U2 made a concert movie of its Sphere show. Sphere is the only place you can see it

As a seasoned music enthusiast with decades of attending concerts and festivals under my belt, I must say that U2’s Sphere experience has undeniably left an indelible mark on the live music landscape. The immersive, 360-degree performance in this colossal structure was nothing short of awe-inspiring, transcending the traditional boundaries of concert experiences.

Approximately nine months following the conclusion of U2’s 40-show residency at Sphere, this esteemed Irish rock group has returned to the nearby venue shaped like a dome, which is situated just off the Las Vegas Strip.

Well, sort of.

V-U2″ is a fresh concert film that captures the innovative “U2:UV” performance, where Bono (vocalist), The Edge (guitarist), Adam Clayton (bassist), and Bram van den Berg standing in for Larry Mullen Jr. (drummer) delved back into U2’s media-focused 1991 album “Achtung Baby”. This was during their debut at the $2-billion structure, equipped with the world’s most advanced LED screen. The performance at Sphere was a hit, both critically and commercially, generating captivating video snippets that dominated social media and reportedly earning close to $250 million as per Pollstar. Notably, this successful run faced stiff competition from Taylor Swift’s Eras tour and Beyoncé’s Renaissance tour at the time.

It’s not surprising that U2 joined Taylor Swift and Beyoncé by bringing their concert to the big screen. However, unlike those pop stars’ films, this one can only be watched at the location where it was filmed – specifically, Sphere, where “V-U2” plays on a colossal wraparound screen on evenings when the Eagles are not there for their residency (with Phish and Dead & Company having performed before U2 and the Eagles). Directed by The Edge and his wife Morleigh Steinberg, “V-U2” premiered in September and has been extended through February; tickets to watch this movie aren’t cheap, with prices starting around $100 per person.

Regarding “U2:UV,” The Edge (age 63) describes Sphere productions as a unique form of artistic expression, not just for music but also for narrative films, documentaries, and various presentations. He explains that these productions have the power to transport audiences to new real or imagined locations. As he elaborates, the grandeur of the visuals cannot be separated from how they are utilized. To spark his creativity, The Edge references the 2021 wrapping of the Arc de Triomphe by Christo and Jean-Claude, as well as the Museum of Jurassic Technology in Culver City, one of his favorite spots in Los Angeles.

He remarks during a Zoom conversation from Malibu, “I find those intricate miniatures, small enough to fit on a needle head, simply stunning.” He adds, “It’s their diminutive size that sets them apart.

As a huge fan and someone who cherishes unique live performances, I’ve always wondered about the creative journey behind capturing an unprecedented concert event for future generations. Intriguingly, you decided to sell tickets to those who missed out on the initial performance. What sparked this innovative idea when faced with the challenge of presenting a groundbreaking show using unproven technology in an incomplete venue? Was it the thrill of pushing boundaries or the satisfaction of sharing an exceptional experience with a broader audience?

As a film enthusiast, I find myself contemplating the idea of translating this unique show onto the silver screen, but soon realize it’s an impossible task due to its intimate connection with this venue. The show is so intricately tied here that attempting to recreate it for the small screen would be incongruous. Instead, the idea crosses my mind: what if we captured it for the very screen it’s currently being played on? This could potentially offer an immersive experience, possibly pioneering a new trend in live performance representation. It was this prospect that ignited my imagination.

As a devoted moviegoer, my objective was to convince myself, and hopefully others, that I was in the presence of U2 on stage. By immersing myself in the visual spectacle, feeling the music vibrate through me, and even experiencing the subtle sensations from my seat, I aimed to blur the lines between reality and illusion. It’s like being a magician, making people question what they see before their eyes.

It’s remarkably U2-esque that a concert film can only be viewed where the concert took place. I’d be intrigued to know Marshall McLuhan’s perspective on it. I wonder what he might think? Since the start of our “Achtung Baby” tour, we’ve been exploring this concept of “better than the original.” We were well aware of that. And let me tell you, after years of anticipation, seeing U2 live was an unexpected jolt. It sent chills down my spine. I must admit, we’re not half bad.

Initially, the opening tunes are captured stationary from the audience perspective. Later on, the camera begins to roam freely. It’s important not to change this setup prematurely, as we want the viewers to experience the performance as initially intended. However, once our fifth song, “One,” kicks in – that’s a suitable time for us to introduce some degree of show deconstruction.

Is there a particularly impactful emotional scene you’re referring to? For us, the emotional resonance is crucial. Director Mark Pellington brought in an idea that significantly contributed to this – the close-up shot of Bono during “One.” This decision was spot on as it disrupts the illusion of the movie being a live concert and creates a moment where we, as viewers, feel a connection beyond the screen’s boundaries.

The up-close image of Bono is remarkably large, almost as if it were a structure itself.

Was it Bono who gave the go-ahead for the candid shot featuring himself?
Absolutely [smiles]. He told us: “It’s not just about spectacle, you need to show the human side of what’s unfolding.” So, in other words, imperfections were okay. Bono even wanted to include his stumbles during the introductions, keeping it raw and unpolished.

My instinct is to scoff at that idea. The whole point of Sphere is polish! But there actually is something kind of raw about the movie.
Part of that is practical. With modern post-production, it’s super simple to alter 35-mill format. But since this is such a massive amount of data, to really do anything too fancy would take months and an eye-watering amount of computer processing to achieve. I’m sure future projects will be able to make that possible. But for us, it was kind of straightforward. We knew there wasn’t an awful lot we could do beyond just make cuts and showcase the moments that we thought were the best representations of the show.

Is there a chance this movie might affect the appeal of live music? I’d say it’s not a threat, more like any other concert film. As for the ABBA hologram show in London, while it offers fans an exciting alternative to witnessing them perform live, it doesn’t diminish the value of actual concerts. It simply adds another option to the mix.

The Sphere project has influenced U2’s future live aspirations in an interesting way. While we may consider returning to the Sphere at some point, our immediate focus is on resuming regular concerts and creating new music. After the “Achtung Baby” anniversary celebration, we are eager to work on fresh material for a future U2 album and get back on tour. There’s an energy and excitement that comes with being on the road, and performing for local fans instead of relying on them to come to us – something we truly miss.

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2024-11-14 19:31