U2

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Average User Rating 9.99
Total Reviews 2
Last Reviewed August 20th, 2006
 
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1 of 1 people found the following review helpful:
U2 Rocks agains
Venue/Date: American Airlines Center (Dallas, TX)
Concert Date:  September 29th, 2009
Reviewer: admin

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9.98
By MARIO TARRADELL Music Critic

The pyrotechnics were way cool, but most impressive was the precision.

The laser lights were eye candy, while the lightning speed was jaw dropping.

We're referring to Metallica, those metal masters that entertained more than 19,000 fans for two hours and 15 minutes Tuesday at American Airlines Center. The four-man group, in the midst of its World Magnetic Tour, performed in the round, giving every side of the venue's crowd a view of vocalist James Hetfield, bassist Robert Trujillo, guitarist Kirk Hammett and drummer Lars Ulrich.

Much of the night's set was focused on tunes from Death Magnetic, Metallica's return-to-form 2008 CD produced by the sought-after Rick Rubin. Of those, particularly memorable were the atmospheric "The Day That Never Comes" and the piercing opener, "That Was Just Your Life."

Another note related to Magnetic: The lighting rigs hanging above the stage were attached to coffin-shaped planks inspired by the disc's cover. They were like movable platform props.. Read rest of Review Here URL

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2 of 5 people found the following review helpful:
U2 is amazing live!
Venue/Date: STAPLES Center (Los Angeles, CA)
Concert Date:  November 1st, 2007
Reviewer: admin

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      ConcertGoer Energy/Intensity  
      Sound Quality  
      Set and Lighting Design (SLD)  
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10.00
U2 proves majestic
Review: If you weren't at Staples Center Tuesday night, you missed the best concert of the year.
By BEN WENER
The Orange County Register


So St. Bono didn't win the Nobel Peace Prize - so what? Better to continue spreading a message of love and peace - while meeting with as many powerful world leaders as possible to persuade them to help the poor and sickly - than to be rewarded for doing so.

That honor would have been mere recognition, like being inducted into the Rock and Roll Hall of Fame. It may exalt his good deeds, cause people who know nothing of his music (that is, cave-dwellers) to take notice of a headline, but it doesn't help him or U2 reach into hearts and minds any more than a Super Bowl halftime appearance does.

More so than in any other forum, including on record, that mission is accomplished on large-scale tours, something that's been plainly evident for more than 20 years but which has been heightened since the band artistically rebounded in 2000, its most recent work taking on deeper resonance in the wake of Sept. 11 and the war on terrorism.

Indeed, U2's current Vertigo Tour, which kicked off in San Diego in March, has been its most diplomatically outspoken, dogma-challenging and at times heart-wrenching call to activism ever. Yet, as Tuesday night's tremendously moving performance at a stuffed and star-studded Staples Center illustrated, what initially seemed like the ultimate U2 show has now congealed into something altogether more profound, more lasting, more majestic.

This wasn't simply the best show of the year, which it was easily. It was also the best U2 show I've seen - a fluid, forceful, compelling statement of purpose. It wasn't everything U2 ever need say, for surely the journey of equality's forward march (as Bono terms it) is never-ending. It was, however, the strongest recapitulation of every crucial point U2 has been explicitly trying to get across for the past five years.

What has changed is hard to define. It isn't song selection, for despite some curveballs tossed into the two encores - including an all-girl tribute band, Exit, tackling "Out of Control" while U2 sat on the drum riser and watched - Tuesday's set list wasn't radically different from the dates I caught at the start of this outing, including the first Pond stop.

What has happened, I think, is that the show has been refined so that it no longer tries to achieve dual purposes.

For as much as this tour has been about unveiling set pieces - notably the theatrical Bono-as-prisoner-of-war portion that begins with the snarling "Love and Peace or Else," segues into "Sunday Bloody Sunday" ("This is your song now," Bono tells the crowd) and finally to a harrowing "Bullet the Blue Sky" - the shows still seemed to be about U2 re-establishing credibility, proving it really had gotten back to basics by revisiting early favorites like "The Electric Co."
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