Walking
into the U2 show, there definite a mood of unease. There was a nonmoving line
wrapped around Century Link field towards Safeco. Anyone could pull up Twitter
and read horror stories of how the Rogers Center botched the new entry system
(no tickets were issued, credit card used for purchased was swiped at the door
to neuter online scalpers), causing thousands to be late. In fact, the streets
around CenturyLink had the usual apocalyptic evangelicals. They carried ominous
signs: "Warning: flee from the wrath to come. Repent."
When
you got into the stadium, the crowd on the floor was surprisingly sparse and
everyone seemed mellow. On far end of the stadium from the main tunnel
entrance, other words waited. Inspirational poetry and prose scrolled down the
right side of a massive video screen that took up the North end zone. In the
first U.S. performance of this 2017 Joshua Tree tour, U2 turned back towards
their roots and deep back catalogue as a source of inspiration, catharsis, and
curiosity.
The
Joshua Tree album is one that I owned on tape and was one of the first that I
gravitated to in my youth. Everyone has a period where they go from listening
to music that their parents happen to be playing to developing their own sense
of musical identity. I am too young to have discovered U2 at an age where I
really understood some of the deeper meanings of their music. I felt like they
were cool to like in the early 90s when Alice in Chains, Metallica,
Soundgarden, etc. were all in their heyday.
For
last night, Bono paid tribute to the photographer who captured the album art
who apparently had filmed the videos that played behind the band. It seemed
fitting that album art, which in modern days seems to have completely
disappeared in the wake the digital era, was captured in real-time behind the
band as they played through Joshua Tree. One can wonder how the original set in
1987 looked but I guarantee it didn’t have the spectacle and impact that the
backdrop had over the music.
I
feel any music critic worth their salt can dissect Joshua Tree the album and it’s
been done by professionals so I’ll discuss the visuals for those not there. The
first track, “Where the Streets Have No Name” was backed a long tracking shot
down a desert highway, where “I Still Haven’t Found What I’m Looking For” was
filmed in Joshua Tree including shots of titular plants in black and white. The
majestic “With or Without You” had an orange mountain landscape filmed in time lapse.
After
that trio, the rest of the songs featured people. The searing “Bullet the Blue
Sky” featured black and white distorted images of the band flanked by various
men and women of different ages and races putting on an old timey military
helmet. The more contemplative and pastoral “Red Hill Mining Town” had slow
zoom out of a Salvation Army Band
Bono
said something to the point of “This is an American Adventure” before “Trip
Through Your Wires” featured a woman slowly painting an American Flag onto an
old wooden home and playing with a lasso in a red, white, and blue bikini.
Joshua Tree as an album is Bono’s reflection on the good and bad of America
told from his perspective of being an outsider. The counter to the cowgirl
painter came under the next song, “One Tree Hill”, featured a Native American
woman looking into the distance and a couple standing proudly and silently
bring the question who America is really for in the modern times.
The
next song, “Exit”, had an eerily precognitive video of an old western movie
featuring a con man named Trump convincing the unbelieving locals of his plan
to finance a wall. At first, I thought this had to have been dubbed, but after
looking online when I got home, I found it was episode from the 1958 show
Trackdown. The Joshua Trees set closed with “Mothers of the Disappeared”
featuring women silently holding a candlelight vigil. At this point, Bono
introduced the “soul of Seattle”, Eddie Vedder, who sang the second verse and
then Mumford and Sons came out for the chorus.
Of
course, there were some other songs beyond Joshua Tree. The first five came on
a mini stage with no backing video or pyrotechnics and featured highlights from
War and Unforgettable Fire. I personally enjoyed that Larry Mullen walked out
by himself to this center stage and started playing the military style beat of “Sunday,
Bloody Sunday”, as the rest of the band sauntered out. This set closed with “Pride/In
the Name of Love”, as Bono got 70,000 singing along.
To
me, U2 as a band have diminished in the public eye since All That You Can’t
Leave Behind. South Park brutally took down Bono in a memorable episode and
Bono performed an odd self deprecating cameo as himself in Sasha Baron Cohen’s
Bruno. I also can’t forget the band’s disastrous decision to spam the Itunes of
the world with their last less than memorable album, “Songs of Innocence.” Bono’s
ego and sermonizing has made him an easy target for many.
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However,
on Sunday night, Bono’s banter was engaging, fairly uncritical, and more
inspirational and energizing. He gave a memorable shoutout to the activism of
Bill and Melinda Gates and that solidarity should empower the masses.
Although I know the saying is not from V for Vendetta specifically, Bono also
said rephrased one of my favorite quotes: "The government
should fear its citizens, not the other way around.”
The
encore (post Joshua Tree) featured some obvious crowd pandering with some
favorite singles. We were treated to the passion of “Beautiful Day” the
energy of “Elevation” the beauty of “One” but a standout is a gem from Achtung, Baby, "Ultraviolet
(Light My Way)." Especially appropriate on Mother's Day, Bono praised
those who have resisted, persisted, and echoed the language taken up the
2017's post-election marchers and organizers. Behind the band during this
song was a montage of important women, everyone from Sojourner Truth and Rosa
Parks to more contemporary figures like Lena Dunham and Michelle Obama.
Instead
of going with another hit single like Mysterious Ways, the last piece of the
show featured “Miss Sarajevo”, the single from the U2/Brian Eno side project,
“Passengers”. The final video backdrop featured a powerful trip through a
Syrian Refugee camp in Jordan. Bono did call, in a fairly corny moment, for “women
of the world to unite to rewrite history”. The band then played a fairly
pedestrian new songs, and after a lukewarm yet polite crowd response, huddled
up, and closed with their energetic original single off their debut record 1980’s
Boy, “I Will Follow”. After a bow, they left the stage.
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"The
Joshua Tree" album is 30 now, and playing a set where the most recent song
came out 17 years ago, a cynic may call the set list and the tour a nostalgic retreat
into the past to ignore the recent failures. If you can’t tell by this opus
(and to think I originally meant this to be one Facebook post), I at last was
greatly moved by the experiences. The themes and questions brought up Joshua
Tree still resonate today. The conflict, like the working-class plight
described in "Red Hill Mining Town" has too much relevance. The music
balances grace, force, vulnerability, and beauty. On the Link Light Rail
journey back south to the lives of the concert goes, an impromptu sing along
broke out to “I Still Haven’t Found What I’m Looking For” I can’t the question,
because what are we looking for and is there any way to know when we truly have
found it.
