U2 concert fires up Lincoln Financial Field

U2 concert fires up Lincoln Financial Field

U2 concert fires up Lincoln Financial Field

Before U2 got around to playing their 30-year-old album, The Joshua Tree, on Sunday night beneath a starless sky at Lincoln Financial Field in South Philadelphia, the Irish rock band fired up their 50 thousand strong fervent fans in attendance with four songs even older than that.

As another Irish band’s song – “The Whole Of The Moon,” by the Waterboys – pumped through the crowd, dressed in black U2 drummer Larry Mullen Jr strode to his kit on an auxiliary stage that extended well into the crowd and beat out the martial intro to “Sunday Bloody Sunday,” from the 1983 album War.

One by one, Mullen was joined by his band mates – guitarist The Edge, bass player Adam Clayton and of course, lead vocalist and rock and roll evangelist Bono, now as always, insisting that in a world torn about by strife, music can be – will be – a unifying force. “How long  must we sing this song?” he asked, while insisting “Tonight, we will be as one.”

Three other non-JT songs followed – “New Year’s Day,” “War,” before which Bono spoke of twin scourges plaguing American cities (heroin and nationalism), and the hortatory Martin Luther King Jr. tribute “Pride (In The Name Of Love).” 

With that, we were into the Joshua Tree, the obsessed-with-America album that turned U2 into a stadium-filling attraction all over the world. Text from the Declaration of Independence (“the liner notes of America,” according to Bono) and Martin Luther King’s “I Have A Dream ” speech were shown on the screen, and the singer spoke of “the America we fell in love with 30 years ago” as “a place of community and compassion, tolerance and protest.”

Playing the Joshua Tree live afforded U2 the opportunity to extol those virtues, and also to command a huge audience. The band’s winning streak as a massively popular musical force has hit some speed bumps lately, most notably with the mixed reception received by their 2014 album Songs Of Innocence, which was given to iTunes users for free. 

But the promise of delivering the vast, sturdy, unabashedly ambitious songs from the band’s most archetypal and heroic (or self-important, depending on your point of view) album means that all is forgiven, and all U2 fans are welcome home.

And at the Linc on Sunday, those songs – starting with the mighty trio of “Where The Streets Have No Name,” “I Still Haven’t Found What I’m Looking For” and “With or Without You” – sounded every bit as majestic as intended, from Edge’s swirling, jabbing guitar to Bono’s soaring vocals.

Pulling back to the main stage, the quartet played in front of a massive video screen that displayed a wide open tableau of the vast expanses that the band uses as visual metaphors for the endless possibilities of the American dream, 

The dark side of that was also exploring in blistering tracks like “Bullet The Blue Sky” and “Exit,” a jagged guitar jam that plays as the weakest song on the album but came to life Sunday thanks to Edge’s five alarm attack and was prefaced with black and white clips from old Westerns edited to poke fun at President Trump.

Other performances of note: a robust “Red Hill Mining Town,” never performed live before this tour, but justly rescued by the album in its entirety format. “One Tree Hill,” a Side Two not as frequently heard gem, which was dedicated to Dennis Sheehan, the band’s Philadelphia based road manager, who died in 2015.

In the end the best thing about U2 doing the Joshua Tree is that it re-convenes the mass audience of now mostly middle-aged fans from which the band draws strength in a stadium performance for which their far reaching music is best suited. As Bono put it, justifiably proud of himself: “Here we still are, and here you still are.”

Denver pop-folk trio The Lumineers  (expanded to a sextet with three additional musicians) opened with an agreeable breezy 50 minutes, providing a strummy sound track as fans filled the seats. Singer Wesley Keith Schultz worked hard to engage the crowd in acoustic singalongs like “The Big Parade” (with an altered lyric meant to zing President Trump), and in the end asking politely for the crowd to stand for the closing “Stubborn Love.”

<![CDATA[]]> <![CDATA[]]>

Please enable JavaScript to view the comments powered by Disqus.

Let’s block ads! (Why?)

Published at Mon, 19 Jun 2017 03:35:02 +0000

comment No comments yet

You can be first to leave a comment

mode_editLeave a response

Your e-mail address will not be published. Also other data will not be shared with third person. Required fields marked as *