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U2 Taking Risks Again [Glasto]


chriswba
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Ive been to Glastonbury 3 times over the past few years.

 

A couple of points

 

The sound on the Pyramid Stage is awful and alot of bands have been slated due to the sound being really bad [ eg bruce this year] How will U2 over come this?

 

Will they be in charge of their own sound. Ive heard various rumours that the reason U2 havent done Glasto before is because they arent in charge of their own sound. It isnt the artists fault but they get the blame.

 

How will the crowd react to u2 and how will U2 react to the crowd?

 

Remember this isnt a u2 crowd that their use to playing too , this will be a mainly a young crowd where some people will hate the sight of bono and co. How will U2 react to this?  Ive been at glasto when bono has been seen on the video screens in charity adverts people literally boo when this happens.

 

Tickets are already sold out and id say the large majority of people going brought their ticket not expecting to see U2.

 

Why are U2 doing it?

 

It isnt for the money as they wont make hardly anything. The only thing i can think of is that their trying to appeal to the young generation again.

 

In the UK NLOTH has flopped big time , it may not even make the top 20 albums of the year list [record sales wise] For the first time in their career U2 are seen as a vintage act in the UK. Is playing Glasto a way of trying to be relevent again?

 

Glastonbury is live on tv in the uk so everyone will be watching.

 

This to me is U2 taking a big risk which could really damage their creditablity or put them on top of the charts again.

 

It will be an intresting weekend next June , im gutted i aint going [ its already sold out]

 

Can they pull it off????????????????????????????????

 

 

 

 

 

 

 

COURSE THEY F**KING CAN!

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I thought Bruce Springsteen was amazing, it was only on my tv,but he sounded great to me and the energy he had really came across, he looked like he was having a ball.

 

I think the crowd will warm to them like they do at any live event. As far as I could tell, they went down well at Live8 and their rooftop appearance on top of the BBC.

 

They'll be fine.

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In a festival setting, it's usually the headliner's P.A. preference that gets used for the whole day. If it's multiple days, then the venue usually has a local sound company (house) that goes in for the entire time. It's up to the systems tech to set the delay times of the speakers, and zero it out as much as possible. Also, for festivals, most of it is what we call "throw 'n' go"....meaning that the band does a quick line/level check (to make sure that the instruments line up to the corresponding channels on the sound consoles), no sound checks, and then they go on the fly. Sometimes, the headliner gets to do a sound check before they load in the opening acts. Set changes for openers are usually 30 mins, and 45 mins for the headliner. Depending how good or accustomed the FOH engineer is to the venue, and the type of P.A., will determine how good of a sound quality the band's set will be. It's common that the first song is usually the time when the FOH engineer is tweeking the band's sound. Digital consoles make it easier for them to pull up a 'scene' from a similar show/venue they did (which is saved on a memory stick/card). As for Bruce Springsteen, the P.A. he carries does not have any subs! It relies on the low-mid bass speakers to get the kick and bass sounds (no sub bass...80hz and below)....unorthodox, but sounded great when I saw him.

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Just wondering,eyes.gif

if its festivals that they want to start playing again,

we out here in oz have some of them too,they could do the Big Day Out,or we also have splendor in the grass.

were not choosie they could play either or both,the pther in thing at the moment is to come & play at diffrent wineries,heaps of  big acts are doing alot of that out here at the present time.

Better still the offer of my back yard is still there,we could just make up a festival just for them to come play at (with my other fav bands powderfinger & silverchair being their support acts of course)eek.gif

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I can't figure out why some fans worry so much about every decision the band makes, as far as I know they haven't managed their carreer that bad for the last 28 years. I must admit I like seeing them taking risks and being ambitious, I suspect they day they don't do it, they will retire. As artists, playing for a completely different kind of audience and trying to connect with them will be very estimulating.

 

Although I'm not a huge fan of festivals myself, I don't find it that difficult for U2 to attract more audience from that kind of events, I'd like to share with you a couple of recent stories: last summer a friend of mine was coming to Dublin for the U2 concerts just because the rest of the group were going too, she had never attended a U2 concert before nor had she any of their albums, she bought NLOTH the day after the first concert, now she owns almost all the official discography and she will be attending not less that 6 concerts next summer. The second one is about my own nephew, he's just 14 years old, almost two years ago he bought U218, after a few weeks he came to my place and asked to borrow some U2 albums (of course I said yes), now he's a fan and many of his friends are too, they have no problem with the band's age, their concern is about why U2 aren't going to play in our city for the first time in more than 20 years as they are too young to travel and see them anywhere else.

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Intresting article in the Telegraph

 

Why do U2 want to play Glastonbury?

By Neil McCormick Music Last updated: November 24th, 2009

U2: ultimate outsiders?

U2 are to headline Glastonbury this year, on the festival’s 40th anniversary. There has been some predictable scepticism expressed about this from the anti-U2 brigade, although it seems a bit of a no-brainer to me: rock band plays rock festival – let the controversy begin!

Like last year’s headliners, Bruce Springsteen and the E Street Band, the Irish group have a long established reputation as outstanding live performers, which has helped make them one of the most consistently popular live attractions of the last few decades. It was probably a given that U2 would get to Glastonbury sooner or later (The Rolling Stones are really the only other band of that stature never to have played the festival), the real question being why has it taken them 26 years.

The answer lies partly in the fact that U2 just don’t need Glastonbury, or any other festival. They are one of the few bands who can pull mass crowds under their own steam on a regular basis anywhere in the world. And, certainly since they ascended to stadium status with The Joshua Tree in 1987, they have put a great deal of care and effort into creating their own unique and artfully integrated live environments. Whenever the issue of Glastonbury has arisen within the U2 camp, the same questions tend to arise, which, if I might paraphrase the succinct directness of their very pragmatic drummer, boil down to: "So, if I understand this correctly, we wouldn’t be playing to our fans, right? It’s not our sound system? It’s not our lighting rig? And we would be doing this for a fee that would be less than we would make on the gate at our own gig? And the point of this would be …?"

So what has changed? Well, Glastonbury itself, for one thing. It has become a kind of something-for-everyone entertainment smorgasbord. There may still be a quasi hippy ideal of the Pyramid stage headliner connecting to the audience in a mystical way as the sun goes down and the lights go up, but you can’t have Radiohead every year. It’s hard to see how having one of the world’s greatest rock bands at the top of the bill is any more unlikely to appeal to the mass of festival goers than other recent headliners, such as Jay Z or Sir Paul McCartney.

But the whole music business has changed, beset by technological challenges that have not just damaged recorded music sales but provided so much choice that it is becoming ever harder to achieve the kind of universal, crossover audience that U2 are used to. They may have a huge fan base, but for them to remain a truly effective force in the wider world of popular music, they need to find new ways to reach out to people who are not, perhaps, their natural listeners.

I imagine the band see Glastonbury as an opportunity to woo the sceptics, that increasingly shrill minority of mockers who loudly denigrate their every move. Bono has the instincts of a perennial suitor, a rock and roll travelling salesman who almost sees it as a matter of pride to be able to sell his wares to the most reluctant customer. The fact is the general public loves them, as their sell out live shows (this year alone, U2 have performed to over 3 million fans and grossed more than $300 million in ticket sales) and multi-million selling albums attest (although their latest ‘No Line On The Horizon’ has been widely perceived as a four million selling flop, low sales by U2’s standards, it is nonetheless amongst the best selling albums in the UK and the world this year). But somehow U2 have never belonged in the rock fraternity that seems to locate Glastonbury as its spiritual home. They have never actually been part of a British rock scene. In earlier days, U2 did play festivals. But never Glastonbury, probably because they were never invited. Coming from Ireland as post-punk rockers in the early 80s, they were critically aligned with the Liverpool new-psychedelic scene of Echo & The Bunnymen and Teardrop Explodes, but were viewed suspiciously by those bands as over-eager Irish interlopers, rivals rather than peers. And while they have certainly had their champions amongst critics (in the UK, The NME’s influential, polemical and cerebral critic Paul Morley was an unlikely early supporter) they have always had their vocal denigrators, who use them almost as short-hand for naffness: too sincere, to epic, too ambitious to ever be cool. U2 achieved success on their own terms, almost completely outside of the framework of the British music scene, and actually more on an Irish-US axis.

There is still something about playing Glastonbury that is a badge of honour amongst British bands, and I know that is something that appeals to Bono. There is a fraternity that exists in at least the perception of a shared experience, where the bands not only mingle back stage, striking up new friendships and alliances, but are perceived to share the trials of the often embattled festival goers themselves. Indeed, the regularly appalling weather of the worst Glastonbury festivals seems to be a positive bonus in this regard. Bonds are formed in the mud and rain. Bands wear those wellies with pride.

U2 live are a fairly irresistible force. They have passion, commitment, charisma, imagination and the kind of songs you can find yourself singing despite yourself, delivered with the showmanship and warrior skills of a gang who have been playing together all their lives. And with Bono at the helm, they are a band of seducers: put them in front of even the most sceptical crowd and they will do everything in their power to win them over. It may be a greater challenge to perform to an audience that is not, naturally, their own, but if they deliver at Glastonbury, the ripples could spread out into the wider musical community of both fans and artists. For all their success, U2 have been outsiders in the British rock scene. On some level, Glastonbury still represents a kind of inclusion. With these kind of stakes, I think U2 at Glastonbury could turn out to be legendary.

http://blogs.telegraph.co.uk/culture/neilmccormick/100005046/why-do-u2-want-to-play-glastonbury/
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