by Greg

What a difference a month makes.

Having seen opening night of Vertigo '05 in sunny San Diego, I was looking forward to seeing Seattle #2 (4/25/05) to see how the show has evolved over the past month. The set lists haven't seemed to vary too often... would there be much of a difference?

And how.

Hard to believe that the Kings of Leon set would be a harbinger of things to come, but an air of surprise entered Key Arena when the Kings brought Eddie Vedder up on stage to close out their set with an incendiary duet that blew the roof off of the Key. My expectations for the Kings had been set so low in SD, it was a pleasant surprise.

As a month earlier, U2 entered on the heels of the Arcade Fire track and the chant, "Everyone, everyone..." As a month earlier, "City of Blinding Lights" opened the show on a note of celebratory joy. Alright, it sounded tighter and that was to be expected. But what made it seem so different?

Before that question could be answered, U2 segued nicely from "City" into "Beautiful Day," then "Vertigo." It was the perfect build, and "Vertigo" was such the payoff. And Seattle came to play. Unlike our Southern California neighbors, Seattle does a fair impression of Wembley Stadium circa 1985- bodies moving up and down, hands in the air, arms moving in synchronous motion. My memory may not be perfect, but "Vertigo" was night and day better than on night one. The pace was quicker, the band was looser, and the crowd couldn't get enough. Pure euphoria.

What to do after "Vertigo" makes such a triumphant experience? Rhythmic opening notes of "Elevation." Before eyes roll, it was the version of "Elevation" U2 wish they had played in San Diego, where it was a notoriously rocky performance of "Elevation" (Bono and Edge appeared on a radio show after leaving the stage and both referred to the night's performance of "Elevation" as "crap."). This "Elevation" played off the rhythmic beat of Larry's drum and the Seattle audience's insistence in singing the falsetto "whoo-hoos" spontaneously and at the tops of their lungs. Bono was eating it up.

As much as I loved "An Cat Dubh/Into the Heart" in San Diego, and as glad as I am I was there to hear it stretch out so well, I was equally thrilled to hear "Gloria" tonight. And surprise-- "Gloria" held up the energy that had built unflaggingly from the first notes of "City." In fact, where the San Diego audience stood still in confusion during the 8-minute stretch of "ACD/ITH," the Seattle crowd sang along with "Gloria," faking the Latin where we had to and dancing happily into our fifth straight song. This was a party of the highest order.

Without forcing a song by song review, it was brilliant. Song for song the show has tightened up nicely from day one. Much more movement around the ellipse by everyone. Would you believe that Adam ventured out into the ellipse not once but twice? It is likely the most animated I have ever seen Adam in 9 shows or on TV. At one point he danced with Bono in the way Bono and Edge do (and did tonight) and Bono said, "I think that's the first time I've ever danced with Adam. The first time."

By far the emotional highlight of the night was when during "Sometimes You Can't Make It on Your Own" he pulled a young, perhaps 10-year-old boy named Jason up onto the ellipse. He held the boy's hand, walking him along the ellipse, and the connection between Bono and his father was overwhelming. The cameras found the boy's face and what was heartbreakingly beautiful was the ease with which the kid walked with Bono, looking up at him and actually singing every single word to the song along with Bono apparently totally at ease. "A house doesn't make a home, don't leave me here alone," the kid sang. Even as I write this I realize it reads corny-- if you had been there you'd easily have seen how touching and truly in the moment it was. Beautiful.

Two encores, including the "Original of the Species," with Edge on keyboard accompanying Bono. Bono warned us that it was only the third time ever that they'd played it live, "So this could get interesting," but it was flawless. Spare, clean, quite different from the CD.

So the night before, Seattle #1, ended with the "Yahweh/40" combination. How would they make this amazingly upbeat show go out on a high note?

The drum beat entered alone at a furious pace. It sounded familiar, but what was it? Bono: "Here's an ENGLISH lesson: The word 'encore' comes from the Italian word [encore], which means play the same song again."

Oh yes, the guitar line, the explosion- "Vertigo."

Again.

I know I've never been to any show where they did the same song twice. I don't know of any U2 show where they did the same song twice. I can imagine a "do-over," but tonight, three songs in, "Vertigo" was an absolute triumph. Not one still body in Key Arena. It's almost like U2, before the second of two encores, had a quick huddle and went "Did you see what happened during 'Vertigo' tonight? Could we end the show on a better note?"

It was just as thrilling the second time, all the way through, and they left the house in a spin with a simple "Bye." Lights up.

Strangers clapped strangers on the back as we walked out of Key Arena, people sharing the euphoria after the show. "Can you believe that?" "That's how you end a show, huh?" "Have you ever seen anything like that?" "Best U2 show I've ever seen!"

If the best way to end a show is to leave the crowd wanting more, they hit the heights tonight. At 36 I've seen my share of concerts and I think it's safe to say that tonight I understand what the word "Buzz" really means. This show set a buzz through the crowd that I'm sure continues even at this moment. Tonight was joy.

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