U2’s live shows have evolved into a mesmerizing experience, combining bespoke video graphics with live footage of the band on stage. Unlike traditional concert venues, the use of extremely high-resolution visuals elevates the entire event, offering fans more than just a consolation prize. You can witness the subtleties of Bono’s expressions, the glistening sweat on Edge’s Rickenbacker guitar, and even the intricate details of Adam Clayton’s sneakers. The slender and remote-operated cameras capturing the band ensure there are no obstructive cranes blocking your view during those iconic guitar solos. Despite the technological marvel, it’s unmistakably U2, with Bono engaging with the lens and Edge grooving along, grinning at a larger-than-life scale. While the live-action blended with dazzling graphics is spectacular, it might not be the sole reason for the grand production costs and ticket prices, which may explain why the Sphere’s next musical residency remains uncertain.
Bono continues to reinvent himself as a frontman, effortlessly wielding control over his vocals. There are instances where he adjusts to a slightly lower key than the original recordings, adapting to the challenging desert conditions with grace. Drawing a parallel to Frank Sinatra may seem ambitious, but it’s not outlandish here. (Sinatra once told Bono, “You are the only man with an earring I am going to like.”) Meanwhile, The Edge occupies a larger presence, a remarkable feat given Bono’s iconic charisma, and Adam Clayton reliably anchors the band with his robust bass lines. As for Bram van den Berg, he respectfully preserves the essence of the music, a task easier said than done.
U2’s massive presentation is particularly fitting for “Achtung Baby” with its songs featuring grand, enveloping intros that command attention. “Even Better Than the Real Thing” takes Elvis back to Vegas, incorporating Marco Brambilla’s “King Size,” a colossal video collage of Presley spanning his career. As it descends from the top of the venue, its motion harmonizes perfectly with the kinetic energy of the song. “Until the End of the World” delivers a heart-stopping moment, leaving the audience spellbound. The album that both salvaged and reinvented U2 still retains its raw emotion and power after three decades, explaining the unwavering dedication of fans and the band to this record.
The show includes a mid-set selection from “Rattle and Hum,” offering some lighter fare. The crowd passionately joins in on “All I Want Is You,” and “Love Rescue Me” is introduced with a story about its creation with Bob Dylan. The encore includes chart-toppers like “Elevation” and “Vertigo,” providing a moment of respite before “Where the Streets Have No Name” carries the audience into the desert sunrise. As Bono once described it, the song is “where craft ends and spirit begins,” a sentiment that remains true even with formidable competition from the rest of the setlist.
The Sphere is a 17,500-person capacity venue housed within a giant orb (366 feet tall and 516 feet wide) located in what's essentially a back corner of Sin City. Ronda Churchill/AFP via Getty Images
Es Devlin’s Nevada Ark, a captivating digital representation of stone carvings depicting 26 endangered local species, makes a stunning appearance during “With or Without You” at the conclusion of U2’s residency. While there was considerable pre-show buzz surrounding this creation, merely looking at images cannot compare to the immersive experience of witnessing these creatures come to life overhead while the band weaves a sonic masterpiece. However, there’s a touch of irony in the fact that this awe-inspiring statement is presented within a colossal electrical sphere that’s far from friendly to our flying friends. (In a curious coincidence, a bat met an unfortunate end outside the venue as the general admission line was forming, highlighting the unintended consequences of large-scale events that are anything but eco-friendly.)
One of the band’s rationales for this residency, performed without Larry Mullen Jr., was the desire to reconnect with their devoted fan base while minimizing travel due to the ongoing COVID-19 pandemic. However, during the October 11 show, Bono revealed that a planned audience participation segment was thwarted because a chosen audience member had a cough, compounded by Edge’s recent recovery from COVID-19. (It’s worth noting that the author also tested positive for COVID-19 shortly after returning home, despite adhering to stringent safety measures throughout the event.)
U2 has announced an additional 11 shows at the Sphere, extending their stay until February 2024. The decision may stem from either the “unprecedented demand” or the absence of other artists announcing residencies at the Sphere. Yet, it prompts the question: when does a Las Vegas residency morph into a caricature? When does the daily commute to the venue become exhausting for the band? When do these shows become tourist attractions rather than artistic expressions? U2 has consistently sought new and different experiences, knowing when to conclude a chapter, and they are not driven by financial need. They’ve continually set the bar high, and regardless of personal musical preferences or past controversies (such as the infamous album release), their unwavering dedication to pushing boundaries deserves respect.