During the first performance at Sphere, a $2.3 billion venue, a band known for their grandeur and showmanship found themselves occasionally overshadowed by even grander and more spectacular acts.
In the grandeur of Las Vegas’ Sphere, U2’s inaugural show dazzled yet left something incomplete. The band, known for their grand gestures, seemed both mesmerizingly accessible and occasionally lost on stage. The hyperstimulating venue, entirely covered in screens, hosted U2’s 25-show residency, showcasing their iconic blend of hugeness and spectacle. Despite the lavish setting, the performance fluctuated between small, colossal, and occasionally aimless moments, capturing the paradox of grandiosity in Las Vegas.
In this performance, U2 heavily relied on their 1991 album “Achtung Baby” a period marking their commercial zenith. The album, exploring more audacious and unexpected sounds compared to their earlier earthy anthems, created a musical journey of peaks and valleys when played in full, albeit not in sequence.
During “Mysterious Ways” Bono and the Edge harmonized seamlessly, radiating energy. Bono, known for his electrifying stage presence, delivered his impassioned cries with unwavering commitment, particularly in the first half of the show. Clayton remained steadfast and composed throughout, while van den Berg infused the performance with a raw intensity that even Mullen couldn’t match.
Yet, some of the unforgettable songs from this era lacked their usual impact: the iconic ballad One and the dreamy, tragic “Who’s Gonna Ride Your Wild Horses” felt hesitant and lacked their usual emotional depth. The same can be said for the oddly subdued rendition of “Desire” later in the performance. Additionally, a set of Achtung Baby tracks that followed the midpoint, such as “So Crue, “Acrobat” and “Love Is Blindness,” took on a somber and suffocating tone, leaving the vast room devoid of energy.
Towards the end of the show, U2 treated the audience to delightful surprises, incorporating snippets of “Purple Rain” and “Love Me Tender” in “One,” and giving throaty nods to “My Way” and “Sgt. Pepper’s Lonely Hearts Club Band” later in the night.
Honestly, the performance hit its peak during the finale, featuring a majestic sequence: “Where the Streets Have No Name,” “With or Without You,” and “Beautiful Day.” It was during these moments that the band truly harnessed the venue’s power. Suddenly, the room lit up, creating a vibe reminiscent of a nightclub performance transported into the great outdoors. In the audience, you could clearly see a mix of 40- and 50-somethings, with dedicated fans sporting vintage U2 shirts and local Vegas enthusiasts donning tight Dan Flashes outfits.
The show featured a thoughtful adjustment, aligning the band’s energy with the venue and connecting with the audience on a profound level. Just before this moment, in the new song “Atomic City,” the entire screen transformed into a remarkably vivid street view of Las Vegas. Throughout the song, the buildings on the screen were slowly dismantled, creating a clever visual effect. Interestingly, there were times when the band barely utilized the sphere, or only used it to showcase towering videos of themselves during certain parts of the performance.
Earlier in the performance, U2 utilized the screen vigorously, yet with limited impact, revealing the challenge of filling such a vast canvas. At one point, a long rope, resembling a magician’s endless handkerchief, dangled from the floor to the dome’s peak, creating confusion as a young woman awkwardly swung on it alongside Bono.
When the screen was active, it often felt cluttered, displaying phrases reminiscent of Barbara Kruger during “The Fly,” or crisp digital art akin to creations from an A.I. generator. Some moments became uncomfortable, such as when Vegas icons and film characters like Elvis Presley, Don Cheadle, and Nicolas Cage filled the screen, creating a disorienting effect as the collage seemed to fall behind the stage, giving the illusion of the stage tilting upward.
These instances highlighted that U2’s performance was not just a concert but a backdrop for Sphere’s technological wizardry and quirks. The venue, conceptualized by James Dolan, a prominent New York figure, showcases its LED screen exterior that constantly changes, offering a glimpse into the future of architecture. From the window of an airplane or a taxi, it might appear as a pumpkin, a yellow emoji face, a moist eye, or an ocean teeming with creatures.