Thursday, January 26, 2012


In January 2012, The Global Fund to Fight AIDS TB and Malaria marks the end of its first decade and looks ahead to the next. The Global Fund has contributed to dramatic gains in health and development over the past decade: In ten years, millions of people have received treatment for AIDS, tuberculosis and malaria who otherwise would have died. Featuring founders and well-known friends and advocates of the Fund: Bill Gates, Zachie Achmat, Bono, Gro Harlem Brundtland, Bill Clinton, Milly Katana, Yoshiro Mori, and Mphu Ramatlapeng, Jeffrey Sachs, Tony Blair.

Tuesday, January 24, 2012

Eve Hewson: A Star On Her Own Right

The best of friends: Eve Hewson with This Must Be The Place co-star Sean Penn during the Sundance Film Festival earlier this week

'Working with Sean Penn was a little scary!' Bono's daughter Eve Hewson on her critically-acclaimed new movie This Must Be The Place.

Nobody could accuse Eve Hewson of being a stranger to celebrity – not with U2’s Bono and Ali Hewson as her parents.
But the young actress has admitted to being starstruck –not to mention terrified –  at the prospect of working alongside Hollywood heavyweight Sean Penn in her latest film, This Must Be The Place.

Eve confessed: 'It was a little scary. I remember when I got the part, I watched all his movies. All of them, going back to Bad Boys. So I was trying to do my homework. 
'But when I met him, he was great. I think we had a good working relationship.'

Cast in the role of Mary – a young punk who befriends Penn’s eccentric rock star, Cheyenne, in the film – Eve said she couldn’t believe her luck at winning a place in the star-studded ensemble, which includes Academy Award winner, Frances McDormand and Ireland’s Olwen Fouere.Screen star: The movie is currently the toast of the prestigious festival

'I looked at the call sheet [a film’s daily shooting schedule] and my name was smack in the middle of Frances McDormand and Sean Penn and it was like, "How is this happening? This is unreal",' the 20-year-old Dubliner recalled.
'It was very intimidating. I saved the call sheet.'
As she lapped up the plaudits at the star-studded event in Park City, Utah, over the weekend, Eve said having a film featured at the prestigious festival was cause for celebration.
'I always wanted to go to Sundance. I came two years ago, just with friends, and we went to see some movies. And I thought, "God, I really want to have a movie here!" ' she said.
'I’m really proud of the film. It’s quirky and a little crazy and it’s funny and it’s sad.'

Previously cast in the independent film The 27 Club – a movie about rock stars dying young – as well the video for Dublin band The Script’s For The First Time, Eve seems to be making a speciality of rock-themed movies.
But she insists that Penn’s eccentric character in This Must Be The Place bears no resemblance to her famous father.
Eve is the first of the U2 rocker’s children to make a bid for the spotlight in her own right – and mother Ali has said she wished the youngster had chosen a different career.

Read more here
Watch an interview with Eve hewson  by V
anity Fair senior West Coast editor Krista Smith at the Sundance Festival here

Wednesday, January 18, 2012

Bono Performing at Music Festival in Timbuktu

Bono put in an appearance on the opening night on Thursday in what organisers said was a show of support for the event.

Monday, January 16, 2012

Aid: 'We're not arguing for a culture of dependency. We're arguing to end it'

On a trip to Ghana, one of Africa's great development success stories, Observer editor John Mulholland speaks to leading economist Jeffrey Sachs and U2's lead singer Bono about the politics and economics of aid.

Jeffrey Sachs, left, and Bono in Tamale, northern Ghana.
Jeffrey Sachs, and Bono in Tamale, northern Ghana. Photograph: Adrian Steirn

John Mulholland Bono, compared with 10 years ago, what has changed in Ghana? If you were taking a group of aid sceptics around this country now, what would you point to and say: "That's the benefit of aid"? 
Bono The thing that I've always found really difficult to cope with was medical professionals diagnosing a problem and not being able to treat it. We used to see this all across Africa with HIV/Aids. Even after we had anti-retroviral drugs in the west, only a tiny percentage of people in Africa who were sick could get the drugs. And if you didn't get them, you died… So having the drugs now for over 6 million people is a big deal for me. Having malarial drugs is a big deal for me. Visiting the hospital in Accra, which is aided by the Global Fund… the mood in that hospital was one of real optimism.
I'm particularly proud because a third of the Global Fund's resources in Ghana are paid for by RED [founded in 2006 to raise money for the Global Fund by selling branded products via Nike, Apple, Starbucks and others]… and One and other campaign groups helped raise much of the rest from other donors. So I was very overpowered yesterday as I saw the hospital, and I am buoyed by that. And you've near universal education. For instance the Millennium Challenge is building 240 new schools. That's pretty great. The hard data tells us that Ghana's had over 14% growth in the last year. We think that malaria is down by over 50%, maybe over 60%, which is astonishing. 
But to answer your question a little more specifically: I am an aid sceptic, OK? I don't know anyone who wishes to see aid as a natural solution to these problems. Aid is what we do in emergency situations to get you through to a place of self-reliance. Ireland needed aid from Europe, Germany needed aid from the United States after the second world war. All of us need aid. It's investment – and if it's investment, what is your return on investment?
In Ghana, it is clear that this country will in five years need a lot less aid than it needs now, and in 10 years may not need aid at all. To answer your question, the reason I'm excited about aid is that it looks like we can see the end of it here. As a result of the smart aid, the aid industry is putting itself out of business here, hopefully in 10 years. One way this transformation can accelerate is if countries like Ghana use their natural resources for their people, and key to that is greater transparency in the extractives sector – something ONE is pushing hard for at the EU level right now. I've personally met with eight G20 leaders and five G20 finance ministers on this issue.
JM Jeff, the climate in which discussions are taking place about aid across the west is difficult, with more and more voices rising in opposition to aid spending. What do you say to them? 
Jeffrey Sachs There are good ways to do things and bad ways to do things with aid. Aid works when it's practical, when it's focused, when it's targeted, when it's an investment, when it is part of a strategy; and aid does not work when it's money handed over in an envelope to a friendly ally, especially in a war zone or when it's a payoff for some other diplomatic support. It needs to be seriously managed, professionalised, results-based – and I'm very happy that the Department For International Development (DfID) is really exemplifying that approach right now. What's the bottom line? What are the results? What are we getting out of it? And it's being made into a very practical contract, in essence, between donor and recipient.
This is how it should be done. And when it is done that way, diseases can be brought under control, food productivity can rise, basic infrastructure can be built, kids can be educated, population growth can slow down as girls complete secondary education. Many very important things are necessary to help regions that for reasons of history, geography, geopolitics, bad luck are in a situation where they need a lift to self-sustaining growth.
Bono There's one thing that might help with aid cynics. Because clearly no one likes the culture of dependency.  No one's arguing for it. We're arguing to end it. I think there's something a bit funky about aid as it stands right now. The two most important parties involved in the transaction – the taxpayer who's providing the resources and the person who needs those resources to stay alive or keep their family alive – are the two people who know the least about what's going on. So that has to change.
The British people, at a time of real austerity, have decided to stand by their principles and promises to the most vulnerable in far-off places, but they need to know exactly what they are achieving and how much it's costing.  
Where there's a clearer communication about this transaction, this contract, I think the fog around aid and development assistance will lift, and people will go: "This is just incredible value for money and what a privilege it is to give less than one percent of the national income to transform lives." 

Bono and Ali Hewson: When Commitment is Not Just a Word

Bono and Ali attended  the Festival du Art in Timbuktu, Mali. This event has been taking place for the last 10 years but this year the organisers  doubted whether to do it or not as there is Al-Qaida activity in the area and tourists were kidnapped and killed in November.  Security was high and the event took place with no problems and surprises!!!

An audience of around 3000 people gathered to applaud artists from Mali, Níger, Mauritania, Sudan, India, Canada... and Bono, who sang with a band called Tinariwen (a band of Tuareg-Berber musicians from the Sahara Desert region of northern Mali). All dressed in black, Bono raised his hand and shouted "We are all brothers here."

"He came (to Timbuktu) despite the security problems. We´ll never forget what he did", Mali musician  Bassekou Kouyate said.

More pictures of the festival here.

Excellent pictures of Bono´s visit to Africa by  Adrian Steirn (The Guardian)

Bono chats to a young boy in Ghana 


Saturday, January 14, 2012

More on Bono in Ghana

Bono , Anna Loos, Jan Joseph Liefers and Jeff Sachs. Photos: Guillaume Bonn

source: ONE Deutschland

Friday, January 13, 2012

U2 360°: "I´ll Never Forget It"

Second  part of interview to Bono and Edge.

'I’ll never forget walking out to David Bowie’s ‘Space Oddity’ each night and into our own space station … and then taking off! '

2011 also saw the passing of Steve Jobs, not a musician but someone who helped transform music for everyone.

EDGE: What was wonderful about what Steve achieved was that in a time when other media, from video games to YouTube, were starting to draw all your time and attention, the arrival of iTunes and the iPod meant your computer became your music library. It was ubiquitous, music was everywhere  again. It was so important that music didn’t just become a ‘60’s, ‘70’s, ‘80’s thing which might have come to an end as an important cultural force in the ‘90’s. Today music is as healthy as ever - it’s really just the economics that have taken a hammering and we’re hopeful that will be corrected at some point.

BONO: And Apple will continue to be a guiding light because of the reverence at the heart of what they do. The reverence for design, to make things of beauty in an age where that is rare, and the reverence for music, like the reverence for The Beatles you see when you look at their home page. That will stay with them.
I think we’ll see a whole revolution in artwork, photography and lyrics as albums metamorphose into apps. The experience of listening to music will become a looking experience as well as a listening one, as it was in the ‘70’s with gatefold sleeves except that now the gatefold sleeve will be digital on your ipad or plasma screen. I’m excited about the future but saddened that Steve will not be around to see it.

Are the changes in the digital landscape of music, from iTunes to Spotify and Facebook, informing the way the band are thinking about upcoming releases?

EDGE: There’s a lot of pressure to start thinking in terms of just one song because that’s the trend. Even on the big records people tend to just buy the one song. It’s a throw back to the period before the LP when everything was the 45. We’ve been kind of holding out against that because we love the album as a format, it’s what we grew up with, so for us it will still be album thinking for the next little while.

BONO: But they better be good, we aren’t going to put one out unless we think every song on it is vital.

EDGE: And we’re greedy! We want to have impact on many levels. We want the impact of a collection of songs that people go away and live with, which get under their skin, but we also want the impact of a 45, the great single that reaches places and people that a long player wouldn’t.
We’ve been talking about PJ Harvey’s ‘England Shakes’ as one of the most important records of the year which shows that it’s still possible to make great albums, to allow the songs to go out there and fight for their own place in the culture. The ultimate of course is to have an album of tunes that are so compelling that they not only fit into what people are liking but actually change what people are liking  – that’s our ambition.

Recent U2 studio albums have come roughly every four years… any clues on when the next one might arrive?

BONO: We don’t know yet but we’ve got three albums we’re working on. Our good friend Chris Martin says, ‘Well, why can’t you put the three of them together and put them out now?’ He makes a lot of sense but that’s just not how we work! I’d like to think that if things continue to go as well as they have with Brian Burton - aka Danger Mouse – then we’re going to shock some people with the new sounds and songs we’ve got.

A few months on, have you had a chance to stand back and reflect on the U2360 phenomenon?

EDGE: It was an amazing experience from beginning to end. I still remember the moment I first saw this stage we were going to be playing on, it was jaw-dropping to see it standing in the stadium in Barcelona. It also turned out to be a dream to work with because the sound in the stadiums was always way better than we’d been able to achieve in the past. We managed to do something different with presenting a band live and that’s a great feeling.

BONO: I also remember that opening night and even when things were falling off the stage and falling off the musicians, songs smashing on the ground right in front of us, mistakes everywhere, I just couldn’t get the smile off my face. I knew it worked!  We put our audience at the centre of the show, that’s what happened in 360, they were the production. After a while this mega-structure disappeared, we were left as four musicians in this gigantic crowd with waves and waves of emotions spiralling around us and inside us. I’ll never forget walking out to David Bowie’s ‘Space Oddity’ each night and into our own space station … and then taking off!  I don’t know how we’re gonna top that, we’ll have to go indoors I think, do something smaller.
I’d like people to understand – and I think they do – that most of the cash that came through the tills  was spent on the production and on the people that gave it to us but we still came away so spoiled and over-rewarded. But I’ve heard conversations with fans of other bands and they say ‘I went to see this other band and of course they didn’t need any of those tricks, they didn’t need any of those lights or any of that production stuff...'  But the ticket was the same price I try to tell them…
People understand the team and technology and passion that went into putting up and pulling down that tour every night, and the U2 crew really shone like they never shone before. But those seven million people who came to the shows, they really are who we work for and as I say - and I mean it every time – they’ve given us this incredible life. At a moment when a lot of people are not having a great time because of this economic climate, here we are given this incredible, successful tour. We have to thank people.

And the band finally got to play Glastonbury?

BONO: On a day off on a North American tour which is mental! But that was an audience that really let us in when the whole place was looking like it was going to get washed away. People were very generous to us… even those protesting.  I admire people who get organised and are agitators although in this case I’m not sure they understood the issues that were involved: you know there was a thing going around that U2 are in a tax haven, which of course we’re not. One of the centrepieces of the Irish economy is our tax competitiveness and Irish people are fighting to keep it that way, so no thinking Irish person would deny an Irish company the very thing we offer international companies but you know people don’t look into it that deeply.
Glastonbury wasn’t a normal U2 show, it was much more gritty and edgy and the stage was like an ice rink so I couldn’t really move around. But it was a statement of intent on our part, that we still want to meet a new audience and we don’t mind going into a muddy field in the rain to find them. We want to keep things fresh for our old audience by finding newer ones. The one-hour BBC special of our set is something we’re very proud of. 

How long does it take to re-enter earth’s orbit after two years on the space station ?

EDGE: No idea! Only our friends and families could tell you that. I thought I was absolutely normal the minute I got home but everyone else around me might have a different story…

BONO: When Edge got into the beekeeping, then I thought he was going to be fine!

Some wonderful bands have toured with you over the years and sometimes the younger ones will mention the ‘U2 chat’. What’s your advice for bands starting out now ?

EDGE: What we would have been about early on as a band was trying to crack performing live and then trying to attract a record deal. Now people release their own records, so there’s not the same emphasis on the record label as before, it’s a whole different world. But in the end it’s the songs that will be here long after we’re gone.

BONO:  One song. Jimmy Iovine said a genius thing to me once: ‘People want to go straight to the ‘70’s when they haven’t gone through the ‘60’s.’ In the ‘60’s there was incredible songwriting craft at work - The Beatles, The Beach Boys, The Hollies… -  with such a focus on the song. So in the ‘70’s, when the hard rock and punk rock bands came along, they were informed by the discipline of the great songs. But if you forget about the '60's and start at the '70’s you lose that dimension. So my advice would be that one song can change your world, one song can change the world.

Away from music, this was a notable year in history…

BONO: A momentous year, the millennium really began in 2011 in Tahrir Square. The power model of the past was inverted, that was the pyramid with the power at the point and the people at the base. That’s been turned upside down, ironically, in the land of the pyramids. Now the most powerful thing is the base and the top has to listen or be made irrelevant. That connectivity between people that social media makes possible has been the driver in this: in the information age it’s very hard to hide if you’re a despot or  dictator trying to trick your people. Everything is in the open, transparency is the word in the year of the activist.

And activism and social change are always close to the heart of U2, most recently with the (RED) Zone on U2360. How did it work out?

EDGE: Yes, at the beginning of the tour we decided  for the first time to get involved in the secondary ticket market with the (RED) Zone tickets. We allowed a small selection of tickets each night to be auctioned off with profits going to the (RED) Campaign.  In the end that generated $12m for the Global Fund to Fight AIDS, Tuberculosis and Malaria.  It’s something we’re very proud of.

BONO: We are - and that money will support vital health systems in developing countries. It’ll keep many people alive.

Tribute to Die-hard Fans

Self-proclaimed music lovers and long-time U2 fans, Dayna Shereck and Tami Falus, have brought their passion to life with “General Admission ‘Layin’ it on the Line” for U2’”, a documentary revealing the ultimate U2 fan experience.
Fascinated by the subculture of U2 fans who opt to camp-out for the gruelling and intimate general admission experience, Shereck and Falus join the group of die-hard fans who have invested over fifty hours into a U2 show, before the band has even hit the stage!

These two first-time filmmakers decided to make this film with the mandate to capture the U2 fan experience, demonstrate the level of kinship within the line and explore the continuously changing dynamics of the general admission line.
Shereck said “U2 fans come from across the globe, with many different backgrounds, of many different ages and holding greatly differing beliefs. However, what brings this vastly diverse group of people together, is their collective love for U2.

The film follows Shereck and Falus through their experience as line leaders, holding the coveted “number one” and “number two” positions for a Toronto U2 show. They examine the idiosyncrasies of this complex fan-organized process as the filmmakers immerse themselves into the world of the general admission line.

With a shared love for U2 and a sense of community that reaches international scales, “General Admission” places a microscope on a whole subculture of people that often relive the general admission experience on a regular basis.

For more information about General Admission, please visit

Here’s the trailer for the documentary

Bono in Africa 2012

More pictures of Bono and Ali in Ghana and other African countries

Bono with  Anna Loos and Jan Josef Liefers

Bono, Ali and Renzo Rosso, Diesel founder at IC´s Mend office in Gulu, Uganda.

Bono dropped in for a surprise visit at our Invisible Children Mend office in Gulu this week, accompanied by his wife and Renzo Rosso, the founder of clothing company Diesel. Not a bad entourage. Said IC Regional Ambassador for Central Africa Jolly Grace O. Andruvile of the photo: “Bono with his big heart at the Invisible Children Mend Centre. He said the girls at Mend were his boss.”
Not to mention, Bono serenaded Grace, one of our seamstresses, with a rendition of “Amazing Grace.”  Oh, what we wouldn’t give to have audio.

Monday, January 9, 2012

Bono is doing his "other" job

After taking some days of holidays, Bono ,as  board member of ONE,  joined the CODEL (Congressional delegation) that visited Ghana and other African countries  in seeing the progress that has been made in fighting AIDS at the Korle Bu Teaching Hospital, which receives funding through the Global Fund to Fight  AIDS, TB and Malaria, as well as from the corporate sector, through ONE’s sister organization, (RED). Bono and Joshua Bolten joined the group for a visit to a school funded in part by a Millennium Challenge Corporation grant. They also visited a USAID-supported program providing insecticide-treated nets to fight malaria in the community.

Read more: ONE blog

Message from ONETime and again ONE Members have been on the front lines in the fight against extreme poverty and preventable disease. Your actions have made a real difference in the lives of the poorest people on the planet. Thank you for all that you do.


Friday, January 6, 2012

Edge, Bono, What are you listening now? has published an interview to Bono and Edge where they speak about music (and not theirs!).

Florence Welch of Florence And The Machine opening for U2 at Sun Life Stadium in Miami in June 2011.

As the year turned Bono and Edge called in to to reflect on some of the music they've loved in the past twelve months... and wonder at what the next year holds. 

What acts or albums left their mark in the past 12 months ?

EDGE: I think the Bon Iver record will be remembered for a while, with it's combination of the new folk thing and a level of experimental production that sets it apart. Very compelling and powerful but also very innovative. The Florence and the Machine record, Ceremonial, is also in that category.
There’s a Scandinavian band called I Break Horses and I really like their record ‘Hearts’. It has hints of Cocteau Twins and of Sigur Ros but while it’s cinematic and organic it also has an electronica feeling… quite fresh.
Then, for great writing, there’s Foster The People. Compositionally this is so powerful, and thematically strong, with hooks and ideas which are clear and to the point. I’m enjoying that new record (‘El Camino’) just out from The Black Keys and another band, Edward Sharpe and The Magnetic Zeros, have an album called Up From Below, which is a sort of mad circus of a record, full of life, vitality and fun. It’s like you’re entering a carnival, the smells and tastes and sounds that are wrapped up in that record.

Sounds like you feel it was a good year for music?

EDGE: A great year. Things are moving in several different directions at the same time. There’s no unified cultural movement that everything refers to but several different trains of thought which are all very interesting. The most interesting things will end up being those that have a certain duality, a certain internal argument going on within them which is certainly what’s happening with Bon Iver, with Florence and the Machine and with The Black Keys.

BONO:… yes, The Black Keys, much more interesting than The White Keys.

EDGE:… stay with The Black Keys and you can’t go wrong. As any piano player will tell you, it’s almost impossible to play a bum note if you’re on the black keys.

BONO… and the same for the band.

EDGE: There’s also another Irish singer I’ve been getting into lately, James Vincent McMorrow..
BONO: Oh yes, ‘If I had a Boat’, what a song…

EDGE: His version of Stevie Winwood’s ‘Higher Love’ is really beautiful and he might even be from Malahide…

BONO:.. sure nothing good comes out of Malahide…

EDGE:… as I was about to say!

BONO: Actually, I think Edge is also big on M83


BONO: ‘Hurry Up, We’re Dreaming’ was an important album but the one before that I loved too, ‘Saturdays = Youth’, that one really got to me.
I have to say, not just sticking with an Irish theme, but I think ‘Fallen Empires’ by Snow Patrol is an extraordinary album and for very subtle reasons. It’s a strange concoction of club culture and ecstatic rock. I find it very funny with some great lyrics and then it has all this organic, almost folksy energy but at a frenetic, speedy level… that’s been blowing my mind. Then the Coldplay album ‘Mylo Xyloto’ is great, they keep getting better.
For me Gavin Friday’s ‘Catholic’ is an amazing record, one of the albums of the year, and his song ‘Lord I’m Coming’ is my song of the year. It opens and closes the film ‘This Must Be The Place’ which premiered at Cannes and stars Sean Penn, Frances McDormand and Eve Hewson.

Of the acts that are less well known I think that Burst Apart by The Antlers is astonishing and Edge has already mentioned Ed Sharp and the Magnetic Zeros – ‘Desert Song’ is ridiculously good. Bloodless Coup by Bell X 1 is fantastic and, of course, Foster The People – ‘Torches’ - joy as an act of defiance. It’s kind of psychedelic pop music but in the face of the times we’re living in, I find the bouncy, big grooves just a real tonic.

In the Guts of " The Claw" has posted a video of their "trip" to The Claw´s underworld, recorded at Estadio Unico, La Plata, Argentina. could get inside the claw during the concerts in Argentina. I discovered the secrets of the claw: The technical equipment, computers, harmonic of Bono, his champagne, Adam Clayton's team .... Essential for all fans of U2.

Thanks, for this "jewel".

U2 Producer Steve Lillywhite on the Alchemy of Hit-Making

Newly honoured record producer discusses working with Irish gigastars

Record producer Steve Lillywhite has been awarded a CBE in the 2012 New Year Honours list. Born in 1955, Lillywhite started his career in the late 1970s working with new wave and post-punk bands such as XTC and Siouxsie & The Banshees. He went on to produce everyone from Peter Gabriel and Talking Heads to Morrissey and Kirsty MacColl, to whom he was once married. His most enduring relationship, however, is with U2. It began with Lillywhite producing their 1980 debut album, Boy, and has continued to the present day. Here he recalls being in the studio as their 2004 hit, “Vertigo”, came together...

When I got brought in to produce How to Dismantle an Atomic Bomb everyone was feeling a bit low. The band had done a fair bit of recording with another producer [Chris Thomas] and they decided it was time to change the team around. I came over to Dublin and they played me what they’d done, which included a song called "Native Son" that was marked down to be the first single. I liked the song, but I felt that it could be recorded with a bit more energy so I asked them to re-record it. I set them up in a completely different way to how they’d been recording up to this point, put the drums in a different place, and I changed the sound completely. It was still the same song, but I took them out of their comfort zone.

The band started jamming it and it was really coming together, sounding great. I said to Bono, who was sitting behind me in the control room, "Why don’t you go out there and do a live vocal? That way we’ll really be able to tell how it’s going." He goes out there, we get him set up, and the band start playing. He starts singing "Native Son", and pretty much by the first chorus he puts the microphone down and says, "Nah, I can’t sing that. That’s not good enough." 

Basically, the moment he started singing the song with the band, Bono projected himself a year into the future, on a stage at Madison Square Garden, and he suddenly realised he couldn’t sing it with the passion he really wanted. Bono has this great knack, which I’ve never really seen with anyone else, of putting a song in the set as he’s writing it. He’s thinking, ‘Ooh, this could replace such-and-such; or this could be a great opener.’ He looks at the album as being the tour as well, and the last thing they want to do is a tour that’s embarrassing when they play the new album. Most bands from their era, that’s the reality: the crowd just go crazy for the hits. U2 manage to still play half a dozen songs off the new album every time and it really works. 

RS 10 Greatest Hopes and Fears for 2012.

U2 Plot Their Future

Hope: U2's 2009 album No Line On The Horizon was an extremely ambitious record that sold millions of copies all over the world. Songs like "Moment of Surrender" and "Magnificent" rank with the band's best work, but the singles failed to connect with a mass audience and by U2's standards it was a disappointment. We hope that they realize that radio is unlikely to put any song they ever write into heavy rotation; instead, they should just focus on making another great record, and then hit the road on an arena tour that drops some of the old warhorses in favor of great songs from the past. How about "Acrobat," "Drowning Man" and "Numb"? "Pride (In The Name of Love)" is a great song, but enough's enough. 

Fear: U2 tends to end each decade with a commercial disappointment, and then begin the new decade with an album that's the exact opposite of their last work. The failure of Rattle and Hum gave the world Achtung Baby and the failure of the (criminally underrated) Pop led to the back-to-basics approach on All That You Can't Leave Behind. They have spent much of the last two years working with a rotating cast of producers, including Danger Mouse and RedOne. We fear their primary focus is competing with Lady Gaga on the radio. It's a fight they're going to lose. Hey Bono, don't overthink this next record. Just make it great. It'll serve you better in the long run. Remember that awful charity single "Stranded" you cut with Jay-Z and Rihanna? Never do anything like that again. 

Rolling Stone.

U2 2011 in Pictures (part 4)

Thursday, January 5, 2012

Tuesday, January 3, 2012

U2 2011 in Pictures (part 2)


Brazil: "Sao Paulo, Sao Paulo..." Bono sang in a crowded stadium. 

An incredibly touching moment with Moment of Surrender in the first concert going out to those who lost their lives in the shooting at Tasso da Silveira school in Rio di Janeiro on Thursday.
' This has been a difficult time for Brazil... and what happened in Tasso da Silveira.
'We'd like to dedicate this to the children and the mothers and their families and the teachers and the people of Brazil.'

U2´s second night in Sao Paulo was received with heavy rain and a surprising  new/old song, "for special reasons, this is our first single" anounced Bono as the band broke into a fresh version of "Out of Control"

'U2 have had a great time in South America - they've played fantastic sold out concerts in Santiago, Buenos Aires and here in Sao Paulo. This webcast and live radio broadcast in Brazil gives U2 fans who couldn’t get a ticket, the chance to hear a great show.' said U2 Manager, Paul McGuinness.


Mexico First Concert:  "Estas son las mañanitas..."  "Happy Birthday"  A full stadium  serenaded  Bono.

Azteca Stadium in Mexico City

Second night in Mexico. "Where´s Frank?" Bono dedicated the show to the great singer whose passed away 13years ago.

"Strangers in the Night..."

Last Night in Mexico: "Gracias por esta semana" Bono thanked Mexicans for the great week.

'Last week in Mexico, birthday candles, dancing with my lady, drinking tequila, drink-ing tequila...' Only Love Rescue Me could follow that and it did with 100,000 voices on the chorus.

Monday, January 2, 2012

U2 2011 in Pictures (part 1)


To summarize the fabulous 2011 of the hugest tour of the hugest and best rock band  is not easy, but I will give it a try:

With celebrations still going on, we came to know two amazing pieces of news: Larry  starred a film and Adam  became a father (old news, in fact, as the baby boy was born in 2010)...

Larry Mullen Jr: Man on the Train


After many years, U2´s show went to Africa and it was time to celebrate. As it was said in "Tonight (in Cape Town) felt like a truly global event" as the show  went out live on radio stations across the African Continet and via  on every other continent.

''For Madiba, Nelson Mandela,' added Bono. 'In our thoughts and prayers this evening...'

 "February 13th, nineteen-ninety
words ring out under a southern sky
Free at last, to live your life
The lion of Africa and his pride..."

Bono sang with the music of "Pride (In the Name of Love)" in honour of Nelson Mandela. 


When madness comes to town...Next stop: South America. 

'Jara sang, his song a weapon in the hands of love...You know his blood still cries from the ground.'

Stop N#2: Argentina. " We have chemistry with Argentina and as we are curious we try to understand why. We fell in love with the country’s beauty. There’s a lot of thought in the planning of Buenos Aires, even in the change of colour of the trees in the  different seasons. Maybe there are more serious things to worry about, but maybe not...”

Having lunch with U2: a kind of official and informal meeting with the local press

"When the unmistakable opening bars of Even Better Than The Real Thing were first heard ,there was a huge response from this capacity crowd for a song that hasn't been in the live set for almost a decade, and the Argentinian volume levels didn't drop all night."

Stuck in a Moment (Dedicated to the late Michael Hutchence) was back and Ultraviolet  also made it into the set list in another full house.

"Into the night and through the rain
Into the half light and through the flame..."