Opening Act(s): Snow Patrol
Breathe, No Line On The Horizon, Get On Your Boots, Magnificent, Mysterious Ways, Beautiful Day - Blackbird, Elevation, I Still Haven’t Found What I’m Looking For - Stand By Me, Unknown Caller, New Year’s Day, Stuck In A Moment You Can’t Get Out Of, The Unforgettable Fire, City Of Blinding Lights, Vertigo, I’ll Go Crazy If I Don’t Go Crazy Tonight (Remix), Sunday Bloody Sunday, MLK, Walk On, One - Amazing Grace, Where The Streets Have No Name. Encore(s): Ultra Violet (Light My Way), With Or Without You, Moment Of Surrender
Bono snippets portions of “Rock The Casbah” and just like before, he gets the lyrics wrong. Tom Cruise and Katie Holmes are spotted at tonight’s show. Also, the setlist is exactly the same from the previous show in Toronto on September 17, 2009.
This time, bigger isn’t better for U2
By James Reed, Globe Staff
FOXBOROUGH - Right after the triumphant first song, Bono explained what everyone must have been curious about early in the evening: What, exactly, was the massive green canopy with orange disks that arched ominously over the stage. Was it a spider? A tentacle?
“We got a spaceship,” the U2 frontman said last night at Gillette Stadium, “but we’re not going anywhere without you. Are you ready for the ride?”
The nearly sold-out crowd was indeed, but the show, which repeats tonight, didn’t quite take off like it should have. Instead it revved its motor, flashed its headlights, and stayed firmly grounded as U2 stumbled over an unlikely hurdle: a sprawling stage setup that often dulled the sensation of a tight-knit performance.
If there’s any outsize band with the charisma, chops, and catalog to pull off a tour of this magnitude, it’s U2. And it certainly tried, relying on Bono’s magnetism and his bandmates’ inspired playing, not to mention an audience that was clearly stoked.
The insurmountable problem, however, was the expanse of the stage, which connected to an outer circular one where Bono and guitarist the Edge and bassist Adam Clayton roamed like satellites. At times each member, in his own spotlight, was working a different part of the stadium, to the point that they sometimes lost the intimacy of playing as a unit.
Granted, these guys are so good and seasoned that they don’t need to be rubbing shoulders to convey their camaraderie. But when they really connected - when Bono seemed awed by the Edge’s acoustic accompaniment and backup singing on “Stuck in a Moment You Can’t Get Out Of,” or when Bono leaned into Clayton during the high point of “Elevation” - the chemistry was intense and contagious.
Entering to the swelling strains of David Bowie’s “Space Oddity,” a fitting opus for a show that was supposed to shoot into orbit, the band tore into “Breathe” with the Edge wailing lyrically as Bono slowly surveyed his devoted flock.
The arena anthems, which at a U2 concert tend to be shouted rather than sung, came fast and furious, from newer (“Get on Your Boots,” “Beautiful Day”) to older (“Mysterious Ways,” “Sunday Bloody Sunday”). It’s hard to deny the charm and vitality of those classics, which inadvertently made some of the more recent songs, especially the ones from the band’s latest album, “No Line on the Horizon,” pale even more than they should have.
“Magnificent” and “I’ll Go Crazy If I Don’t Go Crazy Tonight,” with its playful dance-floor coda, felt like stadium rock for stadium rock’s sake. “Unknown Caller” dampened the spirited vibe mid-set with elliptical lyrics (“escape yourself and gravity”) masquerading as self-help advice.
But even that misstep couldn’t deaden Bono’s charisma. He’s become the prototypical frontman who knows how to work stadiums; in fact, you suspect he’s at his best in front of 50,000 people. During “City of Blinding Lights,” Bono plucked a young girl from the crowd and essentially serenaded her as they walked the length of the outer stage, even putting his famous tinted glasses on her at one point.
It was a small gesture, a fleeting moment of intimacy, that reminded you of how magical Bono and his bandmates are when they connect to the audience - and with one another.
Fellow Irish lads Snow Patrol opened with a strong set that climaxed with their big hit “Chasing Cars.” Even lead singer Gary Lightbody acknowledged it was a daunting task to warm up the stage for his country’s most significant band. Risking a potentially embarrassing request from the crowd, calling it a “time-tested ritual of singing along to a band you don’t know,” he led audience members in a chorus of “shut your eyes and sing to me.” And they did, gladly.
James Reed can be reached at [email protected]
Copyright © 2009 Globe Newspaper Company.
Photos by Robert E. Klein for the Boston Globe