by Leila Singleton

Brilliant show! If I could sum it up, I'd say that the theme was definitely the power of simplicity. U2 took it back to basics with a state-of-the-art but not garish set, surprise songs from the days of old and a sound that, at times, was almost tribal/primal.

When we arrived at the Pepsi Center we were a bit surprised to see a sparse -- well, nonexistent -- set design. As U2 took the stage, however, the lights began shining and the set unfurled -- literally. Long strings of lights that somehow displayed a myriad of motion graphics ascended and descended continually throughout the show, accenting the songs being played. My particular favorite was the flickering colors and abstract city scenery displayed during "City of Blinding Lights" (I suppose this might not sound like simplicity to some, but for those who attended the Popmart Tour of 97 or remember the ZooTV set, this was colorful yet modest). The strings of lights were used in tandem with traditional lights and gels as well as a rectangular monitor above the stage that was divided into four squares. These quadrants each featured a different shot of the stage in sienna tones, and the smooth screens provided a very nice textural interplay with the spotted colored strings of lights. The monochrome shots seemed to visually underscore the idea of simplicity. On a whole, the set design felt light, airy and clean, providing an atmospheric backdrop that was visually stunning yet unobtrusive.

Oh, but there is more: the music! Bono's voice was strong and smooth, carrying the high notes with grace and projecting the swells of energy that so characterized their earliest recordings. The band played brilliantly, and there was almost a tribal feel to Mullen's drumming, which felt primal and urgent, like the beating of a swelling heart (particularly evident in the performance of "40"). The base lines were solid as rock and the guitar work was playful, anthemic, experimental, traditional...all at the same time. Nearly every song featured some kind of variation from the studio recordings, and the "Bullet the Blue Sky" guitar solo was particularly different, even from past live recordings. Set list surprises included "An Cat Dubh/Into the Heart" and a snippet from the obscure "She's a Mystery to Me." The juxtaposition of old and new was seamless as the band played in a stripped-down style that focused on the sound of the foursome. Without excessive processing and sequencers, the sound was consistently pure, making the old songs sound authentic and underscoring the strength of their newer tunes, which did not rely on extraneous processing to sound full and vibrant.

The show seemed to fly by (I could have gone another hour!) and I selfishly say that they did not play some of my favorites, like "Stay (Faraway, So Close!)" and "Gone"...indeed, they completely ignored Pop and Zooropa. But one cannot complain about the omission of favorite (and sometimes obscure) songs in a show of two hours and so much energy. The crowd was on its feet singing and cheering, and the band's chemistry was evident, warming the stage like the spotlight that Bono used to highlight the fans in the nosebleed seats. It is strange to say that there was a sense of community and comraderie in a huge building of 30,000? 40,000? people, but somehow the band made everyone feel included and close. Perhaps it is in the way Bono earnestly addressed us as individuals to urge activism for the people of Africa...perhaps it was just the big screen that made the band members visible to everyone no matter where they were seated. But there was definitely a feeling of unity. And as 30,000+ people waved the lights of cell phones -- not lighters -- in a darkened stadium, there was a sense that, even in an age of technology and complication, there is still beauty in the simplicity of four people who play what they love and sing what they believe.

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