulations and U2 Fans lets get voting !

U2 360° Tour: EUROPE 2010

Straight from U2.com

Following the success of the 2009 tour, U2 have confirmed that their acclaimed 360° Tour will continue in 2010. European fans who missed out in 2009 will have a new opportunity to experience the U2 360° Tour extravaganza with stops confirmed in Germany, Denmark, Finland, Russia, Austria, Greece, Turkey, France, Brussels, Spain and Portugal. Having just introduced the U2 Mobile Album, ‘No Line On The Horizon’, the band’s 12th studio album, the 2010 tour will once again be sponsored by BlackBerry.

Additional dates and cities to be confirmed. 

Lots of fan sites have been posting rumors of 3rd leg and possible 4th legs. While this could be possible its just to early to tell. We wil keep you posted. Also check out our tour list for details about the current tour.

Date:                                     Location

10 August 2010:                Commerzbank Arena, Frankfurt, Germany

12 August 2010:                AWD Arena, Hannover, Germany

15 August 2010:                CASA Arena Horsens, Horsens, Denmark

20 August 2010:                Olympic Stadium, Helsinki, Finland

25 August 2010:                Luzhniki Stadium, Moscow, Russia

30 August 2010:                Ernst Happel Stadium, Vienna, Austria

3 September 2010:          Olympic Stadium, Athens, Greece

6 September 2010:          Ataturk Olympic Stadium, Istanbul, Turkey

15 September 2010:        Olympic Stadium, Munich, Germany

18 September 2010:        Stade de France, Paris, France

29 September 2010:        Olympic Stadium, Seville, Spain

2 October 2010:                Estádio Cidade de Coimbra, Coimbra, Portugal

Medium Please

Let’s be honest: many of us purchased our U2.com membership with a singular purpose-priority access to the presale code required to get tickets for the band’s 2009 world tour. While the double album of rough drafts called Medium, Rare, and Remastered provides a critical ingredient to any completist cornucopia, for others, the plastic prize (recent released exclusively to fan club members) might serve as a mere memento to comfort and console those hardcores suffering with consumer guilt and additional debt after splurging on seats (or GA access) to multiple shows.

As other fans have already noted, these twenty tracks are hardly rare, since many have circulated on the Interwebs for years. More a random audio collage than a coherent album, it’s challenging to digest it in the way we might devour the band’s studio records. Still, there’s something enduring and endearing about this back catalog of alternate versions that connects with U2’s ultimate vision “to be a band” in the grandest sense of collective greatness, etching its illuminated audio files into the earbuds of popular consciousness.

Folks fond of hindsight might enjoy a game of “what if” when examining the jewels “Always” and “Native Son.” To be forever treasured and debated by the nerdy scholars of Dublin’s most esteemed artistic export, the latter drafts of these sketches ended up as massive hits and stadium anthems. Lyrically, “Beautiful Day” boasts better poetry than the unformed yet uniquely attractive “Always.” Even still and thanks to the Edge, the epic outtake evokes the same shimmering glory of its elder brother.

With “Native Son,” however, the more poignant and passionate words were relegated to the vault while the ferocious frivolity of “Vertigo” found its home on the FM airwaves. When Bono sears our ears with the scorching statements that “my enemy became my country” or that “it’s so hard for a native son to be free,” he returns us to the more defiantly politicized phases of his vocal proclamations found on War, Unforgettable Fire, and Joshua Tree. As a hit single, “Vertigo” better fits the fortysomething Bono and his dangerously delicate blend of corporate realpolitik and compassionate campaigns; yet again, those of us also in middle age and reared on the white-flag brandishing Bono can identify with acute longing with the singer of “Native Son.” In a similar vein dating all the way back to the beginning, “Saturday Night” (which opens the second disc) is a different version of “Fire” from October.

Bono's Top Ten Moves - Bone Head and all

1. The Spidey

If Bono were a bit younger, he could audition for the title character in his own Broadway show and get the part. In his never-ending desire to connect with his audience, Bono was notorious for climbing up, climbing down, or swinging from anything he could get his hands on, including light rigging, speaker stacks, fences, sculptures, and at the US Festival in the mid-'80s, the huge banner that hung behind the stage. While Bono insisted on defying gravity, the rest of the band were left to their own devices, continuing to play while no doubt shaking their heads in disbelief. Imagine what they're thinking during the band's Live Aid performance of "Bad," 11 minutes into a six-minute song: "You crazy #*%*#!"


2. The Hair Whisperer

In the late '80s, Bono got rid of his mullet and cut his hair into a shoulder-length pageboy. At first it was a jarring transition, until it became apparent that this hairstyle was the best bodily prop Bono ever had at his disposal, giving him more options than ever before or since. It started out innocuously enough, pulled back into a ponytail, but then it became a weapon whipping around his head, or sticking to the sweat on his face, causing Bono to compulsively run his fingers through his hair to smooth it away.


3. The Shackle

In the video for "With or Without You," Bono throws his arms straight up over his head and crosses them at the wrists for a literal interpretation of the line "My hands are tied/my body bruised..." Bono, I'd like to personally thank you for fueling my rock star fantasies with that particular visual.


4. The Rockette

U2 likes to make a big entrance when they come out to play for their fans, and nothing was bigger than the Zoo TV tour. Bono and his mates tossed off every last vestige of their '80s personas and came roaring into the '90s in a blaze of leather and flickering blue light from an enormous wall of television screens. The Edge strikes the first notes of "Zoo Station," and Bono, looking cooler than cool, rises out of the darkness and executes a series of high kicks that rival any of those performed by the famed residents of Radio City Music Hall.


5. The Boxer

How do you top Zoo TV? Why, with PopMart, of course. Another big entrance by the band as the song "Pop Muzik" blares over the loudspeakers, they enter the venue by walking through the crowd, tuxedoed bodyguards and huge entourage in tow. In his white robe, hood pulled over his eyes, Bono does his best "Macho" Comacho or "Boom Boom" Mancini, jabbing and prancing his way to the ring. And while it may take a few minutes for the crowd to notice, no one seems to care once they realize the muscles aren't real.


6. The Bull

This move was worthy enough to be a part of both the PopMart and Elevation tours, for the song "Until the End of the World." Bono's fingers are his props here, representing the horns of a charging bull as Bono and The Edge attempt to slay each other with rock 'n' roll. The fans are the lucky winners in this dramatic fight to the finish.


7. The Turkey

U2 appeared on the Late Show with David Letterman in support of All That You Can't Leave Behind, shortly after the 9/11 disaster. The band paid homage to the city by playing "New York." True to form, Bono changed the lyrics of the song to fit the occasion, which was touching until, in an effort to become the Statue of Liberty, Bono places his outstretched fingers behind his head to form her crown. Does he evoke the famous symbol of freedom, or poultry in heat? Tough call.


8. The Loaded Diaper

This move is most evident in the official "Beautiful Day" video, shot in and around the Charles De Gaulle airport in Paris, France. Anyone who's been a parent will recognize it immediately: Your very young child waddles up to you in a sort of half walk, half squat, clearly uncomfortable. With the camera at such a low angle, we get a most unfortunate view as Bono gives new meaning to the phrase "It's been all over you."


9. Crazy Samurai

During the Vertigo tour, Bono and Larry began the song "Love and Peace or Else" at the tip of the b-stage, while Adam and The Edge remained on the main stage. Larry plays the song on a single drum and cymbal, but at some point flees the scene and heads back to the safety of his kit. Bono takes the drumsticks and starts wailing away on that poor thing, doing his damnedest to smash it to bits. He gets so excited, he's also stomping his feet. Look out!


10. The Upper GI

There's a point in every U2 show that makes you wonder if Bono's pre-show burrito was a bad idea. He hunches over, grabbing his middle or pulling his jacket tighter to his body, and he's clearly feeling something, but what? The song, or the burrito? Let's hope, for all of our sakes, that it's the song.