Back in 1987, when I was 15 years old, my father took me to see U2 at, what was then, Foxboro Stadium. It was the Joshua Tree Tour, in support of their Grammy winning album that would go on to catapult them to the top of the rock 'n roll food chain. I was old enough to appreciate the vibrant synergy of the audience and the incredible hold the band had over so many people. But I was too young to fully commit to each song, and took away more of the awe of being amongst 50,000 people than the awe of being in the presence of Bono, The Edge, Larry Mullen Jr., and Adam Clayton. I remember squinting to see Bono, in a cowboy hat and an arm sling (he had separated his shoulder the night before in New York) because he was so far away. For days after the show, I wore my concert t-shirt with pride even though it was too big for me and hung lifelessly off my bony frame. My friends, and even some strangers, would praise me in the hallway, impressed that I had actually seen U2 live. One year later, the t-shirt would be worn through and reduced to a dust rag.
By the time U2 returned to Foxboro in August of 1992, supporting Achtung Baby!, I had just turned 20. Things had certainly changed. While I wasn't technically of drinking age, I will admit that the pre-show tailgating before the concert was one of the most glorious times I'd ever had in a parking lotuntil then, at least. The show itself, featuring an immense stage, inspired set list, and compelling onstage antics, would go down in the history books as one the most over-the-top and impressive live concert events ever. To say that the crowd was into it is like saying a starving man is into filet mignon. It was awesome. Highlights of the Zoo TV Tour included a stage so tall that blinking air-traffic lights were required, a gorgeous belly dancer seducing Bono during "Mysterious Ways," and Bono phoning the White House to talk to President Bush between songs. In retrospect, the entire production was one long highlight.
Five years would go by before U2 returned to Foxboro, and I made sure I was there. The Popmart Tour, supporting a combination of POP and Zooropa came to town in July of 1997, and I was 25-a pretty good year all around. I was newly single, had a good job, and was living in the Boston area. I had already seen the band in Philadelphia on the same tour and was as big a fan as you could find back then. While many people consider POP and Zooropa to be less than stellar albums, at least by U2 standards, I've always found them quite enjoyable. Similarly, the Popmart Tour was considered, by some, to be weird and self-indulgent-a far cry from the successes of Zoo TV. The infamous giant lemon-shaped disco mirror ball, and the enormous yellow arch (suggesting half of the McDonald's golden arches) were meant to reflect the album's themes regarding pop culture and commercialism-elements that were lost on many concertgoers. However, I was a big fan of the set list and the techno-heavy nuances they brought to their songs, new and old.
In the 4 years between Zooropa and U2's next studio album, All That You Can't Leave Behind, the band shrugged off the flawed character-driven cultural study of the Popmart era and embraced their more personal lyric writing roots. Songs like "Beautiful Day" and "Walk On" were inspiring and uplifting. Appropriately named the Elevation Tour, U2 took the opportunity to leave outdoor stadiums behind, playing strictly arenas. Inside, U2's heart-shaped stage and cutting edge surround sound system were a welcome departure from the overwhelming grandeur of past tours. The Elevation Tour was more intimate, and more accessible for fans. I caught a couple shows at Boston's Fleet Center in June of 2001. Having an Irish-based affection for Boston, U2 pulls out all the stops when in town, and I am always proud to be present at a U2 concert in my hometown.
Nothing changed from the Elevation Tour to U2's next tour. Again taking place in arenas, the Vertigo Tour came to Boston's Fleet Center in December of 2005 in support of How To Dismantle an Atomic Bomb. The heart-shaped stage was now a giant circle, and a vast curtain of high-tech light bulbs surrounded the stage, making a floor-to-ceiling see-through screen. The stage was nearly centered in the arena and fans enjoyed seating pretty much all around the stage, upping the intimacy factor. The show I attended was one of the best sounding concerts I have ever been to and, as usual, the crowd was hanging on every guitar riff and vocal chorus.
When U2 recently released No Line On The Horizon and is in the midst of warming up for their next world tour. On September 20, I'll be attending U2 360 in Foxboro. Early stage design research suggests that U2 will be playing in the middle of stadiums on a huge, circular, rotating stage. Reports claim that every seat in the place will afford fans a totally immersive experience. While ticket prices border on outrageous for high quality seats, I feel I owe it to myself to be as close to the band as possible since I've supported them on every tour since 1987. For almost 30 years U2 have provided me with a lifelong soundtrack that's gotten me though the best and worst of days. It's likely that this will be the last time I'll have this opportunity to enjoy the tailgating, the crowd, the stage, the lights, and, above all, the music. Hopefully it will feel more like a thank you than a goodbye.
By the time U2 returned to Foxboro in August of 1992, supporting Achtung Baby!, I had just turned 20. Things had certainly changed. While I wasn't technically of drinking age, I will admit that the pre-show tailgating before the concert was one of the most glorious times I'd ever had in a parking lotuntil then, at least. The show itself, featuring an immense stage, inspired set list, and compelling onstage antics, would go down in the history books as one the most over-the-top and impressive live concert events ever. To say that the crowd was into it is like saying a starving man is into filet mignon. It was awesome. Highlights of the Zoo TV Tour included a stage so tall that blinking air-traffic lights were required, a gorgeous belly dancer seducing Bono during "Mysterious Ways," and Bono phoning the White House to talk to President Bush between songs. In retrospect, the entire production was one long highlight.
Five years would go by before U2 returned to Foxboro, and I made sure I was there. The Popmart Tour, supporting a combination of POP and Zooropa came to town in July of 1997, and I was 25-a pretty good year all around. I was newly single, had a good job, and was living in the Boston area. I had already seen the band in Philadelphia on the same tour and was as big a fan as you could find back then. While many people consider POP and Zooropa to be less than stellar albums, at least by U2 standards, I've always found them quite enjoyable. Similarly, the Popmart Tour was considered, by some, to be weird and self-indulgent-a far cry from the successes of Zoo TV. The infamous giant lemon-shaped disco mirror ball, and the enormous yellow arch (suggesting half of the McDonald's golden arches) were meant to reflect the album's themes regarding pop culture and commercialism-elements that were lost on many concertgoers. However, I was a big fan of the set list and the techno-heavy nuances they brought to their songs, new and old.
In the 4 years between Zooropa and U2's next studio album, All That You Can't Leave Behind, the band shrugged off the flawed character-driven cultural study of the Popmart era and embraced their more personal lyric writing roots. Songs like "Beautiful Day" and "Walk On" were inspiring and uplifting. Appropriately named the Elevation Tour, U2 took the opportunity to leave outdoor stadiums behind, playing strictly arenas. Inside, U2's heart-shaped stage and cutting edge surround sound system were a welcome departure from the overwhelming grandeur of past tours. The Elevation Tour was more intimate, and more accessible for fans. I caught a couple shows at Boston's Fleet Center in June of 2001. Having an Irish-based affection for Boston, U2 pulls out all the stops when in town, and I am always proud to be present at a U2 concert in my hometown.
Nothing changed from the Elevation Tour to U2's next tour. Again taking place in arenas, the Vertigo Tour came to Boston's Fleet Center in December of 2005 in support of How To Dismantle an Atomic Bomb. The heart-shaped stage was now a giant circle, and a vast curtain of high-tech light bulbs surrounded the stage, making a floor-to-ceiling see-through screen. The stage was nearly centered in the arena and fans enjoyed seating pretty much all around the stage, upping the intimacy factor. The show I attended was one of the best sounding concerts I have ever been to and, as usual, the crowd was hanging on every guitar riff and vocal chorus.
When U2 recently released No Line On The Horizon and is in the midst of warming up for their next world tour. On September 20, I'll be attending U2 360 in Foxboro. Early stage design research suggests that U2 will be playing in the middle of stadiums on a huge, circular, rotating stage. Reports claim that every seat in the place will afford fans a totally immersive experience. While ticket prices border on outrageous for high quality seats, I feel I owe it to myself to be as close to the band as possible since I've supported them on every tour since 1987. For almost 30 years U2 have provided me with a lifelong soundtrack that's gotten me though the best and worst of days. It's likely that this will be the last time I'll have this opportunity to enjoy the tailgating, the crowd, the stage, the lights, and, above all, the music. Hopefully it will feel more like a thank you than a goodbye.
About the Author:
Ian Sawyer is a Freelance Writer for YouMusic.com, The Social Networking Site for Musicians, Featuring a vibrant Music Community has Music Chat Rooms, Music Forums, Music Blogs, Instant Messaging, Music Groups and Concert Tickets such as U2 Concert Tickets
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