U2

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This article is about the Irish rock band. U2_sentence_0

For other uses, see U2 (disambiguation). U2_sentence_1

U2_table_infobox_0

U2U2_header_cell_0_0_0
Background informationU2_header_cell_0_1_0
Also known asU2_header_cell_0_2_0 U2_cell_0_2_1
OriginU2_header_cell_0_3_0 Dublin, IrelandU2_cell_0_3_1
GenresU2_header_cell_0_4_0 Rock, alternative rock, post-punkU2_cell_0_4_1
Years activeU2_header_cell_0_5_0 1976–presentU2_cell_0_5_1
LabelsU2_header_cell_0_6_0 U2_cell_0_6_1
Associated actsU2_header_cell_0_7_0 Virgin Prunes, Brian Eno, Daniel LanoisU2_cell_0_7_1
WebsiteU2_header_cell_0_8_0 U2_cell_0_8_1
MembersU2_header_cell_0_10_0 U2_cell_0_10_1
Past membersU2_header_cell_0_12_0 U2_cell_0_12_1

U2 are an Irish rock band from Dublin, formed in 1976. U2_sentence_2

The group consists of Bono (lead vocals and rhythm guitar), the Edge (lead guitar, keyboards, and backing vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion). U2_sentence_3

Initially rooted in post-punk, U2's musical style has evolved throughout their career, yet has maintained an anthemic quality built on Bono's expressive vocals and the Edge's chiming, effects-based guitar sounds. U2_sentence_4

Their lyrics, often embellished with spiritual imagery, focus on personal and sociopolitical themes. U2_sentence_5

Popular for their live performances, the group have staged several ambitious and elaborate tours over their career. U2_sentence_6

The band was formed when the members were teenaged pupils of Mount Temple Comprehensive School and had limited musical proficiency. U2_sentence_7

Within four years, they signed with Island Records and released their debut album, Boy (1980). U2_sentence_8

Subsequent work such as their first UK number-one album, War (1983), and the singles "Sunday Bloody Sunday" and "Pride (In the Name of Love)" helped establish U2's reputation as a politically and socially conscious group. U2_sentence_9

By the mid-1980s, they had become renowned globally for their live act, highlighted by their performance at Live Aid in 1985. U2_sentence_10

The group's fifth album, The Joshua Tree (1987), made them international superstars and was their greatest critical and commercial success. U2_sentence_11

Topping music charts around the world, it produced their only number-one singles in the US to date: "With or Without You" and "I Still Haven't Found What I'm Looking For". U2_sentence_12

Facing creative stagnation and a backlash to their documentary/double album, Rattle and Hum (1988), U2 reinvented themselves in the 1990s. U2_sentence_13

Beginning with their acclaimed seventh album, Achtung Baby (1991), and the multimedia-intensive Zoo TV Tour, the band pursued a new musical direction influenced by alternative rock, electronic dance music, and industrial music, and they embraced a more ironic, flippant image. U2_sentence_14

This experimentation continued through their ninth album, Pop (1997), and the PopMart Tour, which were mixed successes. U2_sentence_15

U2 regained critical and commercial favour with the records All That You Can't Leave Behind (2000) and How to Dismantle an Atomic Bomb (2004), which established a more conventional, mainstream sound for the group. U2_sentence_16

Their U2 360° Tour of 2009–2011 set records for the highest-attended and highest-grossing concert tour, both of which were surpassed in 2019. U2_sentence_17

The group most recently released the companion albums Songs of Innocence (2014) and Songs of Experience (2017), the former of which received criticism for its pervasive, no-cost release through the iTunes Store. U2_sentence_18

U2 have released 14 studio albums and are one of the world's best-selling music artists, having sold an estimated 150–170 million records worldwide. U2_sentence_19

They have won 22 Grammy Awards, more than any other band, and in 2005, they were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. U2_sentence_20

Rolling Stone ranked U2 at number 22 on its list of the "100 Greatest Artists of All Time". U2_sentence_21

Throughout their career, as a band and as individuals, they have campaigned for human rights and social justice causes, including Amnesty International, Jubilee 2000, the ONE/DATA campaigns, Product Red, War Child, and Music Rising. U2_sentence_22

History U2_section_0

See also: Timeline of U2 U2_sentence_23

Formation and early years (1976–1980) U2_section_1

In 1976, Larry Mullen Jr., then a 14-year-old student at Mount Temple Comprehensive School in Dublin, Ireland, posted a note on the school's notice board in search of musicians for a new band. U2_sentence_24

Six people responded and met at his house on 25 September. U2_sentence_25

Set up in the kitchen, Mullen was on drums, with: Paul Hewson ("Bono") on lead vocals; David Evans ("the Edge") and his older brother Dik Evans on guitar; Adam Clayton, a friend of the Evans brothers, on bass guitar; and initially Ivan McCormick and Peter Martin, two other friends of Mullen. U2_sentence_26

Mullen later described it as "'The Larry Mullen Band' for about ten minutes, then Bono walked in and blew any chance I had of being in charge." U2_sentence_27

Martin, who had brought his guitar and amplifier to the first practice but could not play, did not remain with the group, and McCormick was dropped after a few weeks. U2_sentence_28

The remaining five members settled on the name "Feedback" for the group because it was one of the few technical terms they knew. U2_sentence_29

Most of their initial material consisted of cover songs, which they admitted was not their forte. U2_sentence_30

Some of the earliest influences on the band were emerging punk rock acts, such as the Jam, the Clash, Buzzcocks, and Sex Pistols. U2_sentence_31

The popularity of punk rock convinced the group that musical proficiency was not a prerequisite to success. U2_sentence_32

In April 1977, Feedback played their first gig for a paying audience at St. U2_sentence_33 Fintan's High School. U2_sentence_34

Shortly thereafter, the band changed their name to "The Hype". U2_sentence_35

Dik Evans, who was older and by this time at college, was becoming the odd man out. U2_sentence_36

The rest of the band was leaning towards the idea of a four-piece ensemble. U2_sentence_37

In March 1978, the group changed their name to "U2". U2_sentence_38

Steve Averill, a punk rock musician (with the Radiators) and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, and because it was the name that they disliked the least. U2_sentence_39

That same month, U2, as a four-piece, won a talent contest in Limerick sponsored by Harp Lager and the Evening Press. U2_sentence_40

The prize consisted of £500 and studio time to record a demo which would be heard by record label CBS Ireland. U2_sentence_41

The win was an important milestone and affirmation for the fledgling band. U2_sentence_42

Within a few days, Dik Evans was officially phased out of the band with a farewell concert at the Presbyterian Church Hall in Howth. U2_sentence_43

During the show, which featured the group playing cover songs as the Hype, Dik ceremonially walked offstage. U2_sentence_44

The remaining four band members returned later in the concert to play original material as U2. U2_sentence_45

Dik joined another band, the Virgin Prunes, which comprised mutual friends of U2's; the Prunes were their default opening act early on, and the two groups often shared members for live performances to cover for occasional absences. U2_sentence_46

As part of their contest prize, U2 recorded their first demo tape at Keystone Studios in Dublin in April 1978, but the results were largely unsuccessful due to their inexperience. U2_sentence_47

Irish magazine Hot Press was influential in shaping U2's future; in addition to being one of their earliest allies, the publication's journalist Bill Graham introduced the band to Paul McGuinness, who agreed to be their manager in mid-1978. U2_sentence_48

With the connections he was making within the music industry, McGuinness booked demo sessions for the group and sought to garner them a record deal. U2_sentence_49

The band continued to build their fanbase with performances across Ireland, the most famous of which were a series of Saturday afternoon shows at Dublin's Dandelion Market in the summer of 1979. U2_sentence_50

In August, U2 recorded demos at Windmill Lane Studios with CBS talent scout Chas de Whalley producing, marking the first of the band's many recordings at the studio during their career. U2_sentence_51

The following month, three songs from the session were released by CBS as the Ireland-only EP Three. U2_sentence_52

It was the group's first chart success, selling all 1,000 copies of its limited edition 12-inch vinyl almost immediately. U2_sentence_53

In December 1979, the band performed in London for their first shows outside Ireland, although they were unable to gain much attention from audiences or critics. U2_sentence_54

On 26 February 1980, their second single, "Another Day", was released on the CBS label, but again only for the Irish market. U2_sentence_55

The same day, U2 played a show at the 2,000-seat National Stadium in Dublin as part of an Irish tour. U2_sentence_56

Despite their gamble of booking a concert in such a large venue, the move paid off. U2_sentence_57

Bill Stewart, an A&R representative for Island Records, was in attendance and offered to sign them to the label. U2_sentence_58

The following month, the band signed a four-year, four-album contract with Island, which included a £50,000 advance and £50,000 in tour support. U2_sentence_59

Boy and October (1980–1982) U2_section_2

In May 1980, U2 released "11 O'Clock Tick Tock", their first international single and their debut on Island, but it failed to chart. U2_sentence_60

Martin Hannett, who produced the single, was slated to produce the band's debut album, Boy, but ultimately was replaced with Steve Lillywhite. U2_sentence_61

From July to September 1980, U2 recorded the album at Windmill Lane Studios, drawing from their nearly 40-song repertoire at the time. U2_sentence_62

Lillywhite employed unorthodox production techniques, such as recording Mullen's drums in a stairwell, and recording smashed bottles and forks played against a spinning bicycle wheel. U2_sentence_63

The band found Lillywhite to be very encouraging and creative; Bono called him "such a breath of fresh air", while the Edge said he "had a great way of pulling the best out of everybody". U2_sentence_64

The album's lead single, "A Day Without Me", was released in August. U2_sentence_65

Although it did not chart, the song was the impetus for the Edge's purchase of a delay effect unit, the Electro-Harmonix Memory Man, which came to define his guitar playing style and had a significant impact on the group's creative output. U2_sentence_66

Released in October 1980, Boy received generally positive reviews. U2_sentence_67

Paul Morley of NME called it "touching, precocious, full of archaic and modernist conviction", while Declan Lynch of Hot Press said he found it "almost impossible to react negatively to U2's music". U2_sentence_68

Bono's lyrics reflected on adolescence, innocence, and the passage into adulthood, themes represented on the album cover through the photo of a young boy's face. U2_sentence_69

Boy peaked at number 52 in the United Kingdom and number 63 in the United States. U2_sentence_70

The album included the band's first songs to receive airplay on US radio, including the single "I Will Follow", which reached number 20 on the Top Tracks rock chart. U2_sentence_71

Boy's release was followed by the Boy Tour, U2's first tour of continental Europe and the US. U2_sentence_72

Despite being unpolished, these early live performances demonstrated the band's potential, as critics complimented their ambition and Bono's exuberance. U2_sentence_73

The band faced several challenges in writing their second album, October. U2_sentence_74

On an otherwise successful American leg of the Boy Tour, Bono's briefcase containing in-progress lyrics and musical ideas was lost backstage during a March 1981 performance at a nightclub in Portland, Oregon. U2_sentence_75

The band had limited time to write new music on tour and in July began a two-month recording session at Windmill Lane Studios largely unprepared, forcing Bono to quickly improvise lyrics. U2_sentence_76

Lillywhite, reprising his role as producer, called the sessions "completely chaotic and mad". U2_sentence_77

October's lead single, "Fire", was released in July and was U2's first song to chart in the UK. U2_sentence_78

Despite garnering the band an appearance on UK television programme Top of the Pops, the single fell in the charts afterwards. U2_sentence_79

On 16 August 1981, the group opened for Thin Lizzy at the inaugural Slane Concert, but the Edge called it "one of the worst shows [U2] ever played in [their] lives". U2_sentence_80

Adding to this period of self-doubt, Bono's, the Edge's, and Mullen's involvement in a Charismatic Christian group in Dublin called the "Shalom Fellowship" led them to question the relationship between their religious faith and the lifestyle of a rock band. U2_sentence_81

Bono and the Edge considered quitting U2 due to their perceived spiritual conflicts before deciding to leave Shalom instead. U2_sentence_82

October was released in October 1981 and contained overtly spiritual themes. U2_sentence_83

The album received mixed reviews and limited radio play, and although it debuted at number 11 in the UK, it sold poorly elsewhere. U2_sentence_84

The single "Gloria" was U2's first song to have its music video played on MTV, generating excitement for the band during the October Tour of 1981–1982 in markets where the television channel was available. U2_sentence_85

During the tour, U2 met Dutch photographer Anton Corbijn, who became their principal photographer and has had a major influence on their vision and public image. U2_sentence_86

In March 1982, the band played 14 dates as the opening act for the J. Geils Band, increasing their exposure. U2_sentence_87

Still, U2 were disappointed by their lack of progress by the end of the October Tour. U2_sentence_88

Having run out of money and feeling unsupported by their record label, the group committed to improving; Clayton recalled that "there was a firm resolve to come out of the box fighting with the next record". U2_sentence_89

War (1982–1983) U2_section_3

After the October Tour, U2 decamped to a rented cottage in Howth, where they lived, wrote new songs, and rehearsed for their third album, War. U2_sentence_90

Significant musical breakthroughs were achieved by the Edge in August 1982 during a two-week period of independent songwriting, while the other band members vacationed and Bono honeymooned with his wife Ali. U2_sentence_91

From September to November, the group recorded War at Windmill Lane Studios. U2_sentence_92

Lillywhite, who had a policy of not working with an artist more than twice, was convinced by the group to return as their producer for a third time. U2_sentence_93

The recording sessions featured contributions from violinist Steve Wickham and the female singers of Kid Creole and the Coconuts. U2_sentence_94

For the first time, Mullen agreed to play drums to a click track to keep time. U2_sentence_95

After completing the album, U2 undertook a short tour of Western Europe in December. U2_sentence_96

War's lead single, "New Year's Day", was released on 1 January 1983. U2_sentence_97

It reached number 10 in the UK and became the group's first hit outside of Europe; in the US, it received extensive radio coverage and peaked at number 53. U2_sentence_98

Resolving their doubts of the October period, U2 released War in February. U2_sentence_99

Critically, the album received favourable reviews, although a few UK reviewers were critical of it. U2_sentence_100

Nonetheless, it was the band's first commercial success, debuting at number one in the UK, while reaching number 12 in the US. U2_sentence_101

War's sincerity and "rugged" guitar were intentionally at odds with the trendier synthpop of the time. U2_sentence_102

A record on which the band "turned pacifism itself into a crusade", War was lyrically more political than their first two records, focusing on the physical and emotional effects of warfare. U2_sentence_103

The album included the protest song "Sunday Bloody Sunday", in which Bono lyrically tried to contrast the events of the 1972 Bloody Sunday shooting with Easter Sunday. U2_sentence_104

Other songs from the record addressed topics such as nuclear proliferation ("Seconds") and the Polish Solidarity movement ("New Year's Day"). U2_sentence_105

War was U2's first record to feature Corbijn's photography. U2_sentence_106

The album cover depicted the same young child who had appeared on the cover of their debut album, albeit with his previously innocent expression replaced by a fearful one. U2_sentence_107

On the subsequent 1983 War Tour of Europe, the US, and Japan, the band began to play progressively larger venues, moving from clubs to halls to arenas. U2_sentence_108

Bono attempted to engage the growing audiences with theatrical, often dangerous antics, climbing scaffoldings and lighting rigs and jumping into the audience. U2_sentence_109

The sight of Bono waving a white flag during performances of "Sunday Bloody Sunday" became the tour's iconic image. U2_sentence_110

The band played several dates at large European and American music festivals, including a performance at the US Festival on Memorial Day weekend for an audience of 125,000 people. U2_sentence_111

The group's 5 June 1983 concert at Red Rocks Amphitheatre on a rain-soaked evening was singled out by Rolling Stone as one "50 Moments that Changed the History of Rock and Roll". U2_sentence_112

The show was recorded for the concert video Live at Red Rocks and was one of several concerts from the tour captured on their live album Under a Blood Red Sky. U2_sentence_113

The releases received extensive play on MTV and the radio, expanding the band's audience and showcasing their prowess as a live act. U2_sentence_114

During the tour, the group established a new tradition by closing concerts with the War track "40", during which the Edge and Clayton would switch instruments and the band members would leave the stage one-by-one as the crowd continued to sing the refrain "How long to sing this song?". U2_sentence_115

The War Tour was U2's first profitable tour, grossing about US$2 million. U2_sentence_116

The Unforgettable Fire and Live Aid (1984–1985) U2_section_4

With their record deal with Island Records coming to an end, U2 signed a more lucrative extension in 1984. U2_sentence_117

They negotiated the return of the copyrights of their songs, an increase in their royalty rate, and a general improvement in terms, at the expense of a larger initial payment. U2_sentence_118

U2 feared that following the overt rock of the War album and tour, they were in danger of becoming another "shrill", "sloganeering arena-rock band". U2_sentence_119

They were confident that fans would embrace them as successors to groups like the Who and Led Zeppelin, but according to Bono: "something just didn't feel right. U2_sentence_120

We felt we had more dimension than just the next big anything, we had something unique to offer." U2_sentence_121

Thus, they sought experimentation for their fourth studio album, The Unforgettable Fire. U2_sentence_122

Clayton said, "We were looking for something that was a bit more serious, more arty." U2_sentence_123

The Edge admired the ambient and "weird works" of Brian Eno, who, along with his engineer Daniel Lanois, eventually agreed to produce the record. U2_sentence_124

Their hiring contravened the initial recommendation of Island Records founder Chris Blackwell, who believed that just when the band were about to achieve the highest levels of success, Eno would "bury them under a layer of avant-garde nonsense". U2_sentence_125

Partly recorded in Slane Castle, The Unforgettable Fire was released in October 1984 and was at the time the band's most marked change in direction. U2_sentence_126

It was ambient and abstract, and featured a rich, orchestrated sound. U2_sentence_127

Under Lanois' direction, Mullen's drumming became looser, funkier, and more subtle, and Clayton's bass became more subliminal. U2_sentence_128

Complementing the album's atmospheric sound, the lyrics were left open to interpretation, providing what the band called a "very visual feel". U2_sentence_129

Due to a tight recording schedule, Bono felt songs like "Bad" and "Pride (In the Name of Love)" were incomplete "sketches". U2_sentence_130

The album reached number one in the UK, and was successful in the US. U2_sentence_131

The lead single "Pride (In the Name of Love)", written about civil rights movement leader and Nobel Peace Prize laureate Martin Luther King Jr., was the band's biggest hit to that point and was their first song to chart in the US top 40. U2_sentence_132

Much of the Unforgettable Fire Tour moved into indoor arenas as U2 began to win their long battle to build their audience. U2_sentence_133

The complex textures of the new studio-recorded tracks, such as "The Unforgettable Fire" and "Bad", posed a challenge in translating to live performances. U2_sentence_134

One solution was programming music sequencers, which the band had previously been reluctant to use but now incorporate into the majority of their performances. U2_sentence_135

Songs on the album had been criticised as being "unfinished", "fuzzy", and "unfocused", but were better received by critics when played on stage. U2_sentence_136

Rolling Stone, which was critical of the album version of "Bad", described its live performance as a "show stopper". U2_sentence_137

In March 1985, a Rolling Stone cover story called U2 the "Band of the '80s", saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters". U2_sentence_138

The group participated in the Live Aid concert for Ethiopian famine relief at Wembley Stadium on 13 July 1985. U2_sentence_139

Their performance in front of 72,000 fans and for a worldwide television audience of nearly two billion people was a pivotal moment in the band's career. U2_sentence_140

During an impromptu 12-minute performance of "Bad", Bono climbed down from the stage to embrace and dance with a fan, showing a television audience the personal connection that he could make with audiences. U2_sentence_141

The Joshua Tree and Rattle and Hum (1986–1990) U2_section_5

For their fifth album, The Joshua Tree, the band wanted to build on The Unforgettable Fire's textures, but instead of out-of-focus experimentation, they sought a harder-hitting sound within the limitation of conventional song structures. U2_sentence_142

Realising that "U2 had no tradition" and that their knowledge of music from before their childhood was limited, the group delved into American and Irish roots music. U2_sentence_143

Friendships with Bob Dylan, Van Morrison, and Keith Richards motivated Bono to explore blues, folk, and gospel music and focused him on his skills as a songwriter and lyricist. U2_sentence_144

U2 halted the album sessions in June 1986 to serve as a headline act on the Conspiracy of Hope benefit concert tour for Amnesty International. U2_sentence_145

Rather than distract the band, the tour invigorated their new material. U2_sentence_146

The following month, Bono travelled to Nicaragua and El Salvador and saw first-hand the distress of peasants affected by political conflicts and US military intervention. U2_sentence_147

The experience became a central influence on their new music. U2_sentence_148

The Joshua Tree was released in March 1987. U2_sentence_149

The album juxtaposes antipathy towards US foreign policy against the group's deep fascination with the country, its open spaces, freedom, and ideals. U2_sentence_150

The band wanted music with a sense of location and a "cinematic" quality, and the record's music and lyrics draw on imagery created by American writers whose works the band had been reading. U2_sentence_151

The Joshua Tree was critically acclaimed; Robert Hilburn of the Los Angeles Times said the album "confirms on record what this band has been slowly asserting for three years now on stage: U2 is what the Rolling Stones ceased being years ago—the greatest rock and roll band in the world". U2_sentence_152

The record went to number one in over 20 countries, including the UK where it received a platinum certification in 48 hours and sold 235,000 copies in its first week, making it the fastest seller in British chart history. U2_sentence_153

In the US, it spent nine consecutive weeks at number one. U2_sentence_154

The album included the hit singles "With or Without You", "I Still Haven't Found What I'm Looking For", and "Where the Streets Have No Name", the first two of which became the group's only number-one hits in the US. U2_sentence_155

U2 became the fourth rock band to be featured on the cover of Time magazine, which called them "Rock's Hottest Ticket". U2_sentence_156

The album and its songs received four Grammy Award nominations, winning for Album of the Year and Best Rock Performance by a Duo or Group with Vocal. U2_sentence_157

Many publications, including Rolling Stone, have cited it as one of rock's greatest. U2_sentence_158

The Joshua Tree Tour was the first tour on which the band played shows in stadiums alongside smaller arena shows. U2_sentence_159

It grossed US$40 million and drew 3 million attendees. U2_sentence_160

In October 1988, the group released Rattle and Hum, a double album and theatrically released documentary film that captured the band's experiences with American roots music on the Joshua Tree Tour. U2_sentence_161

The record featured nine studio tracks and six live U2 performances, including recordings at Sun Studio in Memphis and collaborations with Dylan and B.B. U2_sentence_162 King. U2_sentence_163

Intended as a tribute to American music, the project received mixed reviews from both film and music critics; one Rolling Stone editor spoke of the album's "excitement", another described it as "misguided and bombastic". U2_sentence_164

The film's director, Phil Joanou, described it as "an overly pretentious look at U2". U2_sentence_165

Despite the criticism, the album sold 14 million copies and reached number one worldwide. U2_sentence_166

Lead single "Desire" became the band's first number-one song in the UK while reaching number three in the US. U2_sentence_167

Most of the album's new material was played on 1989–1990's Lovetown Tour, which only visited Australasia, Japan, and Europe, so as to avoid the critical backlash the group faced in the US. U2_sentence_168

In addition, they had grown dissatisfied with their live performances; Mullen recalled, "We were the biggest, but we weren't the best". U2_sentence_169

With a sense of musical stagnation, Bono said to fans on one of the last dates of the tour that it was "the end of something for U2" and that they had to "go away and ... just dream it all up again". U2_sentence_170

Achtung Baby, Zoo TV, and Zooropa (1990–1993) U2_section_6

Stung by the criticism of Rattle and Hum, the band sought to transform themselves musically. U2_sentence_171

Seeking inspiration from German reunification, they began work on their seventh studio album, Achtung Baby, at Berlin's Hansa Studios in October 1990 with producers Daniel Lanois and Brian Eno. U2_sentence_172

The sessions were fraught with conflict, as the band argued over their musical direction and the quality of their material. U2_sentence_173

While Clayton and Mullen preferred a sound similar to U2's previous work, Bono and the Edge were inspired by European industrial music and electronic dance music and advocated a change. U2_sentence_174

Weeks of tension and slow progress nearly prompted the group to break up until they made a breakthrough with the improvised writing of the song "One". U2_sentence_175

They returned to Dublin in 1991, where morale improved and the majority of the album was completed. U2_sentence_176

Achtung Baby was released in November 1991. U2_sentence_177

The album represented a calculated change in musical and thematic direction for the group; the shift was one of their most dramatic since The Unforgettable Fire. U2_sentence_178

Sonically, the record incorporated influences from alternative rock, dance, and industrial music of the time, and Bono referred to its musical departure as "four men chopping down the Joshua Tree". U2_sentence_179

Thematically, it was a more introspective and personal record; it was darker, yet at times more flippant than the band's previous work. U2_sentence_180

Commercially and critically, it has been one of the band's most successful albums. U2_sentence_181

It produced five hit singles, including "The Fly", "Mysterious Ways", and "One", and it was a crucial part of the band's early 1990s reinvention. U2_sentence_182

In 1993, Achtung Baby won the Grammy Award for Best Rock Performance by a Duo or Group with Vocal. U2_sentence_183

Like The Joshua Tree, many publications have cited the record as one of rock's greatest. U2_sentence_184

Like Achtung Baby, the 1992–1993 Zoo TV Tour was an unequivocal break with the band's past. U2_sentence_185

In contrast to the austere stage setups of previous U2 tours, Zoo TV was an elaborate multimedia event. U2_sentence_186

It satirised the pervasive nature of television and its blurring of news, entertainment, and home shopping by attempting to instill "sensory overload" in its audience. U2_sentence_187

The stage featured large video screens that showed visual effects, random video clips from pop culture, and flashing text phrases, along with a lighting system partially made of Trabant automobiles. U2_sentence_188

Whereas U2 were known for their earnest performances in the 1980s, the group's Zoo TV performances were intentionally ironic and self-deprecating. U2_sentence_189

On stage, Bono performed as several over-the-top characters, including the leather-clad egomaniac "The Fly", the greedy televangelist "Mirror Ball Man", and the devilish "MacPhisto". U2_sentence_190

Prank phone calls were made to President Bush, the United Nations, and others. U2_sentence_191

Live satellite link-ups to war-torn Sarajevo caused controversy. U2_sentence_192

Zoo TV was the highest-grossing North American tour of 1992, earning US$67 million. U2_sentence_193

In June 1993, U2 signed a long-term, six-album deal to remain with Island Records/PolyGram. U2_sentence_194

The Los Angeles Times estimated that the deal was worth US$60 million to the band, making them the highest-paid rock group ever. U2_sentence_195

The following month, the group released a new album, Zooropa. U2_sentence_196

Quickly recorded during a break in the Zoo TV Tour in early 1993, it expanded on many of the themes from Achtung Baby and the Zoo TV Tour. U2_sentence_197

Initially intended to be an EP, Zooropa ultimately evolved into a full-length LP album. U2_sentence_198

It was an even greater musical departure for the group, delving further into electronic, industrial, and dance music. U2_sentence_199

Country musician Johnny Cash sang the lead vocals on the closing track "The Wanderer". U2_sentence_200

Most of the songs were played at least once during the 1993 legs of the tour, which visited Europe, Australia, New Zealand, and Japan; half the album's tracks became permanent fixtures in the setlist. U2_sentence_201

Although the commercially successful Zooropa won the Grammy Award for Best Alternative Music Album in 1994, the band regard it with mixed feelings, as they felt it was more of "an interlude". U2_sentence_202

On the final leg of the Zoo TV Tour, Clayton was unable to perform for the group's 26 November 1993 show in Sydney due to a hangover, causing him to miss the dress rehearsal for filming Zoo TV: Live from Sydney. U2_sentence_203

Bass guitar technician Stuart Morgan filled in for him, marking the first time any member of U2 had missed a show. U2_sentence_204

After the incident, Clayton gave up drinking alcohol. U2_sentence_205

The tour concluded the following month in Japan, having sold 5.3 million tickets overall. U2_sentence_206

Q's Tom Doyle called Zoo TV "the most spectacular rock tour staged by any band". U2_sentence_207

Passengers, Pop, and PopMart (1994–1998) U2_section_7

In 1995, following a long break, U2 contributed "Hold Me, Thrill Me, Kiss Me, Kill Me" to the soundtrack album of the film Batman Forever. U2_sentence_208

The song was a hit, reaching number one in Australia and Ireland, number two in the UK, and number 16 in the US. U2_sentence_209

In November, the band released an experimental album called Original Soundtracks 1, a collaboration with Brian Eno, who contributed as a full songwriting partner and performer. U2_sentence_210

Due to his participation and the record's highly experimental nature, the band chose to release it under the moniker "Passengers" to distinguish it from U2's conventional albums. U2_sentence_211

Mullen said of the release: "There's a thin line between interesting music and self-indulgence. U2_sentence_212

We crossed it on the Passengers record." U2_sentence_213

It was commercially unnoticed by U2 standards and it received generally mixed reviews. U2_sentence_214

The single "Miss Sarajevo" (featuring Luciano Pavarotti) was among Bono's favourite U2 songs. U2_sentence_215

U2 began work on their next studio album, Pop, in mid-1995, holding recording sessions with Nellee Hooper, Flood, and Howie B. U2_sentence_216

The band mixed the contrasting influences of each producer into their music, in particular Howie B's experiences with electronica and dance music. U2_sentence_217

Mullen was sidelined due to back surgery in November, prompting the other band members to take different approaches to songwriting, such as programming drum loops and playing to samples provided by Howie B. U2_sentence_218

Upon Mullen's return in February 1996, the group began re-working much of their material but struggled to complete songs, causing them to miss their mid-year deadline to complete the record. U2_sentence_219

Further complicating matters, the band allowed manager Paul McGuinness to book their 1997–1998 PopMart Tour with the album still in progress; Bono called it "the worst decision U2 ever made". U2_sentence_220

Rushed to complete the album, the band delayed its release date a second time from the 1996 holiday season to March 1997, cutting into tour rehearsal time. U2_sentence_221

Even with the additional recording time, U2 worked up to the last minute to complete songs. U2_sentence_222

In February 1997, the group released Pop's lead single, "Discotheque", a dance-heavy song with a music video in which the band wore Village People costumes. U2_sentence_223

The song reached number one in the UK, Japan, and Canada, but did not chart for long in the US despite debuting at number 10. U2_sentence_224

Within days of the single's release, the group announced the PopMart Tour with a press conference in the lingerie section of a Kmart department store. U2_sentence_225

Tickets went on sale shortly after, but Pop would not be released until March. U2_sentence_226

The album represented U2's further exploration of nightclub culture, featuring heavy, funky dance rhythms. U2_sentence_227

The record drew favourable reviews. U2_sentence_228

Rolling Stone stated that U2 had "defied the odds and made some of the greatest music of their lives". U2_sentence_229

Other critics, though, felt that the album was a major disappointment. U2_sentence_230

Despite debuting at number one in over 30 countries, Pop dropped off the charts quickly. U2_sentence_231

Bono admitted that the album "didn't communicate the way it was intended to", while the Edge called it a "compromise project by the end". U2_sentence_232

The PopMart Tour commenced in April 1997 and was intended as a satire of consumerism. U2_sentence_233

The stage included a 100-foot-tall (30 m) golden yellow arch reminiscent of the McDonald's logo, a 40-foot-tall (12 m) mirrorball lemon, and a 150-foot-long (46 m) LED video screen, at the time the world's largest. U2_sentence_234

U2's "big shtick" failed to satisfy many who were seemingly confused by the band's new kitsch image and the tour's elaborate set. U2_sentence_235

The reduced rehearsal time for the tour affected the quality of early shows, and in some US markets, the band played to half-empty stadiums. U2_sentence_236

On several occasions, the mirrorball lemon from which the band emerged for the encores malfunctioned, trapping them inside. U2_sentence_237

Despite the mixed reviews and difficulties of the tour, Bono considered PopMart to be "better than Zoo TV aesthetically, and as an art project it is a clearer thought." U2_sentence_238

He later explained, "When that show worked, it was mindblowing." U2_sentence_239

The European leg of the tour featured two highlights. U2_sentence_240

The group's 20 September 1997 show in Reggio Emilia was attended by over 150,000 people, setting a world record for the largest paying audience for a one-act show. U2_sentence_241

U2 also performed in Sarajevo on 23 September, making them the first major group to stage a concert there following the Bosnian War. U2_sentence_242

Mullen described the show as "an experience I will never forget for the rest of my life, and if I had to spend 20 years in the band just to play that show, and have done that, I think it would have been worthwhile." U2_sentence_243

Bono called the show "one of the toughest and one of the sweetest nights of my life". U2_sentence_244

The tour concluded in March 1998 with gross revenues of US$171.7 million and 3.9 million tickets sold. U2_sentence_245

The following month, U2 appeared on the 200th episode of the animated sitcom The Simpsons, in which Homer Simpson disrupts the band on stage during a PopMart concert. U2_sentence_246

In November 1998, U2 released their first compilation album, The Best of 1980–1990, which featured a re-recording of a 1987 B-side, "Sweetest Thing", as its single. U2_sentence_247

The album broke a first-week sales record in the US for a greatest hits collection by a group, while "Sweetest Thing" topped the singles charts in Ireland and Canada. U2_sentence_248

All That You Can't Leave Behind and Elevation Tour (1998–2002) U2_section_8

Following the mixed success of their musical pursuits in the 1990s, U2 sought to simplify their sound; the Edge said that with Pop, the group had "taken the deconstruction of the rock 'n' roll band format to its absolute 'nth degree". U2_sentence_249

For their tenth album, All That You Can't Leave Behind, the group wanted to return to their old recording ethos of "the band in a room playing together". U2_sentence_250

Reuniting with Eno and Lanois, U2 began working on the album in late 1998. U2_sentence_251

After their experiences with being pressured to complete Pop, the band were content to work without deadlines. U2_sentence_252

With Bono's schedule limited by his commitments to debt relief for Jubilee 2000 and the other band members spending time with their families, the recording sessions stretched through August 2000. U2_sentence_253

Released in October of that year, All That You Can't Leave Behind was seen by critics as a "back to basics" album, on which the group returned to a more mainstream, conventional rock sound. U2_sentence_254

For many of those not won over by the band's forays into dance music, it was considered a return to grace; Rolling Stone called it U2's "third masterpiece" alongside The Joshua Tree and Achtung Baby. U2_sentence_255

The album debuted at number one in 32 countries and sold 12 million copies. U2_sentence_256

Its lead single, "Beautiful Day", was a worldwide hit, reaching number one in Ireland, the UK, Australia, and Canada, while peaking at number 21 in the US. U2_sentence_257

The song won Grammy Awards for Best Rock Performance by a Duo or Group with Vocal, Song of the Year, and Record of the Year. U2_sentence_258

At the awards ceremony, Bono declared that U2 were "reapplying for the job ... [of] the best band in the world". U2_sentence_259

The album's other singles were worldwide hits as well; "Stuck in a Moment You Can't Get Out Of", "Elevation", and "Walk On" reached number one in Canada, while charting in the top five in the UK and top ten in Australia. U2_sentence_260

The band's 2001 Elevation Tour commenced in March, visiting North America and Europe across three legs. U2_sentence_261

For the tour, U2 performed on a scaled-down stage, returning to arenas after nearly a decade of stadium productions. U2_sentence_262

Mirroring the album's themes of "emotional contact, connection, and communication", the tour's set was designed to afford the group greater proximity to their fans; a heart-shaped catwalk around the stage encircled many audience members, and festival seating was offered in the US for the first time in the group's history. U2_sentence_263

During the tour, U2 headlined a pair of Slane Concerts in Ireland, playing to crowds of 80,000. U2_sentence_264

Following the September 11 attacks in the US, All That You Can't Leave Behind found added resonance with American audiences, as the album climbed in the charts and songs such as "Walk On" and "Peace on Earth" garnered radio airplay. U2_sentence_265

In October, U2 performed at Madison Square Garden in New York City for the first time since the attacks. U2_sentence_266

Bono and the Edge said these shows were among their most memorable and emotional performances. U2_sentence_267

The Elevation Tour was the top-earning North American tour of 2001 with a gross of US$109.7 million, the second-most ever at the time for a North American tour. U2_sentence_268

Globally, it grossed US$143.5 million from 2.18 million tickets sold, making it the year's highest-grossing tour overall. U2_sentence_269

Spin named U2 the "Band of the Year" for 2001, saying they had "schooled bands half their age about what a rock show could really accomplish". U2_sentence_270

On 3 February 2002, U2 performed during the Super Bowl XXXVI halftime show. U2_sentence_271

In a tribute to those who died in the September 11 attacks, the victims' names were projected onto a backdrop, and at the end, Bono opened his jacket to reveal an American flag in the lining. U2_sentence_272

Sports Illustrated, Rolling Stone, and USA Today ranked the band's performance as the best halftime show in Super Bowl history. U2_sentence_273

Later that month, U2 received four additional Grammy Awards; All That You Can't Leave Behind won Best Rock Album, while "Walk On" was named Record of the Year, marking the first time an artist had won the latter award in consecutive years for songs from the same album. U2_sentence_274

In November 2002, the band released their second compilation, The Best of 1990–2000, which featured several remixed 1990s songs and two new tracks, including the single "Electrical Storm". U2_sentence_275

How to Dismantle an Atomic Bomb and Vertigo Tour (2003–2006) U2_section_9

Looking for a harder-hitting rock sound than that of All That You Can't Leave Behind, U2 began recording their eleventh studio album, How to Dismantle an Atomic Bomb, in February 2003 with producer Chris Thomas. U2_sentence_276

After nine months of work, the band had an album's worth of material ready for release, but they were not satisfied with the results; Mullen said that the songs "had no magic". U2_sentence_277

The group subsequently enlisted Steve Lillywhite to take over as producer in Dublin in January 2004. U2_sentence_278

Lillywhite, along with his assistant Jacknife Lee, spent six months with the band reworking songs and encouraging better performances. U2_sentence_279

Several other producers received credits on the album, including Lanois, Eno, Flood, Carl Glanville, and Nellee Hooper; Bono acknowledged that the involvement of multiple producers affected the record's "sonic cohesion". U2_sentence_280

Released in November 2004, How to Dismantle an Atomic Bomb received favourable reviews from critics. U2_sentence_281

The album featured lyrics touching on life, death, love, war, faith, and family. U2_sentence_282

It reached number one in 30 countries, including the US, where first-week sales of 840,000 copies nearly doubled those of All That You Can't Leave Behind, setting a personal best for the band. U2_sentence_283

Overall, it sold 9 million copies globally. U2_sentence_284

For the album's release, U2 partnered with Apple for several cross-promotions: the first single, "Vertigo", was featured in a television advertisement for the company's iPod music player, while a U2-branded iPod and digital box set exclusive to the iTunes Store were released. U2_sentence_285

"Vertigo" was an international hit, topping the charts in Ireland and the UK, while reaching number two in Canada, number five in Australia, and number 31 in the US. U2_sentence_286

The song won three Grammy Awards, including one for Best Rock Song. U2_sentence_287

Other singles from the album were also hits; "Sometimes You Can't Make It on Your Own", written as a tribute to Bono's late father, went to number one in the UK and Canada, while "City of Blinding Lights" reached number two in both regions. U2_sentence_288

In March 2005, U2 were inducted into the Rock and Roll Hall of Fame by Bruce Springsteen in their first year of eligibility. U2_sentence_289

During his speech, Springsteen said the band had "beaten [the odds] by continuing to do their finest work and remaining at the top of their game and the charts for 25 years". U2_sentence_290

U2's 2005–2006 Vertigo Tour was preceded by several complications. U2_sentence_291

A sudden illness afflicting the Edge's daughter nearly resulted in the tour's cancellation, before the group decided to adjust the tour schedule to accommodate her treatment. U2_sentence_292

Additionally, ticket presales on the band's website were plagued with issues, as subscribing members encountered technical glitches and limited ticket availability, partially due to scalpers exploiting the system. U2_sentence_293

Commencing in March 2005, the Vertigo Tour consisted of arena shows in North America and stadium shows internationally across five legs. U2_sentence_294

The indoor stage replaced the heart-shaped ramp of the Elevation Tour with an elliptical one and featured retractable video curtains around the stage, while the stadium stage used a massive LED video screen. U2_sentence_295

Setlists on tour varied more than in the group's past and included songs they had not played in decades. U2_sentence_296

Like its predecessor, the Vertigo Tour was a commercial success, ranking as the top-earning tour of 2005 with US$260 million grossed. U2_sentence_297

In February 2006, U2 received five additional Grammy Awards, including Song of the Year for "Sometimes You Can't Make It on Your Own", and Best Rock Album and Album of the Year for How to Dismantle an Atomic Bomb; the awards made the album and its singles winners in all eight categories in which U2 were nominated, spanning two separate Grammy ceremonies. U2_sentence_298

The group resumed the Vertigo Tour that month with a Latin American leg, on which several shows were filmed for the concert film U2 3D. U2_sentence_299

It would be released in theatres nearly two years later, and was the world's first live-action digital 3-D film. U2_sentence_300

In March, the band postponed the tour's remaining shows until the end of the year due to the health of the Edge's daughter. U2_sentence_301

On 25 September 2006, U2 and Green Day performed at the Louisiana Superdome prior to an NFL football game, the New Orleans Saints' first home game in the city since Hurricane Katrina. U2_sentence_302

The two bands covered the Skids' song "The Saints Are Coming" during the performance and for a benefit single, which reached number one in Australia and throughout Europe. U2_sentence_303

U2 issued an official autobiography, U2 by U2, that month, followed in November by their third compilation album, U218 Singles. U2_sentence_304

The Vertigo Tour concluded in December, having sold 4.6 million tickets and having earned US$389 million, the second-highest gross ever at the time. U2_sentence_305

In August 2006, the band incorporated its publishing business in the Netherlands following the capping of Irish artists' tax exemption at €250,000. U2_sentence_306

The Edge stated that businesses often seek to minimise their tax burdens. U2_sentence_307

The move was criticised in the Irish parliament. U2_sentence_308

The band defended themselves, saying approximately 95% of their business took place outside Ireland, that they were taxed globally because of this, and that they were all "personal investors and employers in the country". U2_sentence_309

Bono later said, "I think U2's tax business is our own business and I think it is not just to the letter of the law but to the spirit of the law." U2_sentence_310

No Line on the Horizon and U2 360° Tour (2006–2011) U2_section_10

Recording for U2's twelfth album, No Line on the Horizon, began with producer Rick Rubin in 2006, but the sessions were short-lived and the material was shelved. U2_sentence_311

In May 2007, the group began new sessions with Brian Eno and Daniel Lanois in Fez, Morocco, involving the producers as full songwriting partners. U2_sentence_312

Intending to write "future hymns"—songs that would be played forever—the group spent two weeks recording in a riad and exploring local music. U2_sentence_313

The Edge called it "a very freeing experience" that "reminded [him] in many ways of early on and why [they] got into a band in the first place. U2_sentence_314

Just that joy of playing." U2_sentence_315

As recording on the album continued in New York, London, and Dublin, the band scaled back their experimental pursuits, which Eno said "sounded kind of synthetic" and were not easily married with the group's sound. U2_sentence_316

No Line on the Horizon was released in February 2009, more than four years after How to Dismantle an Atomic Bomb, marking the longest gap between albums of the band's career to that point. U2_sentence_317

It received generally positive reviews, including their first five-star Rolling Stone review, but critics found it was not as experimental as originally billed. U2_sentence_318

The album debuted at number one in over 30 countries, but its sales of 5 million were seen as a disappointment by U2 standards and it did not contain a hit single. U2_sentence_319

Following the album's release, the band discussed tentative plans for a follow-up record entitled Songs of Ascent. U2_sentence_320

Bono described the project as "a more meditative album on the theme of pilgrimage". U2_sentence_321

The group embarked on the U2 360° Tour in June 2009. U2_sentence_322

It was their first live venture for Live Nation under a 12-year, US$100 million (£50 million) contract signed the year prior. U2_sentence_323

As part of the deal, the company assumed control over U2's touring, merchandising, and official website. U2_sentence_324

The 360° Tour concerts featured the band playing stadiums "in the round" on a circular stage, allowing the audience to surround them on all sides. U2_sentence_325

To accommodate the stage configuration, a large four-legged structure nicknamed "The Claw" was built above the stage, with the sound system and a cylindrical, expanding video screen on top of it. U2_sentence_326

At 164 feet (50 m) tall, it was the largest stage ever constructed. U2_sentence_327

The tour visited Europe and North America in 2009. U2_sentence_328

On 25 October 2009, U2 set a new US record for single concert attendance for one headline act, performing to 97,014 people at the Rose Bowl in Pasadena. U2_sentence_329

In May 2010, while rehearsing for the next leg of the tour, Bono suffered a herniated disk and severe compression of the sciatic nerve, requiring emergency back surgery. U2_sentence_330

The band were forced to postpone the North American leg of the tour and a headlining performance at the Glastonbury Festival 2010 until the following year. U2_sentence_331

After Bono's recovery, U2 resumed the 360° Tour in August 2010 with legs in Europe, Australia, and New Zealand, during which they began to play new, unreleased songs live. U2_sentence_332

By its conclusion in July 2011, U2 360° had set records for the highest-grossing concert tour (US$736 million) and most tickets sold for a tour (7.3 million). U2_sentence_333

Songs of Innocence and Innocence + Experience Tour (2011–2015) U2_section_11

Throughout the 360° Tour, the band worked on multiple album projects, including: a traditional rock album produced by Danger Mouse; a dance record produced by RedOne and will.i.am; and Songs of Ascent. U2_sentence_334

However, the latter was not completed to their satisfaction, and by December 2011, Clayton admitted it would not come to fruition. U2_sentence_335

The sessions with Danger Mouse instead formed the foundation of U2's next album, and they worked with him until May 2013 before enlisting the help of producers Paul Epworth, Ryan Tedder, Declan Gaffney, and Flood. U2_sentence_336

The band suspended work on the album late in 2013 to contribute a new song, "Ordinary Love", to the film Mandela: Long Walk to Freedom. U2_sentence_337

The track, written in honour of Nelson Mandela, won the 2014 Golden Globe Award for Best Original Song. U2_sentence_338

In November 2013, U2's long-time manager Paul McGuinness stepped down from his post as part of a deal with Live Nation to acquire his management firm, Principle Management. U2_sentence_339

McGuinness, who had managed the group for over 30 years, was succeeded by Guy Oseary. U2_sentence_340

In February 2014, another new U2 song, the single "Invisible", debuted in a Super Bowl television advertisement and was made available in the iTunes Store at no cost to launch a partnership with Product Red and Bank of America to fight AIDS. U2_sentence_341

Bono called the track a "sneak preview" of their pending record. U2_sentence_342

On 9 September 2014, U2 appeared at an Apple product launch event to make a surprise announcement of their thirteenth studio album, Songs of Innocence. U2_sentence_343

They released it digitally the same day to all iTunes Store customers at no cost, making it available to over 500 million people in what Apple CEO Tim Cook called "the largest album release of all time". U2_sentence_344

Apple reportedly paid Universal Music Group and U2 a lump sum for a five-week exclusivity period in which to distribute the album and spent US$100 million on a promotional campaign. U2_sentence_345

Songs of Innocence recalls the group members' youth in Ireland, touching on childhood experiences, loves and losses, while paying tribute to their musical inspirations. U2_sentence_346

Bono described it as "the most personal album we've written". U2_sentence_347

The record received mixed reviews and drew criticism for its digital release strategy; it was automatically added to users' iTunes accounts, which for many, triggered an unprompted download to their electronic devices. U2_sentence_348

Chris Richards of The Washington Post called the release "rock-and-roll as dystopian junk mail". U2_sentence_349

The group's press tour for the album was interrupted after Bono was seriously injured in a bicycle accident in Central Park on 16 November 2014. U2_sentence_350

He suffered fractures of his shoulder blade, humerus, orbit, and pinky finger, leading to uncertainty that he would ever be able to play guitar again. U2_sentence_351

Following Bono's recuperation, U2 embarked on the Innocence + Experience Tour in May 2015, visiting arenas in North America and Europe from May through December. U2_sentence_352

The group structured their concerts around a loose autobiographical narrative of "innocence" passing into "experience", with a fixed set of songs for the first half of each show and a varying second half, separated by an intermission—a first for U2 concerts. U2_sentence_353

The stage spanned the length of the venue floor and comprised three sections: a rectangular main stage, a smaller circular B-stage, and a connecting walkway. U2_sentence_354

The centerpiece of the set was a 96-foot-long (29 m) double-sided video screen that featured an interior catwalk, allowing the band members to perform amidst the video projections. U2_sentence_355

U2's sound system was moved to the venue ceilings and arranged in an oval array, in hopes of improving acoustics by evenly distributing sound throughout the arena. U2_sentence_356

In total, the tour grossed US$152.2 million from 1.29 million tickets sold. U2_sentence_357

The final date of the tour, one of two Paris shows rescheduled due to the 13 November 2015 attacks in the city, was filmed for the video Innocence + Experience: Live in Paris and broadcast on the American television network HBO. U2_sentence_358

The Joshua Tree anniversary tours and Songs of Experience (2016–2019) U2_section_12

In 2016, U2 worked on their next studio album, Songs of Experience, which was intended to be a companion piece to Songs of Innocence. U2_sentence_359

The group had mostly completed the album by year's end and planned to release it in the fourth quarter, but after the shift of global politics in a conservative direction, highlighted by the UK's Brexit referendum and the 2016 US presidential election, they chose to put the record on hold and reassess its tone. U2_sentence_360

The group spent the extra time rewriting lyrics, rearranging and remixing songs, and pursuing different production styles. U2_sentence_361

U2 toured in 2017 to commemorate the 30th anniversary of The Joshua Tree, with each show featuring a performance of the entire album. U2_sentence_362

It was the first time the group toured in promotion of an album from their back catalogue, rather than a new release. U2_sentence_363

The Edge cited the same world events that caused the group to delay Songs of Experience for what he judged to be renewed resonance of The Joshua Tree's subject matter and a reason to revisit it. U2_sentence_364

The tour's stage featured a 7.6K video screen measuring 200 ft × 45 ft (61 m × 14 m) that was, according to The Guardian, the largest and highest resolution screen used on a concert tour. U2_sentence_365

The tour included a headlining appearance at the Bonnaroo Music Festival in June. U2_sentence_366

The tour grossed more than $316 million from over 2.7 million tickets sold, making it the highest-grossing tour of the year. U2_sentence_367

Songs of Experience was released on 1 December 2017. U2_sentence_368

The first single, "You're the Best Thing About Me", is one of many songs from the album that are letters written by Bono to people and places closest to his heart. U2_sentence_369

The personal nature of the lyrics reflects a "brush with mortality" that he had during the album's recording. U2_sentence_370

In 2018, the group embarked on the Experience + Innocence Tour, beginning in Tulsa, Oklahoma, on 2 May 2018. U2_sentence_371

It grossed $126.2 million from 924,000 tickets sold, according to Billboard. U2_sentence_372

U2's Joshua Tree anniversary concert tour visited Oceania and Asia in 2019, marking the band's first performances in Australia and New Zealand since the 360° Tour in 2010, and their first ever performances in South Korea, Singapore, India, and the Philippines. U2_sentence_373

The band released a new single, "Ahimsa", with Indian musician A.R. U2_sentence_374 Rahman to promote their December concert in India. U2_sentence_375

The group's 2019 shows grossed $73.8 million and sold 567,000 tickets, bringing the cumulative totals for their Joshua Tree anniversary tours to $390.8 million grossed and 3.3 million tickets sold. U2_sentence_376

Musical style U2_section_13

U2 developed a melodic sound under the early influence of record producer Steve Lillywhite at a time when the band was not known for musical proficiency. U2_sentence_377

Bono's songwriting exhibits a penchant for social, political, and personal subject matter, while maintaining a grandiosity. U2_sentence_378

In addition, the Edge has described U2 as a fundamentally live band. U2_sentence_379

U2's early sound was influenced by bands such as Television and Joy Division, and has been described as containing a "sense of exhilaration" that resulted from the Edge's "radiant chords" and Bono's "ardent vocals". U2_sentence_380

U2's sound began with post-punk roots and minimalistic and uncomplicated instrumentals heard on Boy and October, but evolved through War to include aspects of rock anthem, funk, and dance rhythms to become more versatile and aggressive. U2_sentence_381

Boy and War were labelled "muscular and assertive" by Rolling Stone, influenced in large part by Lillywhite's producing. U2_sentence_382

The Unforgettable Fire, which began with the Edge playing more keyboards than guitars, as well as follow-up The Joshua Tree, had Brian Eno and Daniel Lanois at the production helm. U2_sentence_383

With their influence, both albums achieved a "diverse texture". U2_sentence_384

The songs from The Joshua Tree and Rattle and Hum placed more emphasis on Lanois-inspired rhythm as they mixed distinct and varied styles of gospel and blues music, which stemmed from the band's burgeoning fascination with America's culture, people and places. U2_sentence_385

In the 1990s, U2 reinvented themselves as they began using synthesisers, distortion, and electronic beats derived from noise music, dance, and hip-hop on Achtung Baby, Zooropa, and Pop. U2_sentence_386

In the 2000s, U2 returned to a more stripped-down sound, with more conventional rhythms and reduced usage of synthesisers and effects. U2_sentence_387

Guitar U2_section_14

The Edge's style of playing guitar is distinguished by his chiming timbres, echoing notes, sparse voicings, and extensive use of effects units. U2_sentence_388

He favours the perfect fifth interval and often plays chords consisting of just two notes, the fifth and the root note, while eliminating the third. U2_sentence_389

This style is not explicitly in a minor or major key, but implies both, creating a musical ambiguity. U2_sentence_390

For these chords, he often plays the same notes on multiple strings, some which are left open, creating an Irish-influenced drone. U2_sentence_391

Against this drone, he changes other notes to imply a harmony. U2_sentence_392

Among the Edge's signature techniques are playing arpeggios, sixteenth note percussive strumming, and harmonics, the latter of which he described as "so pure and finely-focused that [they have] the incredible ability to pierce through [their] environment of sound, just like lightning". U2_sentence_393

His approach to guitar playing is relatively understated and eschews virtuosity in favour of "atmospherics, subtlety, minimalism, and clever signal processing". U2_sentence_394

Rather than emulate common playing styles, the Edge is interested in "tearing up the rule book" and finding new ways to approach the instrument. U2_sentence_395

He cited guitarists such as Tom Verlaine of Television, Rory Gallagher, and Patti Smith as some of his strongest influences. U2_sentence_396

The Edge's guitar sound is frequently modulated with a delay set to a dotted eighth note for rhythmic effect. U2_sentence_397

After acquiring his first delay pedal, the Electro-Harmonix Memory Man, he became fascinated with how to use its return echo to "fill in notes that [he's] not playing, like two guitar players rather than one". U2_sentence_398

The effect unit became a mainstay in his guitar rig and had a significant impact on the band's creative output. U2_sentence_399

The Edge became known for his extensive use of effects units, and for his meticulous nature in crafting specific sounds and guitar tones from his equipment choices. U2_sentence_400

Led Zeppelin guitarist Jimmy Page called him a "sonic architect", while Neil McCormick described him as an "effects maestro". U2_sentence_401

Critics have variously referred to the Edge's guitar sounds as evoking the image of fighter planes on "Bullet the Blue Sky", resembling a "dentist's drill" on "Love Is Blindness", and resembling an "airplane turbine" on "Mofo". U2_sentence_402

The Edge said that rather than using effects merely to modify his sound, he uses them to spark ideas during his songwriting process. U2_sentence_403

The Edge developed his playing style during his teenage years, partially as a result of him and Mullen trying to accommodate the "eccentric" bass playing of Clayton by being the timekeepers of the band. U2_sentence_404

In their early days, the Edge's only guitar was his 1976 Gibson Explorer Limited Edition, which became a signature of the group. U2_sentence_405

However, he found the sound of the Explorer's bass strings unsatisfactory and avoided them in his playing early on, resulting in a trebly sound. U2_sentence_406

He said by focusing "on one area of the fretboard [he] was developing a very stylized way of doing something that someone else would play in a normal way". U2_sentence_407

Other equipment choices contribute to the Edge's unique sound. U2_sentence_408

His 1964 Vox AC30 "Top Boost" amplifier (housed in a 1970s cabinet) is favoured for its "sparkle" tone, and is the basis for his sound both in the studio and live. U2_sentence_409

Rather than hold his plectrum with a standard grip, the Edge turns it sideways or upside down to use the dimpled edge against the strings, producing a "rasping top end" to his tone. U2_sentence_410

Rhythm section U2_section_15

As a rhythm section, Mullen and Clayton often play the same patterns, giving U2's music a driving, pulsating beat that serves as a foundation for the Edge's guitar work. U2_sentence_411

For his drumming, Mullen locks into the Edge's guitar playing, while Clayton locks his bass playing into Mullen's drumming. U2_sentence_412

Author Bill Flanagan said that their playing styles perfectly reflected their personalities: "Larry is right on top of the beat, a bit ahead—as you'd expect from a man who's so ordered and punctual in his life. U2_sentence_413

Adam plays a little behind the beat, waiting till the last moment to slip in, which fits Adam's casual, don't-sweat-it personality." U2_sentence_414

Mullen's drumming style is influenced by his experience in marching bands during his adolescence, which helped contribute to the militaristic beats of songs such as "Sunday Bloody Sunday". U2_sentence_415

Flanagan said that he plays "with a martial rigidity but uses his kit in a way a properly trained drummer would not"; he tends to transition from the snare drum onto tom-toms positioned on either side of him, contrasting with how they are traditionally used. U2_sentence_416

Mullen occasionally rides a tom-tom the way other drummers would play a cymbal, or rides the hi-hat how others would play a snare. U2_sentence_417

He admitted his bass drum technique is not a strength, as he mostly played the snare in marching bands and did not learn to properly combine the separate drumming elements together on a full kit. U2_sentence_418

As a result, he uses a floor tom to his left to create the effect of a bass drum. U2_sentence_419

He said, "I couldn't do what most people would consider a normal beat for the song, so I chose alternatives." U2_sentence_420

He was heavily influenced by glam rock acts of the 1970s when first learning to play drums. U2_sentence_421

In the early days of U2, Mullen had what Bono called a "florid" drumming style, before he eventually adopted a philosophy of simplicity and pared down his rhythms. U2_sentence_422

His drumming leaves open space, owing to what Modern Drummer described as his understanding of "when to hit and when not to hit". U2_sentence_423

As he matured as a timekeeper, he developed a preternatural sense of rhythm; Eno recounted one occasion when Mullen noticed that his click track had been set incorrectly by just six milliseconds. U2_sentence_424

Under the tutelage of Lanois, Mullen learned more about his musical role as the drummer in filling out the band's sound, while Flood helped Mullen learn to play along with electronic elements such as drum machines and samples. U2_sentence_425

His kit has a tambourine mounted on a cymbal stand, which he uses as an accent on certain beats for songs such as "With or Without You". U2_sentence_426

Clayton's style of bass guitar playing is noted for what instructor Patrick Pfeiffer called "harmonic syncopation". U2_sentence_427

With this technique, Clayton plays a consistent rhythm that stresses the eighth note of each bar, but he "anticipates the harmony by shifting the tonality" before the guitar chords do. U2_sentence_428

This gives the music a feeling of "forward motion". U2_sentence_429

In the band's early years, Clayton had no formal musical training, and he generally played simple bass parts in 4 time consisting of steady eighth notes emphasising the roots of chords. U2_sentence_430

Over time, he incorporated influences from Motown and reggae into his playing style, and as he became a better timekeeper, his playing became more melodic. U2_sentence_431

Flanagan said that he "often plays with the swollen, vibrating bottom sound of a Jamaican dub bassist, covering the most sonic space with the smallest number of notes". U2_sentence_432

Clayton relies on his own instincts when developing basslines, deciding whether to follow the chord progressions of the guitars or play a counter-melody, and when to play an octave higher or lower. U2_sentence_433

He cites bassists such as Paul Simonon, Bruce Foxton, Peter Hook, Jean-Jacques Burnel, and James Jamerson as major influences on him. U2_sentence_434

Describing his role in the rhythm section, Clayton's said, "Larry's drums have always told me what to play, and then the chords tell me where to go". U2_sentence_435

Lyrics and themes U2_section_16

U2's lyrics are known for their social and political themes, and are often embellished with Christian and spiritual imagery. U2_sentence_436

Songs such as "Sunday Bloody Sunday", "Silver and Gold", and "Mothers of the Disappeared" were motivated by current events of the time. U2_sentence_437

The first was written about the Troubles in Northern Ireland, while the last was a tribute to COMADRES, the women whose children were killed or forcibly disappeared at the hands of the Salvadoran government during the country's civil war. U2_sentence_438

The song "Running to Stand Still" from The Joshua Tree was inspired by the heroin addiction that was sweeping through Dublin—the lyric "I see seven towers, but I only see one way out" references the Ballymun Towers of Dublin's Northside and the imagery throughout the song personifies the struggles of addiction. U2_sentence_439

Bono's personal conflicts and turmoil inspired songs like "Mofo", "Tomorrow" and "Kite". U2_sentence_440

An emotional yearning or pleading frequently appears as a lyrical theme, in tracks such as "Yahweh", "Peace on Earth", and "Please". U2_sentence_441

Much of U2's songwriting and music is also motivated by contemplations of loss and anguish, coupled with hopefulness and resilience, themes that are central to The Joshua Tree. U2_sentence_442

Some of these lyrical ideas have been amplified by Bono and the band's personal experiences during their youth in Ireland, as well as Bono's campaigning and activism later in his life. U2_sentence_443

U2 have used tours such as Zoo TV and PopMart to caricature social trends, such as media overload and consumerism, respectively. U2_sentence_444

While the band and its fans often affirm the political nature of their music, U2's lyrics and music have been criticised as apolitical because of their vagueness and "fuzzy imagery", and a lack of any specific references to actual people or characters. U2_sentence_445

Influences U2_section_17

The band cites the Who, the Clash, Television, Ramones, the Beatles, Joy Division, Siouxsie and the Banshees, Elvis Presley, Patti Smith, and Kraftwerk as influences. U2_sentence_446

In addition, Van Morrison has been cited by Bono as an influence, and the Rock and Roll Hall of Fame mentioned his influence on U2. U2_sentence_447

U2 have also worked with and/or had influential relationships with artists including Johnny Cash, Green Day, Leonard Cohen, Bruce Springsteen, B.B. U2_sentence_448 King, Lou Reed, Bob Dylan, and Luciano Pavarotti. U2_sentence_449

Bono said that David Bowie helped him discover the works of Bertolt Brecht, William Burroughs, Springsteen, and Brian Eno. U2_sentence_450

Activism and philanthropy U2_section_18

Since the early 1980s, the members of U2—as a band and individually—have collaborated with other musicians, artists, celebrities, and politicians to address issues concerning poverty, disease, and social injustice. U2_sentence_451

In 1984, Bono and Clayton participated in Band Aid to raise money for the 1983–85 famine in Ethiopia. U2_sentence_452

This initiative produced the hit charity single "Do They Know It's Christmas? U2_sentence_453 ", which would be the first of several collaborations between U2 and Bob Geldof. U2_sentence_454

In July 1985, U2 performed at Live Aid, a follow-up to Band Aid's efforts. U2_sentence_455

Bono and his wife Ali, invited by World Vision, visited Ethiopia that year where they witnessed the famine first-hand. U2_sentence_456

Bono later said that this laid the groundwork for his Africa campaigning and some of his songwriting. U2_sentence_457

In 1986, U2 participated in the Self Aid benefit concert for unemployment in Ireland and the Conspiracy of Hope benefit concert tour in support of Amnesty International. U2_sentence_458

The same year, Bono and Ali also visited Nicaragua and El Salvador at the invitation of the Sanctuary movement and saw the effects of the Salvadoran Civil War. U2_sentence_459

These 1986 events greatly influenced The Joshua Tree album, which was being recorded at the time. U2_sentence_460

During their Zoo TV Tour in 1992, U2 participated in the "Stop Sellafield" concert with Greenpeace to protest a nuclear fuel reprocessing plant. U2_sentence_461

Events in Sarajevo during the Bosnian War inspired the song "Miss Sarajevo", which premiered at a September 1995 Pavarotti and Friends show, and which Bono and the Edge performed at War Child. U2_sentence_462

U2 fulfilled a 1993 promise to play in Sarajevo during the PopMart Tour in 1997. U2_sentence_463

The following year, they performed in Belfast days prior to the vote on the Good Friday Agreement, bringing Northern Irish political leaders David Trimble and John Hume on stage to promote the agreement. U2_sentence_464

Later that year, all proceeds from the release of the "Sweetest Thing" single went towards supporting the Chernobyl Children's Project. U2_sentence_465

The band dedicated their 2000 song "Walk On" to Burma's pro-democracy leader Aung San Suu Kyi, who had been under house arrest since 1989. U2_sentence_466

In late 2003, Bono and the Edge participated in the South Africa HIV/AIDS awareness 46664 series of concerts hosted by Nelson Mandela. U2_sentence_467

In 2005, the band played the Live 8 concert in London, which Geldof helped stage on the 20th anniversary of Live Aid to support the Make Poverty History campaign. U2_sentence_468

The band and manager Paul McGuinness were awarded Amnesty International's Ambassador of Conscience Award for their work in promoting human rights. U2_sentence_469

Since 2000, Bono's campaigning has included Jubilee 2000 with Geldof, Muhammad Ali, and others to promote the cancellation of third-world debt during the Great Jubilee. U2_sentence_470

In January 2002, Bono co-founded the multinational NGO DATA, with the aim of improving the social, political, and financial state of Africa. U2_sentence_471

He continued his campaigns for debt and HIV/AIDS relief into June 2002 by making high-profile visits to Africa. U2_sentence_472

Product Red, a for-profit licensed brand seeking to raise money for the Global Fund, was co-founded by Bono in 2006. U2_sentence_473

The ONE Campaign, originally the US counterpart of Make Poverty History, was shaped by his efforts and vision. U2_sentence_474

In November 2005, the Edge and producer Bob Ezrin helped introduce Music Rising, an initiative to replace instruments for musicians in the New Orleans area impacted by Hurricane Katrina and Hurricane Rita. U2_sentence_475

In 2006, U2 collaborated with pop punk band Green Day to record a remake of the song "The Saints Are Coming" by the Skids to benefit Music Rising. U2_sentence_476

A live version of the song recorded at the Louisiana Superdome was released on the single. U2_sentence_477

At the 3rd iHeartRadio Music Awards in April 2016, U2 were honored with the Innovator Award for their "impact on popular culture and commitment to social causes." U2_sentence_478

In April 2020, the group donated €10 million to purchase personal protective equipment for Irish healthcare workers working during the COVID-19 pandemic. U2_sentence_479

The band also donated US$1.5 million to ease the impact of the pandemic on the music industry, including a €200,000 donation to the Songs from an Empty Room fundraiser. U2_sentence_480

Bono has received a number of awards for his music and activism, including the Legion of Honour from the French Government in 2003, Time's Person of the Year for 2005 (along with Bill Gates and Melinda Gates), and an honorary British knighthood in 2007. U2_sentence_481

Several authors and activists who publish in politically left journals such as CounterPunch have decried Bono for allowing his celebrity to be co-opted by an association with political figures such as Paul Wolfowitz, as well as his "essential paternalism". U2_sentence_482

Other news sources have more generally questioned the efficacy of Bono's campaign to relieve debt and provide assistance to Africa. U2_sentence_483

Other projects and collaborations U2_section_19

The members of U2 have undertaken side projects, sometimes in collaboration with some of their bandmates. U2_sentence_484

In 1985, Bono recorded the song "In a Lifetime" with the Irish band Clannad. U2_sentence_485

The Edge recorded a solo soundtrack album for the film Captive, which was released in 1986 and included a vocal performance by Sinéad O'Connor that predates her own debut album by a year. U2_sentence_486

Bono and the Edge wrote the song "She's a Mystery to Me" for Roy Orbison, which was featured on his 1989 album Mystery Girl. U2_sentence_487

In 1990, Bono and the Edge provided the original score to the Royal Shakespeare Company London stage adaptation of A Clockwork Orange. U2_sentence_488

One track, "Alex Descends into Hell for a Bottle of Milk/Korova 1", was on the B-side to "The Fly" single. U2_sentence_489

That same year, Mullen produced and played drums on "Put 'Em Under Pressure", a song for the Irish national football team for the 1990 FIFA World Cup; the song topped the Irish charts for 13 weeks. U2_sentence_490

Bono and the Edge wrote the song "GoldenEye" for the 1995 James Bond film GoldenEye, which was performed by Tina Turner. U2_sentence_491

Clayton and Mullen reworked the "Theme from Mission: Impossible" for the franchise's 1996 film. U2_sentence_492

Bono loaned his voice to "Joy" on Mick Jagger's 2001 album Goddess in the Doorway. U2_sentence_493

Bono also recorded a spare, nearly spoken-word version of Leonard Cohen's "Hallelujah" for the Tower of Song compilation in 1995. U2_sentence_494

Additionally, in 1998, Bono collaborated with Kirk Franklin and Crystal Lewis along with R. U2_sentence_495 Kelly and Mary J. Blige for a successful gospel song called "Lean on Me". U2_sentence_496

Aside from musical collaborations, U2 have worked with several authors. U2_sentence_497

American author William S. Burroughs had a guest appearance in U2's video for "Last Night on Earth" shortly before he died. U2_sentence_498

Video footage of him reading his poem "Thanksgiving Prayer" was used during a Zoo TV Tour television special. U2_sentence_499

Other collaborators include William Gibson and Allen Ginsberg. U2_sentence_500

In early 2000, the band contributed three songs to The Million Dollar Hotel movie soundtrack, including "The Ground Beneath Her Feet", whose lyrics are taken from Salman Rushdie's book of the same name. U2_sentence_501

In 2007, Bono appeared in the film Across the Universe and performed songs by the Beatles. U2_sentence_502

Bono and the Edge also wrote the music and lyrics for the Broadway musical Spider-Man: Turn Off the Dark. U2_sentence_503

Additionally, the Edge created the theme song for seasons one and two of the animated television series The Batman. U2_sentence_504

In April 2017, U2 were featured on a Kendrick Lamar song, "XXX", from his album DAMN. U2_sentence_505

Awards and achievements U2_section_20

Main article: List of awards and nominations received by U2 U2_sentence_506

U2 have sold an estimated 150–170 million records worldwide, placing them among the best-selling music artists in history. U2_sentence_507

The group's fifth studio album, The Joshua Tree, is one of the best-selling albums in the US (10 million copies shipped) and worldwide (25 million copies sold). U2_sentence_508

With 52 million certified units by the RIAA, U2 rank as the 22nd-highest-selling music artist in the US. U2_sentence_509

U2 have eight albums that have reached number one in the US, the third-most of any group. U2_sentence_510

They were the first group to attain number-one albums in the US in the 1980s, 1990s, 2000s, and 2010s. U2_sentence_511

In the UK, the group have had seven number-one singles, tied for the 16th-most of any artist, and ten number-one albums, tied for the 8th-most of any artist. U2_sentence_512

The band's 1,463 weeks spent on the UK music charts ranks 15th all-time. U2_sentence_513

In their native Ireland, U2 hold the record for most number-one singles with 19. U2_sentence_514

According to Billboard Boxscore, the band grossed US$1.67 billion in ticket sales from 1990 to 2016, second only to the Rolling Stones. U2_sentence_515

U2 were the only band in the top 25 touring acts from 2000 to 2009 to sell out every show they played. U2_sentence_516

According to Pollstar, the band grossed $1.038 billion and sold 9,300,500 tickets from 255 shows played between 2010 and November 2019, earning the publication's title of touring artist of the 2010s decade; U2 were the only artist to surpass $1 billion grossed during that span. U2_sentence_517

Forbes estimates that the group earned US$78 million between May 2011 and May 2012, making them the fourth-highest-paid musical artist. U2_sentence_518

The Sunday Times' 2020 Irish Rich List estimated the group's collective wealth at €670 million. U2_sentence_519

Rolling Stone placed U2 at number 22 on its list of "The 100 Greatest Artists of All Time", while ranking Bono the 32nd-greatest singer, the Edge the 38th-greatest guitarist, and Mullen the 96th-greatest drummer. U2_sentence_520

The magazine placed Bono and the Edge at number 35 on its list of the "100 Greatest Songwriters of All Time". U2_sentence_521

In 2004, Q ranked U2 as the fourth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show. U2_sentence_522

VH1 placed U2 at number 19 on its 2010 list of "The 100 Greatest Artists of All Time". U2_sentence_523

In 2010, eight of U2's songs appeared on Rolling Stone's updated list of "The 500 Greatest Songs of All Time", with "One" ranking the highest at number 36. U2_sentence_524

Five of the group's twelve studio albums were ranked on the magazine's 2012 list of "The 500 Greatest Albums of All Time"—The Joshua Tree placed the highest at number 27. U2_sentence_525

Reflecting on the band's popularity and worldwide impact, Jeff Pollack for The Huffington Post said, "like The Who before them, U2 wrote songs about things that were important and resonated with their audience". U2_sentence_526

U2 received their first Grammy Award in 1988 for The Joshua Tree, and they have won 22 in total out of 46 nominations, more than any other group. U2_sentence_527

These include Best Rock Performance by a Duo or Group, Album of the Year, Record of the Year, Song of the Year, and Best Rock Album. U2_sentence_528

In the UK, U2 have received 7 Brit Awards out of 20 nominations from the British Phonographic Industry, including five wins for Best International Group. U2_sentence_529

They were the first international group to win the Brit Award for Outstanding Contribution to Music. U2_sentence_530

In Ireland, U2 have won 14 Meteor Awards since the awards began in 2001. U2_sentence_531

Other awards won the band and their members include one American Music Award, six MTV Video Music Awards, eleven Q Awards, two Juno Awards, five NME Awards, and two Golden Globe Awards. U2_sentence_532

The band were inducted into the Rock and Roll Hall of Fame in March 2005. U2_sentence_533

In 2006, all four members of the band received ASCAP awards for writing the songs "I Still Haven't Found What I'm Looking For" and "Vertigo". U2_sentence_534

Band members U2_section_21

Current members U2_sentence_535

U2_unordered_list_0

  • Bono – lead vocals, rhythm guitar, harmonica (1976–present)U2_item_0_0
  • The Edge – lead guitar, keyboards, backing vocals (1976–present)U2_item_0_1
  • Adam Clayton – bass guitar (1976–present)U2_item_0_2
  • Larry Mullen Jr. – drums, percussion (1976–present)U2_item_0_3

Former members U2_sentence_536

U2_unordered_list_1

  • Dik Evans – guitar (1976–1978)U2_item_1_4
  • Ivan McCormick – guitar (1976)U2_item_1_5

Discography U2_section_22

Main articles: U2 discography and songs U2_sentence_537

U2_unordered_list_2

Concert tours U2_section_23

U2_unordered_list_3


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/U2.