All That You Can’t Leave Behind is not the best U2 album. The Joshua Tree is greater and grander. Achtung Baby is more innovative and more daring. War has more to say. I can see reasonable arguments for preferring most of the U2 catalog over this record—and frankly, many U2 fans do. Even the band’s non-Achtung ‘90s albums—the experimental, occasionally brilliant, occasionally baffling pair of Zooropa and Pop—tend to garner more praise from the average U2 fan than their 2000 comeback. And yet, despite all the criticisms thrown at All That You Can’t Leave Behind—that it’s too safe; that it effectively ends U2’s legacy as a chance-taking band; that it’s as top-heavy as any 2000s record give or take a Hot Fuss—it’s also, by far, the U2 album I reach for most. The Joshua Tree is my go-to favorite, and Achtung is the one I love thinking about most, but All That You Can’t Leave Behind has an advantage over both: something about it just feels like home.Read More “U2 – All That You Can’t Leave Behind”
U2 achieves its eighth No. 1 album on the Billboard 200 chart, as the rock band’s new Songs of Experience debuts atop the tally. The set bows with 186,000 equivalent album units earned in the week ending Dec. 7, according to Nielsen Music. Of that sum, 180,000 were in traditional album sales.
While he’s been coy about the exact details, Bono apparently almost died in 2017.
In general, it’s been a rough few years for the frontman of the world’s biggest rock band. The backlash against U2’s last record, 2014’s Songs of Innocence, was perhaps fiercer than for any other album released this decade (though the hate was more for the gung-ho iTunes release strategy than for the actual music). Then, a few months later, Bono crashed his bike, fractured his face, and shattered his arm. The injury, he later said, may have put a permanent end to his guitar playing days.
Still, neither Bono nor U2 have slowed down much. If anything, they sped up. This year, the band zipped around the globe playing The Joshua Tree for its 30th anniversary. Even at a relatively brief (by U2 standards) 51 dates, the tour grossed $316 million—enough to be the year’s highest grossing concert tour. Meanwhile, U2 have spent months tinkering with Songs of Experience, the sequel to their maligned 2014 album, which was supposed to come out a year ago. Even with the 12-month delay, Songs of Experience still arrives just three years and two months after its predecessor—the band’s briefest album-to-album gap since the early 1990s.
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When the world got blown apart on the morning of September 11th, 2001, it felt like nothing would ever be the same again. In a lot of ways, it wouldn’t. Even at 10 years old, I knew there was a sense of innocence and wonder to the world that was stolen the moment that first plane hit the North Tower of the World Trade Center. How could anything ever be okay again after something so terrible? Even as a child, I pondered this question.
For years after that day, I would read about the reactions to the tragedy. Shortly after I graduated from high school in 2009, I read a speech that Dr. Karl Paulnack of The Boston Conservatory gave to the parents of incoming students in September 2004. In the address, Paulnack reflected on his experience on the morning of September 12th, 2001, when he—a classical pianist by trade—went to sit down at his instrument to practice. It was part of his daily routine, but on that day, it felt wrong. “Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless,” Paulnack recalled. “What place has a musician in this moment in time?”