U2 in La Plata: The ship landed on Wednesday.
U2 during its 35 years has grown, evolced, risked, became, formed, deformed. Army feathering in Sunday Bloody Sunday ‘83, blues quartet in Rattle and Hum, plant hits on The Joshua Tree, Achtung Baby exploration, techno-dance pop and sinuous in creativity in the century, always operated by a social and political commitment which won awards and critical leader.
All that was the Irish quartet, on Wednesday, Argentine premiere U2 360 ° Tour, which landed at the Estadio Unico de La Plata with its huge “Claw”, a score of great songs and a never before seen technology deployment in country.
In the world of Bono, The Edge, Adam Clayton and Larry Mullen everything seems calculated to the point that any sign of spontaneity raises suspicions. At that point, the issue passes or not to believe in intellectual honesty, and other machinery that drives the brand that became U2.
From the start of Even Better Than the Real Thing on the heels of the Space Oddity of Bowie intro - Rocket Man, in the epilogue, spatially complete the journey, the night moved through a healthy way of contrast.
Of the 90 to I Will Follow, and then to present Get On Your Boots and Magnificent, not temporality defined Bono (are) asked: “What time is it in the world?” In the sense that Mysterious Ways ( even with inserts of the Beatlesque My Sweet Lord and Norwegian Wood), and even chaotic Until the End of the World taquito leave them, to the shock of the crowd jumping and singing Elevation. “They’re more”, dropped the singer, before I Still Have not Found What I ‘Looking For. And suddenly, the visual paraphernalia out of focus, to return to The Edge textures that you invented a Beautiful Day-plus -. Blackbird Beatles Then, In a Little While with “girl of the public who climbs onto the stage to sing Bono.”
With the claw again as protagonist, the sequence City of Blinding Eyes - Vertigo - I’ll Go Crazy If I Do not Go Crazy Tonight gave way to political bloc.
First, Scarlet and Walk On and after closure of the triad. Meanwhile, the screen and Bono made reference to Libya, Egypt, the Burmese leader Aung San Suu Kyi, launched a “Hallelujah” and Amnesty International activists framed, with candles, the first false ending.
More explicit message. Desmond Tutu, subtitled. Health, protection of children and education in poor countries. E implied.
One and Mother of Disappeared before Where the Streets Have No Name. To the end, the real one, “Hold Me, Thrill Me, Kiss Me, Kill Me and With Or Without You as a launch pad for flight control of The Edge, Clayton in the opposite cardinal point of the stage, hanging from Bono wheel-shaped microphone and rubbing his face against the camera. Mullen, where ever.
One more, and nothing else.
Moment of Surrender. The Edge on piano, the last ride bonus down the runway, greeting Gustavo Cerati, the total due for all, and “Love, love, love and respect.”