After the success of 2000’s All That You Can’t Leave Behind, something funny happened. Namely, the Rock Revival, led by bands like The Strokes, Interpol, The Killers, and other students of the early 80s post-punk scene.
U2, themselves members of that original class, looked at the rise of these acts, then back at themselves, and sorta said, “didn’t we used to do that?” They then called up Steve Lillywhite, who produced their first three records, and set off to work on what Bono called “our first rock record,” a statement that’s probably rooted more in self-deprecation than accuracy.
In either case, it worked. It was an immediate commercial success, beloved by critics, and netted the group eight Grammys, as well as a few indelible hits. That said, it’s bogged down by some of the same self-consciousness of its predecessor, even if it is a bit more consistent.
“We are re-applying for the job of the best band in the world.”
I have always freely admitted that I have some glaring blind spots in my musical knowledge. And some of them are embarrassing. It’s not unusual for me to miss important artists in scenes that I follow closely—sometimes that have even toured with my favorite bands (see: Manchester Orchestra, Touché Amoré).
For all of their innovation in the studio, it is impossible to fully grasp U2’s body of work without considering their live show. They are the posterboys for arena rock, which is less a genre than it is a touring designation, and a cursory look at any of their live shows will show you why. Even if you don’t consider their inventive use of multimedia elements (see: ZooTV, US 360º Tour, their recent residency at The Sphere), the electricity of the four Irishmen is often enough to captivate crowds in the tens of thousands.
