"we should just f*** off"

BRIAN BOYD

‘Achtung Baby’ was the making of U2. As the album is rereleased after 20 years, alongside a film about the band, Bono and Edge recall the turmoil that surrounded the recording and talk about their future

IT’S WHEN THREE glasses are raised to toast “12-step programmes” that you realise perhaps one too many cocktails has been taken. It’s a bar in Toronto and the caipirinhas were Bono’s idea, with Edge not slow to get his round in. “If we don’t come up with a very good reason to make a new album, we should just f*** off,” says Bono. “Why does anyone need a new U2 album?”

For the first time in their 35-year career the notoriously “faster, stronger, higher” band have put the brakes on and taken a long look in the rear-view mirror. A new film about the band, From the Sky Down , documents how their huge success in the 1980s provoked a bout of self-loathing and almost broke up the band as they struggled to stay true to their vision of a band forged in the white heat of Dublin’s punk/new wave movement.

To mark the 20th-anniversary rerelease of their key Achtung Baby album, U2 had a rush of blood to the head. They decided to open their archives and cede editorial control to the Oscar-winning director Davis Guggenheim to make a film ostensibly about the troubled gestation period of Achtung Baby . The result was something very different.

“Watching From the Sky Down the first time made for painful viewing. I hated it,” says Bono. “U2 never look back. It’s never been what this band is about. Edge will tell you that when we put together our best-of collections he forced me – actually had to physically force me – to listen to them before they went out. I’ve never been interested in what we have done. I’m interested only in what we’re about to do. But I think there comes a time when it actually becomes dysfunctional not to look into the past, and for the Achtung Baby album we made an exception.

“The film is not about us per se. It’s about how bands function – or, in this case, don’t function. But when I saw it first I just saw these four people talking intensely about their music, and, really, does the world need that at this time? Davis didn’t tell us he was going into our past to put a context on what really happened to the band after the success of The Joshua Tree and how bad things were in Berlin when we started to make Achtung Baby . He didn’t tell us because we wouldn’t have agreed. Now that I’ve seen it a few times I realise it is actually about the creative process. Let’s face it, the era of rock music is going to end soon, and if you are interested in rock music and rock bands you’ll be interested in their internal dynamics: what makes a rock band tick, the tribal aspect, the idea of the clan. The irony for me now is that we made Achtung Baby to set fire to our earnestness and now here’s this very earnest film about the making of the album.

“We held back nothing from Davis. We opened up our archives to him and he really had carte blanche. The first time I saw it I was going, ‘Oh no, no, no,’ and I went to him and made a few suggestions as to the changes I wanted. There was no battle of wills. He just didn’t even get into a discussion with me. He didn’t change anything. But I was looking at it, going, ‘Why is this film talking about Cedarwood Road [where he grew up], the Baggot Inn and my grandmother? I thought we were making a film about the Achtung Baby album. What is going on here?’ ”

What is going on in the film is a look at how a band who shared musical DNA with Throbbing Gristle and Cabaret Voltaire ended up sitting at music’s high table alongside Elton John and Dire Straits – but without the AOR table manners. A generation before Nirvana dragged alt-rock into the musical and media mainstream, this punk-theatric band ended up on the cover of Time magazine, in April 1987, as “Rock’s Hottest Ticket” and selling out arenas around the world.

Disgusted with the idea of being rock idols and disillusioned by their stadium-rock billing, they were at breaking point. “We were carrying Catholic guilt around – the sin of success,” says Bono. “We had emerged from playing with The [Virgin] Prunes and hanging around the Project Arts Centre getting mime lessons from Mannix Flynn. And the context here is that the musical scene we came from had this very Maoist music press. There were certain canon laws: thou shalt not go platinum; thou shalt not play in a stadium or an arena; thou shalt not go to America; thou shalt not be careerist. If you even thought about those things you had committed a sin.”

DESPERATE NOT TO turn into a cigarette-lighter-in-the-air stadium-rock band, U2 boarded the last flight to East Berlin just before Germany reunified, in 1990. It was one of the harshest Berlin winters, their recording studio, Hansa, was a former SS ballroom, their hotel was rubbish and they had no songs. “On a scale of one to 10 we were at a nine for breaking up,” says Bono.

For Edge, U2 were over the moment they walked into Hansa – or, at least, Rattle and Hum U2 were over. “It would have been insanity for us to have stayed in Rattle and Hum mode; that was a wonderful, great little aside, but it was never who we really were,” says the guitarist. “Who we really are is all about the future and innovation. We were getting a bit purist and a bit ‘disciplist’ about roots music, but we needed to become disciples of what is coming next. I arrived in Berlin with drum machines and loops, telling everyone what was happening in Manchester,” he says, referring to the Hacienda nightclub and to The Stone Roses and Happy Mondays, among other bands. “I was also big into industrial music, but the producer of the album, Danny Lanois, was going, ‘Okay, this all sounds interesting, but show us where it’s going musically.’ And I couldn’t.”

Things deteriorated rapidly. As Bono has it, while outside they were tearing down the Berlin Wall, U2 were building their own wall inside Hansa. On one side were the so-called traditionalists: Adam, Larry and Lanois; on the other, Bono and Edge were throwing club- culture and dance-rhythm shapes. Bono had always felt aggrieved that whenever a club DJ would play a U2 song, it would empty the dance floor. He wanted to make U2’s music sexy.

“To Danny Lanois, from his perspective, we were kindred spirits to his love of roots music,” says Edge. “He loved the organic feel to our music, the material that was on The Unforgettable Fire and The Joshua Tree . But no one knew how to make the bits of new material we had into U2 songs. The first two weeks were a nightmare. Everything we tried would just nosedive. It got to the stage where we lost trust in each other … and there was a clear dilemma.

“There were options: one was to see whether U2 could absorb new material and make it their own, or whether U2 as a band were inflexible and couldn’t stretch. The other option was to throw out all the material, start again and … extend the line-up or bring in other musicians.”

With the band having to take some very hard decisions about continuing to flail around in the studio or just cancelling everything, a deus ex machina arrived in the shape of the discarded second bridge from a song called Sick Puppy (later renamed Mysterious Ways ). That bridge was shaped into the intro for a new song, One . “As soon as One came into that room it stabilised everything,” says Bono. “Everyone just sort of surrendered after we had that. By surrendering, we got over the hump.”

With a song to anchor the album, they returned to Dublin for Christmas and finished off the album in a rented house in Dalkey, in south Co Dublin.

Released in 1991, and hailed as a triumphant reinvention, Achtung Baby sold more than 20 million copies. It remains their most important album, and the resulting tour, Zoo TV, changed how live rock music would be presented and experienced.

It’s dark outside in Toronto now, and an interview that began in sunshine has gone way over time. There’s just one more thing. It may well be an act of lese-majesty, but here goes: one possible interpretation of the film, Bono, is that, without Edge, you’d still be in the Baggot Inn. “Sure,” he says, nodding.

“That’s a lovely thing to say,” says Edge. “But I don’t think that’s true. It’s symbiotic. I wouldn’t be able to do what I do without Bono, and I think that’s reciprocal. He makes me great. I help him to be great.”

Before they descend into you’re-my-best-friend territory, we slip away. Bono is saying, “Being in U2 is like being in the priesthood. There’s only one way out. And that’s in a coffin.”

Bono says Your Not Groovy !

Audiences are not groovy enough to understand what u2 are trying to do with their music Bono has claimed.

“Look, sometimes our audience isn’t as groovy as we’d like,” he said. “‘Get on Your Boots’, as it was released, is a sort of crossover, half-club, half-indie-rock record.

“People are not sure about the club side of U2. They want ‘Vertigo’. And when we did this the last time — with ‘Discotheque’, from ‘Pop’, they didn’t like it either.”

However Adam Clayton the bass player diasgreed saying ‘Get on Your Boots’ “confused people” because it was so complicated.

He told Rolling Stone magazine: “Interestingly, it’s going off live. I think probably what happened was it’s a common U2 problem. I think we probably worked on it and worked on it and worked on it, and instead of executing one idea well, I think we had probably five ideas in the song, and it just confused people. They weren’t sure what they were hearing.”

Well what do you have to say to that ? Are you groovy ? Do you understand the deeper meanings of the songs ? Or are you just not that cool

Irish Times

Want to work for U2 ?

Organizers of a U2 concert in Moncton this summer are on the hunt for hundreds of temporary workers needed to erect a massive stage, grandstands and lighting and sound systems at Magnetic Hill.

Pascal Dube of Stage Crew Inc. of Moncton is looking for riggers, forklift drivers, truck loaders, stage hands and general labourers.

It will be a huge job that will begin about a week before the concert.

The U2 stage, a huge metal claw with four legs and giant video screens that stands about 50 metres tall, will likely be the biggest yet erected at the outdoor venue.

As a contractor to the touring company, Dube will be responsible for working with U2’s road crew to make sure everything is set up and ready to go when the band arrives.

He can’t say exactly how many people he will need but said the AC/DC show in Moncton in 2009 required more than 200 people — and the U2 show is expected to be bigger with up to 100,000 spectators.

“We have people coming from all over New Brunswick, P.E.I. and Nova Scotia to work at the show. And they don’t come just for the work because they have other jobs — they gotta love doing it,” Dube said.

“In this job you get to meet people from all over the world and get to be part of putting this big show together. It’s all about the music.”

The July 30 show will be the final North American date of the U2 360 Tour. The opening act is Montreal’s Arcade Fire, which received a best album Grammy last weekend for The Suburbs.

Besides all the riggers and stagehands, the U2 concert is expected to provide many other short-term jobs in security, food service, beverage service, traffic control and the box office.

Shane Porter, the City of Moncton’s supervisor of special events, said extra security will also be recruited while traffic control in and out of the site will be handled by the RCMP.



Remembering John

John Lennon / Bono / U2TOURFANS / U2

U2 By the Numbers

The tour, with a daily running cost of $850,000, arrived on six 747 jets to be assembled by a crew of 130.

“You compare a tour by the number of trucks they use,” production manager Jake Berry said. “The Rolling Stones ran 46 trucks. We are running 55. This is the biggest.”

The centrepiece of U2-360 is a so-called claw, an imposing bug-like structure that houses 200 tonnes of light, sound and video magic.

U2-360 stage designer Willie Williams said: “The breakthrough was to make it so big that it becomes part of the stadium. But, in a funny way, it’s invisible because the performance area is not connected to the structure.”

Indeed, the stadium of fans surrounding the claw and stage become part of the show, too.

“It’s a cross between a rock show and a sporting event because you can see the other people,” Williams says.

U2 redefined stadium rock with their ZooTV and PopMart tours. But U2 bassist Adam Clayton says U2-360 is revolutionary. “We know it’s a game changer,” he said. “These football stadiums can be quite imposing for music. But this has a different atmosphere. There is humour to it, almost something ridiculous about it. “You think ‘How is this going to work?”’

In terms of box office receipts, U2-360 is working incredibly well.

It took $123 million to be the highest grossing tour of 2009.

A back injury flattened the band’s lead singer, Bono, and tour profits, for most of this year.

U2-360 resumed in August with sellout dates across Europe. US dates are scheduled next year.

U2’s manager, Paul McGuinness, confirmed the $850,000 daily running cost of U2-360. “That’s the overhead cost of being out here whether we play or not,” McGuinness said. “It’s important we play regularly. There is a discipline involved.

“Even though we’re spending a lot of money, we’re making a lot of money.”

McGuinness knows U2-360 is a new model for stadium rock. “We’ve always done landmark productions, or so we think,” he said. “Being able to play in the round, in stadiums, is the holy grail.”

Put simply, in the round means up to 30,000 more seats, which equals lower ticket prices.

“I can assure you the costs of putting this show on are the highest in history,” McGuinness said.

“But the audience looks at the show and can see what we spent the money on.

“They see an incredible spectacle.”

Clayton agreed: “There is a financial risk when you do something that hasn’t been done before. It’s a bit like inventing the wheel.

“We’ve now proved you can do a show by hanging light and sound off a structure. But to build that structure is a very high price. You have to make sure your tour is doing all right.” Clearly, U2 are astute businessmen.

But McGuinness said the numbers must never get in the way of creativity.

“The reason for being good in business is so you can do what you like creatively,” McGuinness said.

“By and large, we have succeeded. There aren’t too many instances of the business getting the better of the creative process.”

Berry said U2-360 took the creativity of stadium rock to an end game – purely because of cost. “It’s like the Beijing Olympics,” he said.