U2 brought its futuristic rock ’n’ roll circus to a close at The Sphere in Las Vegas on March 2.
Not many bands would have the chutzpah — let alone the back catalog — to even think about pulling off a mind-blowing residency like this. U2 did it and even then some with “U2: UV Achtung Baby Live at The Sphere,” which closed March 2. The series was the first residency/slate of performances at The Sphere, and the final show was captured for a concert film.
The set list highlighted U2’s 1991 album “Achtung Baby,” which spawned massive hits “The Fly,” “Mysterious Ways” and “One.” This show presented a completely fresh look and sound to these songs.
A remix of “Lemon” revved up the crowd, as U2 slowly appeared onstage, teasing the audience with the beginning of “Zoo Station.” Bono paused, slipped on his trademark “Fly” glasses, and danced. As U2 thundered through the opening riff, The Sphere’s screens — which previously just looked like a massive wall of concrete block and rebar — crumbled to reveal the musicians. Surrounded by guitarist The Edge, bassist Adam Clayton and Dutch drummer Bram van den Berg, Bono rose above the rest on a circular, rotating platform.
That was just the start.
The visuals became more elaborate as the show moved on. During “The Fly,” words flashed on the screen, similar to the song’s video. As The Edge hit his guitar solo, the ceiling “crashed down,” making the audience feel like it was going to be squashed by the screen.
It was the heady psychedelic imagery of “Even Better Than the Real Thing” that showed off The Sphere’s full capability — to a whole other level. The screen was so busy and fun that ticket holders would have to spend hours picking out what they were seeing. Within the myriad scenes were floating bubbles presenting a live feed of each musician.
U2 followed with the serpentine-sounding “Until the End of the World,” accompanied by images of lighting and floods. They were rained upon by fiery embers during “Who’s Gonna Ride Your Wild Horses.”
“Tryin’ to Throw Your Arms Around the World” was simplistically striking, as Bono strolled the stage with a long rope “attached” to a cartoon image of a balloon.
U2 went acoustic for songs like “All I Want Is You,” dedicated to audience member First Lady Jill Biden, honoring her for her role as a teacher. As the track closed, Bono tipped his hat to birthday boy Chris Martin (who was reportedly in the audience) by singing a verse of Coldplay’s “Yellow.”
Bono took the time to introduce and thank van den Berg, who sat in for drummer Larry Mullen during the 40-show residency. Bono “interviewed” van den Berg, asking him what role he would pursue in a circus — musical contortionist, tight-rope walker? Nope. “Safety net,” he said.
Then, van den Berg proceeded to jam “Desire” as Bono sent a get-well message to Mullen and introduced Clayton as the “ringmaster” and first U2 manager. He called The Edge one of the great trapeze artists of all time, not because he attempts death-defying grand-standing acts of show business.
“He is our card-carrying, card-playing genius,” Bono said with a smile. “There’s one more I nearly forgot because he’s so shy, uhm, thoughtful, kind to friends, children and small animals, sometimes a danger to himself … on the vocals Bono Vox, thank you.”
Bono and The Edge then broke “Desire” down to just themselves but acknowledged they were never good at this busking thing. That segued into “Angel of Harlem.”
The playfulness was dimmed during the introduction to the cover of Crowded House’s “Don’t Dream It’s Over.” Bono dedicated the track to the late Russian activist Alexei Navalny and his widow, Yulia.
Bono encouraged the crowd to sing along with the Neil Finn-recorded vocals so the song could be captured live for release.
The band ripped right back into “Achtung Baby” with the Lanois-penned “Acrobat.” But before that, Bono shouted, “Let’s wake the (expletive) baby up.”
The song was performed while four lighting rigs illuminated the musicians in a rare intimate display.
“So Cruel” saw U2 explore the intimacy further with the band shown merely as shadows of the lighting rigs towering above them on The Sphere’s screen.
The massive venue was awash in light, thanks to a video glitter ball behind the stage during “Ultra Violet (Light My Way).”
“Love is Blindness” was backed by an eerily blue screen that slowly presented insects like ants, beetles, flies, moths and butterflies.
The encore, to keep it simple, rocked, kicking off with the distorted guitars of The Edge in “Elevation.” The screens lit up with scenery from Vegas in U2’s latest single “Atomic City.” The videos really show off The Sphere’s capabilities as the Las Vegas Strip skyline looked live. Toward the end, the video once again turned creepy as one by one the Strip’s buildings disappeared into the desert.
The desert background was the perfect backdrop to “Where the Streets Have No Name.” It’s so stunning and bright that you feel like you are actually watching U2 play in the vast desert.
The two-and-a-half-hour set closed with the residency debut of “40,” an apropos ending to the run.
Not only did The Sphere look out of this world, but Bono’s vocals and U2’s muscular sound rivaled the stunning spectacle.
