U2
U2 is an Irish rock band formed in Dublin in 1976, consisting of lead vocalist Bono, lead guitarist the Edge, bassist Adam Clayton, and drummer Larry Mullen Jr.[1] The band rose to international prominence in the 1980s with post-punk influences evolving into stadium rock anthems characterized by the Edge's distinctive delayed guitar effects and Bono's emotive vocals addressing themes of spirituality, politics, and personal struggle.[1] U2 has achieved commercial success, selling an estimated 150–170 million records worldwide across 15 studio albums, with landmark releases including The Joshua Tree (1987), which topped charts in multiple countries and won Album of the Year at the Grammys, and Achtung Baby (1991), marking a reinvention toward alternative rock.[1][2] The group has garnered 22 Grammy Awards, the most for any band, including two Album of the Year wins, and pioneered elaborate concert productions like the Zoo TV Tour and 360° Tour, which set attendance records.[3] Bono's activism through organizations like ONE Campaign has amplified their global influence, though it has faced scrutiny for selective focus and perceived inconsistencies in personal financial practices.[4]History
Formation and early years (1976–1980)
U2 originated in Dublin, Ireland, when 14-year-old Larry Mullen Jr. posted a notice at Mount Temple Comprehensive School on September 25, 1976, seeking musicians to form a band.[5] The ad drew responses from classmates including Paul Hewson on vocals, David Evans and his brother Dik Evans on guitars, and Adam Clayton on bass guitar, along with others who soon departed.[6] The initial rehearsal occurred in Mullen's family kitchen at 60 Rosemount Avenue, marking the group's formation as Feedback amid Dublin's emerging post-punk scene spurred by punk's DIY ethos.[7] Though influenced by punk's energy, the band quickly diverged toward more expansive, anthemic sounds, prioritizing persistence over polished skill in a competitive local environment where many amateur acts vied for attention.[8] By early 1978, after Dik Evans' departure reduced the lineup to Hewson, David Evans, Clayton, and Mullen, the group rebranded from Feedback to The Hype and performed their debut gig in March.[9] That same month, facing repeated name dissatisfaction, they adopted U2—suggested by punk scene figure Steve Averill—as a neutral, ambiguous moniker evoking unity without pretension.[10] Paul McGuinness, impressed by a May 1978 performance, became their manager, leveraging connections to secure gigs and demos despite initial label rejections and the raw, unrefined state of their live shows in small Dublin venues like the Dandelion Market.[11][12] The band's grassroots efforts culminated in the September 26, 1979, release of their debut EP, Three, on CBS Ireland, featuring tracks "Out of Control," "Stories for Boys," and "Boy/Girl" recorded at Windmill Lane Studios.[13] Limited to 1,000 copies initially, the 12-inch vinyl sold out rapidly, signaling early local traction amid ongoing identity struggles and scene competition.[14] McGuinness' persistence led to a worldwide deal with Island Records on March 23, 1980, providing a $100,000 advance for their first album, though the band remained focused on honing their sound through relentless practice and performances rather than immediate commercial polish.[15]Debut albums: Boy and October (1980–1982)
U2's debut album, Boy, was recorded at Windmill Lane Studios in Dublin during the autumn of 1980 and produced by Steve Lillywhite, marking the first of three collaborations between the band and the producer.[16] Released on October 20, 1980, by Island Records, the album featured 11 tracks exploring themes of adolescence, emotional turmoil, and youthful rebellion, exemplified by songs like "I Will Follow," which served as the lead single released concurrently with the album.[16] "I Will Follow" drew from Bono's personal experiences with maternal loss and devotion, capturing a raw, post-punk energy reflective of the band's inexperience and unpolished sound compared to more refined contemporaries.[17] Boy achieved modest commercial success, peaking at number 52 on the UK Albums Chart and number 63 on the US Billboard 200, with initial sales remaining under one million units worldwide due to limited radio play and the band's nascent profile.[16] In Ireland, it resonated strongly, earning accolades as Best Album and Best Debut Album in the Hot Press Irish National Poll, signaling early domestic breakthroughs.[16] The album's reception highlighted its energetic live potential, prompting the Boy Tour, which included U2's first North American dates in December 1980, laying groundwork for an international fanbase through persistent small-venue performances.[18] Following Boy, U2 faced setbacks during preparations for their sophomore effort when Bono's briefcase containing lyrics was stolen during a US tour stop in Portland in early 1981, forcing the band to improvise without prepared material and infusing the recording with urgency.[19] October, also produced by Lillywhite at Windmill Lane and released on October 12, 1981, shifted toward introspective and spiritual themes influenced by members' involvement in the Shalom Fellowship, a Christian group, with tracks like "Gloria" and "Fire" addressing faith, doubt, and divine seeking.[20] "Fire" was issued as the lead single in July 1981, preceding the album, while "Gloria" followed in October, both showcasing the band's evolving lyrical depth amid instrumental experimentation on piano and guitar.[20] October stalled commercially, peaking at number 11 in the UK but only number 104 in the US, with sales similarly modest and certifications lagging behind later works, attributed to the rushed composition and departure from Boy's accessible rebellion toward abstract spirituality that puzzled some listeners.[20] Critics praised its raw intensity and atmospheric quality, with New Musical Express ranking it fourth in its 1981 album poll, though fan reactions were mixed due to the perceived stylistic pivot.[20] Continued touring in 1981–1982, including US dates supporting October, helped solidify a dedicated following despite sales stagnation, as the band's live prowess—marked by Bono's charismatic stage presence and The Edge's distinctive guitar tones—began distinguishing them in a competitive post-punk landscape.[21] The albums' raw production, stemming from U2's youth and limited studio savvy, contrasted with polished peers like Duran Duran, fostering a gritty authenticity that appealed to underground audiences but delayed mainstream traction.[22]Breakthrough: War and Under a Blood Red Sky (1982–1983)
U2's third studio album, War, was released on 28 February 1983 by Island Records, produced by Steve Lillywhite.[23] The record marked a stylistic shift toward harder-edged rock and explicit political content, diverging from the introspective spirituality of prior works Boy and October. This evolution reflected the band's response to contemporaneous global conflicts, including the Troubles in Northern Ireland and Cold War tensions, rather than abstract ideological posturing. Key tracks included "Sunday Bloody Sunday," which addressed the 1972 Bloody Sunday massacre in Derry where British paratroopers killed 14 unarmed Catholic civilians during a civil rights march, framing the song as a raw plea against sectarian violence without partisan endorsement.[24][25] "New Year's Day" evoked themes of resilience amid oppression, drawing loose inspiration from the Polish Solidarity movement.[26] War achieved commercial breakthrough, topping the UK Albums Chart and reaching number 12 on the US Billboard 200, U2's first top-20 album there.[27][23] "New Year's Day" became the band's first UK top-10 single at number 10, while both it and "Two Hearts Beat as One" gained US alternative radio traction, though neither cracked the Billboard Hot 100 top 40 initially. The album has sold over five million copies worldwide, propelled by its anthemic singles and the band's intensifying live reputation.[28] The accompanying War Tour, commencing in late 1982 before the album's release and extending through November 1983, comprised over 100 shows across Europe, North America, and Japan, transitioning from theaters to larger arenas amid rising demand.[29] This expansion showcased U2's raw stage energy, with Bono's impassioned delivery of "Sunday Bloody Sunday"—often introduced with a white flag to underscore non-sectarian intent—becoming a concert staple. The tour's momentum culminated in the live album Under a Blood Red Sky, released 21 November 1983, primarily drawn from a rain-soaked 5 June 1983 performance at Colorado's Red Rocks Amphitheatre.[30][31] Under a Blood Red Sky captured the band's visceral prowess, amplifying studio tracks with crowd interaction and atmospheric drama under stormy skies, and was accompanied by a concert video that aired on MTV, enhancing U2's visual profile in the US.[29] The release reinforced War's impact, contributing to sustained album sales and positioning U2 as emerging arena headliners capable of blending protest urgency with accessible rock dynamics.[28]Transition era: The Unforgettable Fire and Live Aid (1984–1985)
U2's fourth studio album, The Unforgettable Fire, marked a departure from the band's post-punk intensity toward a more atmospheric and ambient sound, achieved through their first collaboration with producers Brian Eno and Daniel Lanois.[32][33] Released on October 1, 1984, the album was recorded primarily at Slane Castle in Ireland, drawing ambient influences that softened the edges of U2's earlier anthemic style while retaining emotional depth.[33][34] The lead single, "Pride (In the Name of Love)", served as a tribute to Martin Luther King Jr., referencing his advocacy for non-violent change and civil rights, and became a signature track despite initial mixed reception for its lyrical ambiguities.[35] The album topped charts in the UK and Australia, eventually selling over 10 million copies worldwide.[33] The Unforgettable Fire Tour commenced on September 2, 1984, in New Zealand and spanned 113 shows across Europe, North America, and Australia, concluding on July 13, 1985, with U2's participation in Live Aid at Wembley Stadium in London.[36] The tour showcased the album's expansive tracks like "Bad" and "A Sort of Homecoming", emphasizing Bono's growing stage charisma and The Edge's layered guitar textures amid evolving production values. Live Aid, a global concert organized to raise funds for Ethiopian famine relief, provided U2 a pivotal platform; their 17-minute set included "Sunday Bloody Sunday", an extended "Bad" incorporating snippets of other songs, and "Pride".[37] During "Bad", Bono spontaneously descended into the audience, pulling a young woman onstage for a dance, an improvisation that extended the performance beyond its allotted time and initially drew internal band criticism for risking their slot.[37] Footage of the crowd surging toward the stage during this moment, broadcast worldwide, mythologized the event as a turning point, empirically boosting U2's visibility and commercial trajectory despite Bono's later retrospective discomfort with the "excruciating" visuals.[38][37] This exposure, amid the concert's 1.9 billion estimated viewers, accelerated U2's maturation from cult favorites to international contenders, setting the stage for stadium-level success.[37]Global stardom: The Joshua Tree and Rattle and Hum (1986–1990)
U2 attained unprecedented global commercial success with their fifth studio album, The Joshua Tree, released on 9 March 1987 and produced by Brian Eno and Daniel Lanois. The record debuted at number one on the UK Albums Chart, achieving platinum status within 48 hours, and reached number one on the US Billboard 200 for nine non-consecutive weeks.[39][40] It has sold over 25 million copies worldwide, with 10 million certified units in the United States alone.[41][42] Singles from the album propelled its chart dominance: "With or Without You" topped the Billboard Hot 100 for three weeks in May 1987, followed by "I Still Haven't Found What I'm Looking For" holding the summit for two weeks in August. "Where the Streets Have No Name" peaked at number 13 but gained enduring radio play. At the 30th Annual Grammy Awards on 2 March 1988, The Joshua Tree won Album of the Year and Best Rock Performance by a Duo or Group with Vocal.[43][44] The Joshua Tree Tour, supporting the album, began on 2 April 1987 in Tempe, Arizona, and spanned 109 dates across North America, Europe, and Australia, transitioning from arenas to stadiums. It grossed $35 million, the highest figure for any concert tour in 1987.[45] Capitalizing on this momentum, U2 issued Rattle and Hum on 10 October 1988, a double album blending live recordings from the tour—primarily at the McNichols Sports Arena in Denver and Sun Devil Stadium in Tempe—with new studio tracks and covers of American roots music, produced by Jimmy Iovine. The accompanying documentary film, directed by Phil Joanou, premiered on 27 October 1988, capturing performances and behind-the-scenes footage. Lead single "Desire" reached number three on the Billboard Hot 100. The album topped charts in the UK and US, selling 14 million copies worldwide and earning five-times platinum certification in the United States for 5 million units.[46][47] Despite strong sales, Rattle and Hum elicited critical backlash for its perceived self-congratulatory tone and indulgence in blues-rock homage, with reviewers citing overexposure after The Joshua Tree's ubiquity as contributing to fatigue. Billboard noted the reception as "largely complacent and condescending," signaling early strain on the band's image of earnest authenticity. The film grossed only $8.6 million against expectations, underscoring limits to the era's hype. This phase represented U2's zenith in stadium-rock appeal, driven by melodic hooks and expansive production rather than unexamined lyrical profundity, though it foreshadowed the need for stylistic reinvention.[46]Reinvention: Achtung Baby, Zoo TV Tour, and Zooropa (1990–1993)
Following the mixed critical reception to Rattle and Hum, which some reviewers described as self-indulgent and overly earnest, U2 confronted internal divisions over their artistic direction and public image. The band, seeking to shed perceptions of pomposity, embarked on a deliberate reinvention emphasizing irony, spectacle, and sonic experimentation to reclaim creative vitality.[48] This pivot resolved tensions exacerbated by The Edge's personal marital dissolution and broader doubts about sustaining post-Joshua Tree momentum, as evidenced by their commitment to riskier material during recording sessions.[49] Achtung Baby, U2's seventh studio album, was primarily recorded in Berlin's Hansa Studios starting October 3, 1990, with additional sessions in Dublin, produced by Daniel Lanois and Brian Eno.[50] Initial conflicts nearly dissolved the band, but a breakthrough jam session yielded the track "One," which reconciled differences and became a defining ballad addressing themes of unity amid division.[51] Released on November 18, 1991, via Island Records, the album marked a stylistic departure toward industrial rock influences, denser guitar textures, and electronic elements, contrasting the anthemic rock of prior works.[52] It debuted at number one on the Billboard 200, selling nearly 300,000 copies in its first week, and has sold approximately 18 million copies worldwide, with singles "One," "The Fly," and "Mysterious Ways" driving commercial success.[53][54] The supporting Zoo TV Tour, launched December 29, 1991, in Boulder, Colorado, and concluding December 11, 1993, in Tokyo, innovated with massive LED screens broadcasting live feeds, pre-recorded satire, and satellite phone calls to global figures, mocking media overload and consumerism.[55] Bono adopted alter egos like the leather-clad "The Fly" for persona-driven performances, amplifying the tour's theme of ironic detachment from stadium rock sincerity.[48] Spanning 157 shows across five legs, it attracted over 5 million attendees and generated roughly $150 million in revenue, establishing benchmarks for production scale and thematic depth in live music.[55] During a European leg break, U2 recorded Zooropa from March to May 1993 in Dublin, extending the experimental vein of Achtung Baby with producers Flood, Brian Eno, and The Edge, incorporating techno, disco, and avant-garde elements inspired by tour visuals.[56] Released July 5, 1993, on Island Records, the album debuted at number one in the UK and US, selling about 7 million copies globally, though less than its predecessor, reflecting sustained but tempered commercial appeal amid bolder risks.[57] Tracks like "Stay (Faraway, So Close!)" underscored adaptability's role in preserving relevance, as sales data indicate reinvention prevented stagnation post-peak fame.[58]Experimental phase: Passengers project, Pop, and PopMart Tour (1994–1998)
Following the Zoo TV Tour, U2 entered a period of creative experimentation, collaborating with Brian Eno on the side project Passengers. Released on November 6, 1995, Original Soundtracks 1 comprised 14 tracks conceived as soundtracks for mostly imaginary films, blending ambient electronics, instrumentals, and occasional vocals.[59] The album featured contributions from U2 members—Bono, the Edge, Adam Clayton, and Larry Mullen Jr.—alongside Eno's production and additional instrumentation, emphasizing atmospheric and filmic qualities over conventional rock structures.[60] Tracks like "United Colours" incorporated saxophone and rhythm synthesizers, while exceptions included adaptations for real films such as Ghost in the Shell.[61] This venture allowed the band to explore sonic boundaries without the pressures of a full U2 release, though it received limited commercial attention and mixed critical response for its abstract nature.[62] Building on the ambient and electronic leanings of Passengers, U2 recorded their ninth studio album, Pop, between 1995 and 1996, which was released on March 3, 1997.[63] The record drew from club, hip-hop, and dance influences, featuring producers like Flood, Howie B, and Eno, resulting in dense, layered soundscapes with tracks such as "Discothèque" and "Mofo" emphasizing electronic beats and sampling.[63] However, rushed final mixes contributed to perceptions of incompleteness, with Bono later acknowledging production haste.[64] Pop debuted at number one in multiple countries, including the US and UK, but experienced a 57% sales drop in its second week in the US, ultimately achieving only platinum certification there (over 1 million units) and lower global sales compared to prior albums, estimated around 6 million worldwide.[65] Reviews were divided: some praised its bold reinvention and introspective themes of fame and identity, while others critiqued its accessibility and coherence.[66][63] To promote Pop, U2 launched the PopMart Tour on April 25, 1997, in Las Vegas, spanning 93 shows across 1997 and 1998 and attracting approximately 3.9 million attendees.[67] The production featured an elaborate stadium set including a 40-foot mirrored lemon video screen, a giant golden arch, and olive props symbolizing consumerism and irony, extending the ironic, multimedia aesthetics from Zoo TV into a supermarket-themed spectacle.[67] Early legs faced challenges, with some dates struggling to sell out at $50 ticket prices amid audience fatigue from prior tours and the album's polarizing reception.[68] Despite initial financial risks and reports of losses on certain shows, the tour grossed over $170 million, recouping costs through high attendance in Europe and Australia, including a notable Sarajevo performance in September 1997 drawing 45,000 amid post-war recovery.[67] The setlist heavily featured Pop material alongside classics, though the band's push into electronica-infused experimentation exposed vulnerabilities, as slower ticket sales highlighted limits to their boundary-pushing post-stardom.[69]Return to form: All That You Can't Leave Behind and Elevation Tour (1999–2002)
Following the electronic experimentation and mixed reception of Pop (1997), U2 aimed to recapture the anthemic urgency of their earlier work with All That You Can't Leave Behind, their tenth studio album released on October 30, 2000. Produced by Brian Eno and Daniel Lanois in Dublin, the record emphasized guitar-driven rock and emotional directness over dense production layers.[70] It debuted at number one in 32 countries and sold over 12 million copies worldwide, with 428,000 units in its first U.S. week alone.[70] [71] This commercial rebound contrasted sharply with Pop's more modest sales, indicating that simplifying their sound reengaged core audiences alienated by prior abstraction.[72] The lead single "Beautiful Day," released October 9, 2000, topped charts in Ireland and the UK while embodying the album's optimistic core.[72] Post-September 11, 2001, the track's lyrics of renewal resonated widely on radio as a beacon amid grief, amplified by its video's inadvertent inclusion of the intact World Trade Center filmed days prior.[73] On February 3, 2002, U2 headlined Super Bowl XXXVI's halftime show, performing selections from the album in a set viewed by 86 million, further cementing its cultural impact.[74] The Elevation Tour, launching March 24, 2001, in Sunrise, Florida, supported the album through 131 arena dates ending December 2001, with extensions into 2002.[75] Its innovative heart-shaped "claw" stage extended into crowds for intimacy despite capacities exceeding 20,000, blending new material like "Elevation" with classics.[76] The outing grossed $143.4 million from 2.18 million tickets sold, including $103.5 million in North America from 59 shows, marking U2's highest-grossing tour to date and underscoring the album's role in their resurgence.[77] [75] This success empirically validated retreating from over-experimentation, as measurable metrics—sales, attendance, revenue—surged relative to the PopMart Tour's era.[72]Mid-career resurgence: How to Dismantle an Atomic Bomb and Vertigo Tour (2003–2006)
Following the elevation of their profile with the Elevation Tour, U2 entered a phase of intensified studio work in 2003, focusing on recapturing the raw, guitar-centric energy of their early rock roots while building on the melodic accessibility of All That You Can't Leave Behind. Sessions for the band's eleventh studio album primarily occurred at HQ in Dublin, with principal production handled by Steve Lillywhite, who emphasized live band takes to foster immediacy and drive; additional contributions came from producers Flood, Chris Thomas, and Jacknife Lee, among others.[78] The resulting record, How to Dismantle an Atomic Bomb, featured 11 tracks clocking in at 49 minutes, including the riff-heavy opener "Vertigo," which originated from a jam at guitarist The Edge's Malibu home.[79] Released on 22 November 2004 by Island Records/Interscope, the album debuted at number one on the Billboard 200, selling 840,000 copies in its first week in the United States alone, and topped charts in 34 countries worldwide.[80] By 2022, it had sold approximately 9 million copies globally, with over 3 million in the US certified by the RIAA.[81][82] "Vertigo," released as the lead single on 8 November 2004 (tied to a promotion with iPod), peaked at number 31 on the Billboard Hot 100 and earned U2 their ninth Grammy for Best Rock Performance by a Duo or Group with Vocal in 2005; the album itself secured Album of the Year at the 48th Grammy Awards on 8 February 2006, along with two additional wins for Best Rock Song ("Sometimes You Can't Make It on Your Own") and Best Rock Vocal Performance by a Duo or Group ("City of Blinding Lights").[83] This output represented a refinement of U2's commercial approach, emphasizing polished, hook-driven rock anthems over prior experimental detours, which propelled renewed chart dominance and radio play in an era of shifting music consumption.[79] The Vertigo Tour, launched to promote the album, commenced on 28 March 2005 at the iPayOne Center (now Pechanga Arena) in San Diego, California, and spanned four legs through North America, Europe, and Australia, encompassing 131 concerts in arenas and stadiums.[84] Featuring an elongated catwalk and video screens for intimate crowd connection, the production scaled up from prior outings while retaining a stripped-back ethos compared to Zoo TV's spectacle; setlists blended new material like "Vertigo" and "Original of the Species" with staples such as "Pride (In the Name of Love)." The tour drew 4.6 million attendees across sold-out venues, including multiple nights at Dublin's Croke Park (grossing over $21 million for four shows in June 2005) and Madison Square Garden.[85] Overall, it generated $389 million in revenue, topping Billboard's year-end charts for 2005 with $260 million from 90 shows and marking U2's highest-grossing trek to date, amid a global stadium circuit that underscored their enduring draw.[86] The tour's Asia-Pacific leg was postponed indefinitely on 9 March 2006, canceling the final 10 dates (including stops in Australia and New Zealand) due to illness in the family of one band member—later identified in reports as pertaining to leukemia affecting The Edge's daughter—prioritizing personal commitments over completion.[87] This interruption highlighted the physical and logistical toll of the tour's expansive scope, though it cemented the 2003–2006 era as a pinnacle of U2's mid-career commercial resurgence, with the album-tour synergy yielding over 13 million in combined ticket and record sales.[88]Later experimentation: No Line on the Horizon and 360° Tour (2007–2011)
U2 commenced recording sessions for their twelfth studio album in 2006, reuniting with longtime producers Brian Eno and Daniel Lanois, with Steve Lillywhite added to refine tracks. The process spanned multiple sites, including studios in Dublin and a temporary setup in Fez, Morocco, emphasizing improvisational jamming to capture raw, ambient textures influenced by jazz and North African rhythms. Despite ambitions for a groundbreaking sound, the band faced creative hurdles, discarding initial material and extending production over two years, which delayed release until 27 February 2009.[89] Titled No Line on the Horizon, the album marked a return to experimental, atmospheric production but yielded mixed results commercially. It debuted at number one in 30 countries, with 484,000 units sold in the United States during its first week.[90] This figure, however, reflected a sharp decline—approximately 40% lower than the 840,000 first-week U.S. sales of How to Dismantle an Atomic Bomb in 2004—suggesting that the shift toward less structured, more abstract compositions distanced portions of the fanbase preferring the prior album's direct rock anthems.[71] Total global sales hovered around five million copies, underwhelming expectations for a band of U2's stature amid a contracting physical music market, though the production's causal emphasis on innovation over accessibility correlated with this tepid response.[91] To support the album, U2 launched the 360° Tour on 30 June 2009 in Barcelona, concluding on 30 July 2011 in Moncton, Canada, after 110 shows across five continents. The tour featured a revolutionary "claw" stage structure, a 164-foot-high exoskeleton enabling 360-degree audience encirclement and unprecedented sightlines for 7.2 million attendees.[92] Technical advancements included a massive 56-meter cylindrical LED video screen enveloping the band, delivering immersive visuals synchronized with performances. Despite the album's creative risks, the tour grossed $736 million, shattering records as the highest-earning concert series to date, surpassing the Rolling Stones' A Bigger Bang tour's $558 million and offsetting production costs through sheer scale.[93][94] This financial dominance underscored how spectacle-driven innovation could sustain popularity even as studio output faltered in fan alignment.Reflective period: Songs of Innocence, Songs of Experience, and Innocence + Experience Tour (2011–2017)
Following the conclusion of the 360° Tour in July 2011, U2 entered a period of introspection, during which Bono recovered from a bicycle accident that necessitated spinal surgery and vocal retraining.[95] The band shifted focus toward more personal material, drawing inspiration from William Blake's Songs of Innocence and of Experience to explore themes of youth, loss, and maturation. This reflective approach culminated in Songs of Innocence, their thirteenth studio album, released on September 9, 2014, via an unconventional partnership with Apple that automatically downloaded the record to approximately 500 million iTunes users' devices without explicit consent.[96] The move, intended to bypass traditional gatekeepers in the streaming era, instead provoked widespread criticism for invading user privacy and cluttering storage, with Bono later admitting in his 2022 memoir that he bore responsibility for the "overreach."[97] The album's content revisited the band's Dublin roots in the 1970s, incorporating autobiographical narratives of childhood, early influences, and personal triumphs and tragedies, produced primarily by Danger Mouse alongside band members.[98] To support Songs of Innocence, U2 launched the iNNOCENCE + eXPERIENCE Tour on May 14, 2015, in Vancouver, Canada, marking a return to arena venues after a decade of stadium spectacles.[99] The production featured a linear "I-stage" extending into the crowd for intimate "innocence" segments and a circular "E-stage" for expansive "experience" portions, with immersive video screens and thematic sequencing tracing the band's evolution from formative years to present-day reflections.[99] The tour spanned North America in 2015 before shifting to Europe later that year, emphasizing narrative cohesion over sheer scale, though it highlighted U2's challenges adapting to diminished album sales in a streaming-dominated landscape, where live performances became primary revenue drivers. Empirical data from the era underscores this shift: while Songs of Innocence achieved initial streaming visibility, physical and download sales lagged behind predecessors, prompting reliance on high-grossing tours amid fan backlash against perceived aggressive digital marketing tactics.[100] Completing the diptych, Songs of Experience arrived on December 1, 2017, as U2's fourteenth studio album, delving into mature themes of resilience, political disillusionment, familial bonds, and existential doubt, contrasting the prior record's nostalgic gaze.[101] Retaining Blakean duality, the lyrics addressed contemporary issues like love's endurance amid global strife, with tracks blending rock anthems and atmospheric ballads that critiqued institutional failures without descending into overt activism.[102] Production involved returning collaborators, yielding a sound that echoed U2's arena-rock heritage while grappling with the causal realities of aging and cultural fragmentation—evident in sales figures that, despite critical ambivalence, affirmed the band's enduring draw through thematic depth rather than novelty. This phase encapsulated U2's pivot toward legacy-affirming work, prioritizing authenticity over reinvention in an industry increasingly favoring ephemeral hits.[103]Anniversary tours and Songs of Surrender (2017–2023)
To commemorate the 30th anniversary of their 1987 album The Joshua Tree, U2 launched The Joshua Tree Tour on May 12, 2017, in Vancouver, Canada, with initial legs across North America and Europe, followed by dates in Latin America concluding on October 25, 2017.[104] [105] The tour featured the full album performed in sequence early in the setlist, augmented by hits from later catalog, and played to stadiums with a minimalist stage design emphasizing a large video screen backdrop. Across 50 shows, it drew 2.7 million attendees and grossed over $316 million, ranking as the highest-grossing tour of 2017.[106] [107] In November 2019, U2 extended the anniversary celebrations with a 15-show leg in Australia, New Zealand, Asia, and India, starting November 8 in Auckland and ending December 19 in Mumbai.[108] [109] This phase attracted 566,576 fans and generated $73.8 million in revenue, with standout single-show grosses like $6.91 million in Melbourne.[110] Combined, the 2017 and 2019 tours totaled over $390 million in earnings from more than 3.2 million tickets sold, demonstrating strong demand for nostalgic performances of the band's signature album.[111] The COVID-19 pandemic enforced a touring hiatus from 2020 through 2022, halting live shows as global restrictions curtailed large gatherings; U2, like many acts, shifted focus to studio work without announcing rescheduled dates during this interval.[112] Amid the break, the band recorded Songs of Surrender, a double album of 40 reimagined tracks from their catalog, emphasizing acoustic arrangements led by the Edge's production. Released on March 17, 2023, it included lyrical revisions by Bono and subdued instrumentation intended to foreground vocals and introspection.[113] Reception was mixed, with praise for revealing lyrical depth but criticism for diluting the originals' drive and energy through stripped-back renditions and vocal shifts signaling Bono's age.[114] [113] Reviewers like Pitchfork called it a "frustrating missed opportunity," arguing the reworkings exposed weaknesses rather than enhancing timeless qualities, while others noted it as an uneven novelty prioritizing reflection over vigor.[113] [115] Commercially, it debuted at number one on the UK Albums Chart—U2's 11th such entry there—and Billboard's Top Album Sales chart, moving 42,000 US copies in week one, buoyed by core fans but underscoring dependence on past hits absent fresh material.[116]Sphere residency and ongoing developments (2023–present)
U2 launched their residency U2:UV Achtung Baby Live at Sphere on September 29, 2023, at the Sphere venue in Las Vegas, Nevada, performing 40 sold-out shows centered on their 1991 album Achtung Baby. The production featured immersive technology, including the world's largest 16K-resolution LED screen and advanced audio systems with haptic seating for multi-sensory effects. The residency concluded on March 2, 2024, after an initial 25 dates in late 2023 were extended by 15 more due to demand. Notably, the shows proceeded without drummer Larry Mullen Jr., who was recovering from neck surgery performed earlier in 2023, with the band relying on session percussionist Bram van den Berg. The engagement generated an estimated $170 million in revenue for U2 across the 40 performances.[117][118][119][120][121][122] Mullen Jr.'s absence highlighted physical challenges for the aging band members, as the drummer has dealt with ongoing neck and elbow issues exacerbated by decades of touring. He attended the final shows in person but did not perform, and by October 2025, U2 reported continued positive progress in his recovery, enabling participation in new album sessions. The residency's success stemmed from the Sphere's technological novelty, drawing over 700,000 attendees despite the lineup adjustment, though it underscored concerns about long-term sustainability for performers in their 60s.[123][121] On October 21, 2025, U2 received the Woody Guthrie Prize in Tulsa, Oklahoma, with Bono and the Edge accepting on behalf of the group at Cain's Ballroom and delivering a surprise six-song acoustic set, including "Pride (In the Name of Love)" and Woody Guthrie covers. The award recognized the band's alignment with Guthrie's legacy of socially conscious music over decades. During the event, Bono teased material from U2's forthcoming album.[124][125][126] As of October 2025, U2 is actively developing a new studio album, with Bono stating the band has 25 strong songs and is collaborating with producer Brian Eno, targeting completion by late 2025 for a potential 2026 release. No album or tour is scheduled for 2025, per label updates, though bassist Adam Clayton indicated stadium touring could resume in 2026 or 2027 contingent on Mullen Jr.'s full recovery and album readiness. The Sphere experience demonstrated viability for venue-specific innovations amid health constraints, informing cautious planning for future live endeavors.[127][128][121][129]Band members
Current members
Bono (born Paul David Hewson, 10 May 1960) serves as U2's lead vocalist and primary lyricist, acting as the band's charismatic frontman whose stage presence has been central to their live performances since the group's formation.[130] The Edge (born David Howell Evans, 8 August 1961) plays lead guitar, incorporating effects and innovative riffing that distinguish his contributions to the band's core sound.[131] Adam Clayton (born 13 March 1960) provides bass guitar, establishing the rhythmic foundation in collaboration with the drummer.[132] Larry Mullen Jr. (born 31 October 1961) performs on drums and percussion; as the band's founder, he initiated U2 by placing a newspaper advertisement at Mount Temple Comprehensive School in Dublin on 6 September 1976, drawing together the original lineup of schoolmates who have remained intact for nearly five decades.[131][133] Mullen underwent neck surgery in 2023, leading to his temporary absence from performances, including the initial dates of U2's Sphere residency in Las Vegas, though he continues as a full member with positive recovery progress reported in 2025.[121] This unbroken core membership since 1976 underscores U2's stability amid lineup changes common in rock bands, contributing to their longevity and commercial achievements, such as the U2 360° Tour's $736 million gross from 2009 to 2011.[134] Net worth estimates for the members, derived from touring revenue, album sales, and investments, place Bono at approximately $700 million, with the others ranging from $350 million to $400 million each.[135][136]Touring and session musicians
U2 has predominantly toured as a four-piece rock band since its formation, relying on the core members—Bono, the Edge, Adam Clayton, and Larry Mullen Jr.—without permanent additional touring musicians, a practice that underscores the group's commitment to its foundational quartet dynamic. This approach persisted across major tours from the early War Tour in 1983 to the 360° Tour concluding in 2011, where live performances emphasized the interplay among the four, augmented occasionally by pre-recorded tracks or off-stage elements rather than onstage personnel.[137][138] The primary exception to this touring tradition occurred during the band's Las Vegas Sphere residency, U2:UV Achtung Baby Live at Sphere, from September 2023 to March 2024, comprising 40 performances. Mullen Jr. was unable to participate due to recovery from neck and back surgery, leading to his temporary replacement by Dutch drummer Bram van den Berg of the rock band Krezip. Van den Berg, introduced to U2 via producer Martin Garrix, handled all shows with the band's endorsement, including Mullen's explicit support for the selection, and received positive fan reception for maintaining the set's energy.[139][140][141] In studio sessions, U2 has more routinely incorporated session musicians to expand sonic palettes, particularly for brass, strings, or auxiliary percussion, though these contributions remain episodic rather than integral to the band's identity. Examples include horn sections on the 1988 album Rattle and Hum and additional vocalists or electronic programmers during the experimental Pop (1997) and Zooropa (1993) eras, often in collaboration with producers like Flood or Howie B. Such dependencies highlight targeted enhancements for recording rather than live replication, with the core four retaining primary instrumentation. The infrequency of touring additions reflects a deliberate preservation of the band's raw, interdependent live sound, even amid occasional health-related adjustments.[138]Timeline of members
U2's core lineup—Bono (lead vocals and rhythm guitar), the Edge (lead guitar, keyboards, and backing vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums)—has remained unchanged since the band's formation on September 25, 1976, when Mullen placed an advertisement seeking musicians at his school's noticeboard in Dublin. This unbroken continuity spans nearly five decades, distinguishing U2 from many enduring rock acts that faced departures or replacements, such as the multiple lineup shifts in bands like Fleetwood Mac or the Eagles, which often disrupted creative cohesion and public perception. Empirical evidence from the band's output—15 studio albums, sustained chart success, and over 150 million records sold—suggests that this personnel stability facilitated deep interpersonal dynamics and iterative songwriting processes, contributing causally to their adaptability and longevity without the resets imposed by member turnover. The sole deviation occurred in 2023, when Mullen underwent neck surgery for chronic issues, sidelining him from the band's Las Vegas Sphere residency that began on September 29; Dutch drummer Bram van den Berg filled the touring role while Mullen retained full membership status.[142][143] Mullen's recovery has progressed positively, with bandmate the Edge noting in late 2024 that he was drumming again and potential new music was in discussion, indicating no permanent alteration to the lineup.[121]| Period | Lead Vocals | Lead Guitar & Backing Vocals | Bass Guitar | Drums |
|---|---|---|---|---|
| 1976–2023 (full band) | Bono | The Edge | Adam Clayton | Larry Mullen Jr. |
| 2023–present (Sphere residency touring only) | Bono | The Edge | Adam Clayton | Bram van den Berg (sub) |