After War its subsequent tour made them into The Next Big Thing, U2 pushed back. Per Bono’s own account, the world was waiting for the next The Who or Led Zeppelin, and it seemed that they were poised to fill ascend to that throne.
But they didn’t want to be “the Next” whoever or other. They wanted to be the first U2. And so they eschewed the throne waiting for them and took a hard left turn instead. They rented a castle and hired Brian Eno and Daniel Lanois to produce (a decision that Bono had to talk both the label and Eno himself into). Eno and Lanois took the sense of atmosphere that had always been a spice on their albums and turned it into a main course.
The resulting album was unlike anything before or since, forecasting shoegaze and post rock in prescient detail. And even in the light of thirty years, The Unforgettable Fire remains the most consequential album they’ve ever made.
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.
We interrupt your regularly scheduled (er, irregularly, rather—sorry) blog schedule to go on an unscheduled, but essential deep dive. 
If Alcest had hung it up after 