Whats so great about these guys, only heard whts been spammed on radio. But i decided to actually listen to 'one of the best albums ever' i.e Joshua Tree. I halfway through and dont really see whats thats great, its not the worst thing ever but still what the hell... 140 million records :S
IMHO joshua tree is not their best album. try listening to other ones. a lot of casual listeners think Ten is their best which may or not be true (I don't think so and I know a lot of people here think it isn't either). My favorite album of U2's happens to be Zooropa. they have a ton of albums so maybe you'll find something worthwhile. i'm not sure anyone knows why U2 is so popular, I don't even think U2 knows why either or maybe you just won't like anything they do. :P
U2 and Bono adapt to changing times
By NEKESA MUMBI MOODY, AP Music Writer Nekesa Mumbi Moody, Ap Music Writer Fri Oct 23, 10:58 am ET
Even while maintaining its status as one of the few musical acts that can still fill stadiums, U2 is struck by how quickly its world is changing — musically and politically.
Charismatic front man Bono, in a reflective mood as U2 closes the North American leg of its "360" tour, notes the different, more polarized atmosphere in the United States since the band performed its anthem, "City of Blinding Lights," at President Obama's inauguration in January.
"I didn't think it could come to this so quickly, after the joyous occasion of that election," Bono says in an interview on board the band's plane, as they jet to another stop on the tour. "I thought America was looking good. ... Things are getting a little rough now."
Bono says he's been in touch with Obama and is confident the president will deliver on promises made during the campaign, including the singer's favorite issue: funding to fight AIDS in Africa. "The Obama administration is just getting going. (He) has promised to double aid over the next years, because even though (President George W.) Bush tripled it, ... the United States is still about half as what European countries give as a percentage, and I think he knows that's not right."
Meanwhile, Bono the rock star and the rest of U2 are struggling a bit themselves — as incongruous as that might seem for a band that will have performed to millions of people before its tour wraps overseas next year. (U2 ends its North American tour on Wednesday in Vancouver, British Columbia.)
Like other bands in the digital age, U2 is struggling to grab new listeners. Its members admit to frustration at the average album sales for its most recent release and wonder, as bassist Adam Clayton put it, whether the idea of an impassioned rock 'n' roll fan is becoming a thing of the past. (One experiment — U2 is broadcasting one of this weekend's concerts in Los Angeles on YouTube.com.)
"The commercial challenges have to be confronted," Clayton says during an interview backstage at "Saturday Night Live," as awaits the band's performance on the show's season kickoff. "But I think, in a sense, the more interesting challenge is, 'What is rock 'n' roll in this changing world?' Because, to some extent, the concept of the music fan — the concept of the person who buys music and listens to music for the pleasure of music itself — is an outdated idea."
The band's latest CD, "No Line on the Horizon," debuted at the top of the charts when it was released in March and has sold a respectable 1 million, according to Nielsen SoundScan. But the CD, which features more electronic music experimentation from U2, is the group's lowest selling CD in more than a decade. It represents a marked drop from 2004's "How to Dismantle an Atomic Bomb," which has sold 3.2 million copies to date, and 2000's 4.3 million seller, "All That You Can't Leave Behind."
"No Line" is also an album that hasn't had that one signature hit.
U2's last CD had "Vertigo," which wasn't a huge song on the pop charts, but became so ubiquitous thanks to Apple's iPod commercial that it might as well have been a No. 1 smash.
The first single from "No Line" — the driving, upbeat "Get on Your Boots" — didn't have a similar platform and didn't crack Billboard's top 30 singles pop chart. Meanwhile, "I'll Go Crazy If I Don't Go Crazy Tonight" was featured in a Blackberry ad as part of the new partnership between the mobile device and U2 but was not released as a single.
Songs from the new album are clearly resonating with die-hard fans. "Get on Your Boots" drew one of the more frenetic responses from the crowd during a recent concert in Foxborough, Mass., outside of Boston, as did the anthemic show closer, "Moment of Surrender." Yet the album hasn't had the impact for which U2 had hoped.
While noting that signature U2 songs such as "Beautiful Day" and even "One" weren't massive or immediate hits, Bono does acknowledge disappointment that the band didn't quite "pull off the pop songs" with the new work.
"But we weren't really in that mindset," he says, "and we felt that the album was a kind of an almost extinct species, and we should approach it in totality and create a mood and a feeling, and a beginning, middle and an end. And I suppose we've made a work that is a bit challenging for people who have grown up on a diet of pop stars."
Some would argue that the Irish rockers — Bono, Clayton, The Edge and Larry Mullen Jr. — remain pop's biggest act. They are entering their fourth decade of music-making with a string of awards, from Grammys to Billboard to Golden Globes, tens of millions of records sold and a social impact that few musical acts can ever hope to achieve. Still, they find themselves in the same challenging position as most pop groups today, who must seek new ways to connect with music buyers in a declining industry and an increasingly fractious entertainment world.
"Music exists in an environment where people are multitasking, and I think that's a very different environment," says Clayton, who grew up appreciating jazz but realized "it was for people who took life a certain way, but it wasn't part of the modern world for me.
"I worry that the world of rock 'n' roll that I grew up in is destined to end up that way."
U2, of course, is hardly in danger of becoming a band that only gets heard in obscure clubs or on niche radio stations.
Its "360" tour is a massive undertaking that has the band performing in the center of stadiums, hence the "360" title. The production, which includes stages that take days to dismantle, has been one of the top grossing tours in the country since it kicked off in September, despite a price tag that runs upward of $250 (at least 10,000 tickets for $30 have been made available for every show).
And when the band played at Giants Stadium in East Rutherford, N.J., last month, it broke attendance records with a crowd of about 84,500 fans.
"In many ways, U2 has had such an enormous amount of success over the years we're almost proof against that," the band's longtime manager, Paul McGuinness, says, talking about U2 and the music industry's decline. "We're still selling a lot of recorded music, but it's a much smaller part of our business than playing live. This tour, by the time it's finished, we would have played ... to roughly 6 million people."
It is during live shows when U2 feels the most connection with its audience. Despite the stadium shows and the immense stage structure, the band insists that this time, the set up has created perhaps a greater intimacy with fans than the group has enjoyed in the past. They are literally surrounded by fans.
"The staging itself is something we've tried to do for a long, long time. The idea of playing 360 — it's never been done successfully, ... where everybody gets good sound and good visuals, and we managed to achieve that, I think," says Mullen, who, like the rest of his band mates, is affable and thoughtful as he talks about U2 backstage at "SNL."
"The thing about U2 has always been its audience, and in this environment, I think the audience is so important, and the reaction is so important," he says.
On tour, U2 can best gauge fan reaction to the new material. Last month at the cavernous Gillette Stadium near Boston, it was almost as frenzied and passionate as the reaction U2 gets for its classics. A roar came from the crowd as the band opened the show with "Magnificent," and the energy kept building as U2 performed four more new songs, including "Get on Your Boots."
"Judging by the reaction to the album, live, I feel like it has really connected," The Edge says. "There's a lot of records that make great first impressions. There might be one song that gets to be big on the radio, but they're not albums that people ... play a lot.
"This is one that I gather from talking to people. ... Four months later, they're saying, 'I'm really getting into the album now.'"
U2 is still hustling to promote the CD. When it was released in March, the group did "Good Morning America" and an unprecedented five-night appearance on "Late Show With David Letterman." More recently, U2 appeared on "SNL."
"I love to see an outsized band like U2 behaving like they're in the kindergarten and just doing what you do with your first album — taking it to the market, setting up your table, selling your wares, selling it out the street corners, giving out fliers," says an animated Bono, breaking into a wide grin behind his trademark sunglasses. "I think selling out is when you stop believing enough in your music to put yourself out to explain it to people."
U2's Blackberry partnership includes an application that allows users to download the CD and photographs, liner notes and more.
Yet the band is also careful not to be too unwieldy when it comes to attempting new avenues to promote its music.
"We're trying to do everything we can on that front without having to change what we're about artistically: The music stays sacrosanct," The Edge says. "We are much more focused on being the best than being the biggest."
And that means perhaps making the kind of album that doesn't guarantee hits but does guarantee surprises and new ideas, which "No Line" has delivered.
"The biggest danger for a band like U2 is accepting that you've reached a certain age, and, therefore, you can just actually sit back," says Mullen.
"That's not what we signed up to do. We want to make relevant, great music, and Bono has said numerous times, 'One crap album and you're out,'" he adds. "We've avoided it so far."
'One crap album and you're out,'" he adds. "We've avoided it so far."
guess he forgot all about " Pop " .
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Brian Eno and Daniel Lanois Remember the Making of U2's Unforgettable Fire
It all makes sense now, what with 25 years of history behind us, but at the time U2's decision to tap Brian Eno and Daniel Lanois to produce the pivotal follow-up to their breakthrough album War was far from the most obvious course of action. Eno, after all, was a cerebral sounding board and problem solver splitting his time between his own projects and happily throwing a playful spanner into the works of others. Lanois, on the other hand, was far from a known quantity, a few years away from the defining work he would go on to do with such acts as Peter Gabriel, Bob Dylan, and Emmylou Harris. Yet somehow the unlikely combination of this band and these producers worked.
In advance of the 25th anniversary re-release of The Unforgettable Fire, the classic 1984 album Eno and Lanois ultimately made with U2 and the first of their many fruitful collaborations, we tracked down the two busy producers to talk about how they began their now quarter-century relationship with the band.
Pitchfork: Daniel, the story goes that Brian Eno recommended you produce U2 after they first came to him.
Daniel Lanois: Brian and I had been working in Canada in a town called Hamilton. We'd been making ambient records [including On Land and Apollo] for a few years, some very cool records. But I'll be real straight with you. During that ambient music-making chapter, I was pretty isolated. Nothing had really come my way that was illustrious, in terms of invites. I had poured my soul into these ambient works with Eno, and a lot of phone calls were coming in-- David Bowie was calling, Iggy Pop the next day. None of them to me, all to Brian. Brian was pretty much in the fast lane of record making at that point. He was pretty much on the pulse of things in New York City, and then he said that he wasn't producing records anymore. He was finished with it, and was therefore not interested in working with U2.
Brian Eno: I had never worked with that kind of music before, and I was not completely convinced that I would be the right person for it. I thought, well, I can handle the ideas side of it all right, but can I handle the actual traditional production side alright? I knew Dan was very good at that side of things, and very good at working with bands, getting the best out of the players and so on, so I said, "Why not have both of us? We'll sort of overlap in some parts, but we actually sort of serve different functions as well." That was how that working relationship started.
DL: I said to him that I would be interested in working for them because I was looking to sink my teeth into rock'n'roll. He said, well, perhaps an introduction can be made, because Brian felt that I had something to offer. Beyond my appetite to do good work, he felt that I had something to offer because I had a burning desire. So he accepted a meeting, and we went to Ireland with the idea of getting me on the U2 record.
BE: We had never actually produced anything of anybody else's before, though we had worked together quite a lot. We knew each other well, and we had some respect for each other's different talents. That seemed to me like the ideal situation. We could just do the bits we were sort of comfortable doing.
DL: They were oblivious to my existence, so in the end, he agreed to co-produce it with me.
Pitchfork: U2, particularly at that time, was totally at odds with the kind of music you were making. Why do you think they looked to you as producers?
BE: I think they were very keen on the Talking Heads stuff that I had done. I think they also, dare I say it, liked some of my music! [laughs] The main thing, actually, was that they wanted to go somewhere else.
DL: They wanted to do something different. U2 has been listening to New Gold Dream by Simple Minds as a point of reference, a record they liked. The panorama of the ambiance appealed to them. I think that Bono wanted to get to a place that was wider than stripped-down rock'n'roll, so we allowed ourselves the flexibility to embrace the colors that Eno and I had been developing.
BE: I had this phone call with Bono-- he is the greatest salesman of all time, you have to bear that in mind-- where I said to him, look, what I'm worried about is that I might change things rather unrecognizably. People might not particularly like the new you that comes out of this. And he said, well, actually we want to be changed unrecognizably. We don't want to just keep repeating what we've done before. He said if we wanted to, we're on track for being a band that just does the kind of records we've done so far. He said we want to do something different from that. He said we wanted to be more-- I forget the word he used, but "cutting edge" was the meaning. I thought, OK, as long as you appreciate that there's a risk involved in that.
After that conversation was when I came up with a plan. I thought, well, I knew that Danny was a great producer, and even if nothing about the working relationship between me and the band worked out, they would still have a really good producer in him. In fact, it worked out very well.
DL: The entire record has soft edges, but I suppose it can be viewed as...when you see great photographic images printed from film, the raw edges surrounding the portrait are part of the beauty. The medium presents itself, and therefore the restrictions become part of the dedicated work. I still love that about restrictions. I think we did the best we could with what we had to work with. We had very few tools, and there were no outside influences. We were huddled up as a team, and we got what we got because of what we brought to the table. Part of me likes a more ragged, jagged guitar sound or performance, but our work might not have been as innovative had we followed in the footsteps of what came before. We were very proud of what we had hit on.
Pitchfork: Daniel, you're more of a traditional musician than Brian is, and you obviously bring something different than he does to the albums you work on.
DL: We are similar in the sense that we love soul music, using "soul" as a broad banner for anything that feels right, that has a sense of purpose to it. That's ultimately what we love in records, as a human race. We want to be lifted. But Eno's an incredible catalyst, and has a way of quickly presenting another way of looking at things. That's really his genius, and he's still the best at it. Of course, he might spontaneously come up with a fresh way to look at things, but when the shop door closes, Lanois is still sweeping up!
Posted by Joshua Klein on October 23, 2009 at 5:40 p.m.
(c) Pitchfork, 2009
interesting that the band looked to the simple minds for inspiration.
ive seen them multiple times in mid 80s.
they sounded really really good at radio city music hall on a few occasions.
Post edited by Bathgate66 on
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youtube wi have a link on the main page i assume ?
or do we need to go thru u2.com ?
For the ones who had a notion, a notion deep inside
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g under p
Surfing The far side of THE Sombrero Galaxy Posts: 18,199
On the East Coast what time is this U2....YouTube concert going to be shown?
Peace
*We CAN bomb the World to pieces, but we CAN'T bomb it into PEACE*...Michael Franti
*MUSIC IS the expression of EMOTION.....and that POLITICS IS merely the DECOY of PERCEPTION*
.....song_Music & Politics....Michael Franti
*The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite INSANE*....Nikola Tesla(a man who shaped our world of electricity with his futuristic inventions)
Vegas 93, Vegas 98, Vegas 00 (10 year show), Vegas 03, Vegas 06
VIC 07
EV LA1 08
Seattle1 09, Seattle2 09, Salt Lake 09, LA4 09
Columbus 10
EV LA 11
Vancouver 11
Missoula 12
Portland 13, Spokane 13
St. Paul 14, Denver 14
Philly I & II, 16
Denver 22
0
g under p
Surfing The far side of THE Sombrero Galaxy Posts: 18,199
Thanks I got confused on the time difference. GO ANGELS
Peace
*We CAN bomb the World to pieces, but we CAN'T bomb it into PEACE*...Michael Franti
*MUSIC IS the expression of EMOTION.....and that POLITICS IS merely the DECOY of PERCEPTION*
.....song_Music & Politics....Michael Franti
*The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite INSANE*....Nikola Tesla(a man who shaped our world of electricity with his futuristic inventions)
what a great show! i was hesitant because of a stadium show, but the claw/spaceship/LAX spider really helps make the show more intimate...the band sounded great although i think the encore should be one/amazing grace/streets...ultraviolet/with/moment is great but not rocking enough to finish the show...definitely will see them next year! :thumbup:
yankees, lose ?
not exactly.
you must mean the fallen angels . :roll:
Glad to read you had a good show norm.
definitely jealous of Black Eyed Peas and Slash doing Sweet Child- f'n cool !
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
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The first song on 1984's The Unforgettable Fire is called "A Sort of Homecoming" -- not just "A Homecoming." And that shade of uncertainty -- that "sort of" -- is key. Compared to U2's first three albums -- and almost everything that has come afterward -- The Unforgettable Fire is marked by a sketchy in-between-ness that works as a gracious foil to the the band's natural audacity. It's sort of stadium rock, sort of experimental, sort of spiritual, sort of subdued, sort of uncharacteristic, sort of brilliant, sort of a classic.
After their first major breakthrough with 1983's War and its anthems "Sunday Bloody Sunday" and "New Year's Day," U2 could have easily continued to perfect the fist-pumping, flag-waving arena battle cry. Instead, they sought out producer Brian Eno, a bold choice for a band looking to parlay semi-success into something Springsteen-ian. While Eno is now seen as a go-to stadium savior (see: Coldplay's Viva La Vida), back then he was still the guy who coaxed magnificent weirdness out of David Bowie and Talking Heads, to say nothing of his own work, which ranged from prog-rock insanity to elegant wallpaper. The U2/Eno braintrust has since become one of the most out-and-out successful in rock history, but The Unforgettable Fire finds the pair -- along with frequent conspirator Daniel Lanois -- feeling each other out and testing limits. The album ebbs and flows along the spectrum between the spiky, post-punk U2 of old and the impressionistic, Eno-assisted U2 they were yearning to become.
Not only were U2 and Eno an odd match musically, but their personalities clashed in a remarkable way as well. The album's interpersonal drama plays out on a half-hour making-of documentary originally released in 1984 and included in this reissue along with the remastered album and a disc of requisite B-sides and live cuts. While U2 were caricatured as honest and hardworking Irish boys who never met a stone-faced portrait they didn't admire, and Eno was the aloof London aesthete who openly mocked rock convention, you can watch the two subtly influencing each other throughout the intimate documentary. For example, after Bono is seen roiling himself into a frenzy while improvising over "Pride (In the Name of Love)" -- screaming, sweating, and flailing like a wounded lunatic in the recording booth -- Eno is nearly left speechless before he utters a totally sincere understatement for the ages: "I must say, this track is really bringing something out in your singing." The producer's unflappable cool often leads to a fatherly kindness that goes lengths to explain his lasting appeal.
The documentary, much like the album itself, humanizes U2 while fueling the idea that this band's head was completely up its own ass in the '80s. "I believe the songs are already written, and I think the less you get in the way of them the better," says Bono at one point in the film, explaining his muse, "The minute you take up that pen ... you start interfering with the song -- I don't know if that sounds too spiritual." And while I'm not sure if the idea that God is writing your songs is truly "spiritual," it does sound quite presumptuous. But that's also the beauty of this band; whether in ironic or world-saving mode, their ambition is boundless. This can lead to garish stadium extravaganzas, but it can also birth something like "Bad," The Unforgettable Fire's centerpiece and one of the grandest arena-rock songs ever written.
There's no half-assing "Bad." After years of radio repeats, the track seems commonplace, which is a testament to just how much U2 have burrowed their way into the world's collective musical memory. Because this six-minute monoculture moment chronicling the torment of heroin addiction has no discernible chorus. Its hook is a burning build passed down from the Velvet Underground's "Heroin." But whereas that song ends with Lou Reed smacked up and despondent -- "And I guess I just don't know," he mutters -- "Bad" is the sound of revelation, recovery. "I'm wide awake!" belts Bono, triumphant in the face of isolation, desolation, and pretty much every other -ation there is. Once again, U2 put a patently cool underground icon -- this time it's Reed -- through their mega-band filter and end up with a song that sounds just as strong in record-collector headphones as it does to 100,000 fans physically forced to clap along by some primordial urge.
The Reed tribute is cemented on the live version of "Bad," filmed at Live Aid and included in this package, where Bono introduces the song with a little "Satellite of Love" and ends it riffing on "Walk on the Wild Side." In between, the possessed singer jumps down from his high perch onstage to slow dance with a fan, effectively bringing some punk-inspired spontaneity and compassion to an event that typified notions of classic rock heroism. The performance single-handily upped U2's stock in the global rock realm, and it's easy to see why.
So The Unforgettable Fire isn't U2's biggest commercial success (that would be The Joshua Tree) or its most rewarding artistic coup (Achtung Baby), but without it those records would not exist. It's a transitional album of the highest magnitude. The hits-- "Pride," "Bad" -- still hit, and even its sometimes-derided abstractions like "Promenade" and "Elvis Presley and America" contain enough mystery to keep unraveling 25 years later. The opener tells of an ambiguous return. And "A Sort of Homecoming" would come to define this band's fascinating internal struggle between sticking to what they know and venturing toward something undiscovered.
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U2 360° Tour 2010
Presented by BlackBerry
July 19 at 7 PM
Don't miss it as U2 brings their dynamic 360° Tour to
New Meadowlands Stadium next summer!
As a member of Meadowlands All Access, you have the opportunity to purchase tickets before the public on sale. Presale begins November 3 at 12 PM and ends November 5 at 5 PM.
Use password: ACCESS
Looking for the VIP experience?
VIP package includes preferred seating, a pre-concert reception with open bar, gift package, and a chance to win a backstage tour!
Click here for information and to buy your VIP tickets
(code: BOOTS)
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Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
according to u2.com:
Q - I used some, but not all, of my four-ticket allocation in the presale for the 2009 North American shows. Will my unique presale code still be valid to use in the upcoming presales for the 2010 shows ?
A - You will be able to use the code to complete your four ticket allocation against future North American shows - but not against any European shows.
so if you still have your code from last tour you should be able to use it now...i guess...it's a bit confusing
Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
according to u2.com:
Q - I used some, but not all, of my four-ticket allocation in the presale for the 2009 North American shows. Will my unique presale code still be valid to use in the upcoming presales for the 2010 shows ?
A - You will be able to use the code to complete your four ticket allocation against future North American shows - but not against any European shows.
so if you still have your code from last tour you should be able to use it now...i guess...it's a bit confusing
Norm got your answer.
as long as youre staying domestic ( seattle ) you should be okay.
You can always contact Fanfire ( now Live Nation ) their customer service should answer your question . I still havent used my discount there, either .
As for that Unforgettable Reissue Box Set, this is a must have !
For the ones who had a notion, a notion deep inside
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES http://www.UNOS.org
Donate Organs and Save a Life
Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
When you login to U@.com, it tell you how many tickets you have left. VIP packages do not count against alloted tickets per fan. In addition, when you login and go to the tour page your password should be on the left hand side in red. I saw the show in Vegas and tomorrow, I plan on getting tickets to Denver.
Denver 94 Red Rocks 95 1 & 2 Denver 98 Seattle 98 1 & 2 Vegas 2000 Denver 03 Vegas 03
Seattle 04 1 & 2 Denver 06 1 & 2 Vegas 06
Honolulu 12/02/06 & 12/09/06
Seattle 12/09/2013
Denver 10/22/2014
EV San Diego 1 & 2 EV Chicago 1 & 2 2008
EV Honolulu 1 & 2 2009
EV Austin 11/09, 11/11 2012
RNDM Boulder 11/18/2012
thanks for everyone's help! My presale code disappeared for a few days and that is why I was so confused. I am logged into the U2 site, see my presale code has reappeared (in green) but where does it tell me how many tickets I have left to purchase? I looked on my profile and don't see that info.
Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
When you login to U@.com, it tell you how many tickets you have left. VIP packages do not count against alloted tickets per fan. In addition, when you login and go to the tour page your password should be on the left hand side in red. I saw the show in Vegas and tomorrow, I plan on getting tickets to Denver.
Im a little ticked off that I cant get another pre-sale code for the upcoming tour. Yes I used my code for the 2009 shows and my membership isnt up until March so...WTF!
Im a little ticked off that I cant get another pre-sale code for the upcoming tour. Yes I used my code for the 2009 shows and my membership isnt up until March so...WTF!
Im a little ticked off that I cant get another pre-sale code for the upcoming tour. Yes I used my code for the 2009 shows and my membership isnt up until March so...WTF!
I bought 4 for Giants stadium
Yeah but I got christmas coming up!..I wish tickets didnt have to go onsale in November for a July show!
Im a little ticked off that I cant get another pre-sale code for the upcoming tour. Yes I used my code for the 2009 shows and my membership isnt up until March so...WTF!
I bought 4 for Giants stadium
Yeah but I got christmas coming up!..I wish tickets didnt have to go onsale in November for a July show!
thanks for everyone's help! My presale code disappeared for a few days and that is why I was so confused. I am logged into the U2 site, see my presale code has reappeared (in green) but where does it tell me how many tickets I have left to purchase? I looked on my profile and don't see that info.
Hey Bathgate, maybe you can answer this question for me. Since U2 is going to play Seattle next year, I want to get two tickets for the show on the fan club presale. I already got two tickets to Vancouver on the presale access code, I should be able to get two Seattle tickets as well right? I have been getting different answers from different people about this. What is your take?
When you login to U@.com, it tell you how many tickets you have left. VIP packages do not count against alloted tickets per fan. In addition, when you login and go to the tour page your password should be on the left hand side in red. I saw the show in Vegas and tomorrow, I plan on getting tickets to Denver.
If you only purchased two tickets to Vancouver, you should have two left for Seattle. I got tickets to Denver and had no problems (even thru Ticketmaster). Seems they changed the color of password from red to green in the last week. Good Luck :P
Denver 94 Red Rocks 95 1 & 2 Denver 98 Seattle 98 1 & 2 Vegas 2000 Denver 03 Vegas 03
Seattle 04 1 & 2 Denver 06 1 & 2 Vegas 06
Honolulu 12/02/06 & 12/09/06
Seattle 12/09/2013
Denver 10/22/2014
EV San Diego 1 & 2 EV Chicago 1 & 2 2008
EV Honolulu 1 & 2 2009
EV Austin 11/09, 11/11 2012
RNDM Boulder 11/18/2012
Comments
Enjoy the show Norm.
eV: 8/4/08, 8/5/08, 6/21/11
SG: 10/4/08<-- MET STONE!!!
By NEKESA MUMBI MOODY, AP Music Writer Nekesa Mumbi Moody, Ap Music Writer Fri Oct 23, 10:58 am ET
Even while maintaining its status as one of the few musical acts that can still fill stadiums, U2 is struck by how quickly its world is changing — musically and politically.
Charismatic front man Bono, in a reflective mood as U2 closes the North American leg of its "360" tour, notes the different, more polarized atmosphere in the United States since the band performed its anthem, "City of Blinding Lights," at President Obama's inauguration in January.
"I didn't think it could come to this so quickly, after the joyous occasion of that election," Bono says in an interview on board the band's plane, as they jet to another stop on the tour. "I thought America was looking good. ... Things are getting a little rough now."
Bono says he's been in touch with Obama and is confident the president will deliver on promises made during the campaign, including the singer's favorite issue: funding to fight AIDS in Africa. "The Obama administration is just getting going. (He) has promised to double aid over the next years, because even though (President George W.) Bush tripled it, ... the United States is still about half as what European countries give as a percentage, and I think he knows that's not right."
Meanwhile, Bono the rock star and the rest of U2 are struggling a bit themselves — as incongruous as that might seem for a band that will have performed to millions of people before its tour wraps overseas next year. (U2 ends its North American tour on Wednesday in Vancouver, British Columbia.)
Like other bands in the digital age, U2 is struggling to grab new listeners. Its members admit to frustration at the average album sales for its most recent release and wonder, as bassist Adam Clayton put it, whether the idea of an impassioned rock 'n' roll fan is becoming a thing of the past. (One experiment — U2 is broadcasting one of this weekend's concerts in Los Angeles on YouTube.com.)
"The commercial challenges have to be confronted," Clayton says during an interview backstage at "Saturday Night Live," as awaits the band's performance on the show's season kickoff. "But I think, in a sense, the more interesting challenge is, 'What is rock 'n' roll in this changing world?' Because, to some extent, the concept of the music fan — the concept of the person who buys music and listens to music for the pleasure of music itself — is an outdated idea."
The band's latest CD, "No Line on the Horizon," debuted at the top of the charts when it was released in March and has sold a respectable 1 million, according to Nielsen SoundScan. But the CD, which features more electronic music experimentation from U2, is the group's lowest selling CD in more than a decade. It represents a marked drop from 2004's "How to Dismantle an Atomic Bomb," which has sold 3.2 million copies to date, and 2000's 4.3 million seller, "All That You Can't Leave Behind."
"No Line" is also an album that hasn't had that one signature hit.
U2's last CD had "Vertigo," which wasn't a huge song on the pop charts, but became so ubiquitous thanks to Apple's iPod commercial that it might as well have been a No. 1 smash.
The first single from "No Line" — the driving, upbeat "Get on Your Boots" — didn't have a similar platform and didn't crack Billboard's top 30 singles pop chart. Meanwhile, "I'll Go Crazy If I Don't Go Crazy Tonight" was featured in a Blackberry ad as part of the new partnership between the mobile device and U2 but was not released as a single.
Songs from the new album are clearly resonating with die-hard fans. "Get on Your Boots" drew one of the more frenetic responses from the crowd during a recent concert in Foxborough, Mass., outside of Boston, as did the anthemic show closer, "Moment of Surrender." Yet the album hasn't had the impact for which U2 had hoped.
While noting that signature U2 songs such as "Beautiful Day" and even "One" weren't massive or immediate hits, Bono does acknowledge disappointment that the band didn't quite "pull off the pop songs" with the new work.
"But we weren't really in that mindset," he says, "and we felt that the album was a kind of an almost extinct species, and we should approach it in totality and create a mood and a feeling, and a beginning, middle and an end. And I suppose we've made a work that is a bit challenging for people who have grown up on a diet of pop stars."
Some would argue that the Irish rockers — Bono, Clayton, The Edge and Larry Mullen Jr. — remain pop's biggest act. They are entering their fourth decade of music-making with a string of awards, from Grammys to Billboard to Golden Globes, tens of millions of records sold and a social impact that few musical acts can ever hope to achieve. Still, they find themselves in the same challenging position as most pop groups today, who must seek new ways to connect with music buyers in a declining industry and an increasingly fractious entertainment world.
"Music exists in an environment where people are multitasking, and I think that's a very different environment," says Clayton, who grew up appreciating jazz but realized "it was for people who took life a certain way, but it wasn't part of the modern world for me.
"I worry that the world of rock 'n' roll that I grew up in is destined to end up that way."
U2, of course, is hardly in danger of becoming a band that only gets heard in obscure clubs or on niche radio stations.
Its "360" tour is a massive undertaking that has the band performing in the center of stadiums, hence the "360" title. The production, which includes stages that take days to dismantle, has been one of the top grossing tours in the country since it kicked off in September, despite a price tag that runs upward of $250 (at least 10,000 tickets for $30 have been made available for every show).
And when the band played at Giants Stadium in East Rutherford, N.J., last month, it broke attendance records with a crowd of about 84,500 fans.
"In many ways, U2 has had such an enormous amount of success over the years we're almost proof against that," the band's longtime manager, Paul McGuinness, says, talking about U2 and the music industry's decline. "We're still selling a lot of recorded music, but it's a much smaller part of our business than playing live. This tour, by the time it's finished, we would have played ... to roughly 6 million people."
It is during live shows when U2 feels the most connection with its audience. Despite the stadium shows and the immense stage structure, the band insists that this time, the set up has created perhaps a greater intimacy with fans than the group has enjoyed in the past. They are literally surrounded by fans.
"The staging itself is something we've tried to do for a long, long time. The idea of playing 360 — it's never been done successfully, ... where everybody gets good sound and good visuals, and we managed to achieve that, I think," says Mullen, who, like the rest of his band mates, is affable and thoughtful as he talks about U2 backstage at "SNL."
"The thing about U2 has always been its audience, and in this environment, I think the audience is so important, and the reaction is so important," he says.
On tour, U2 can best gauge fan reaction to the new material. Last month at the cavernous Gillette Stadium near Boston, it was almost as frenzied and passionate as the reaction U2 gets for its classics. A roar came from the crowd as the band opened the show with "Magnificent," and the energy kept building as U2 performed four more new songs, including "Get on Your Boots."
"Judging by the reaction to the album, live, I feel like it has really connected," The Edge says. "There's a lot of records that make great first impressions. There might be one song that gets to be big on the radio, but they're not albums that people ... play a lot.
"This is one that I gather from talking to people. ... Four months later, they're saying, 'I'm really getting into the album now.'"
U2 is still hustling to promote the CD. When it was released in March, the group did "Good Morning America" and an unprecedented five-night appearance on "Late Show With David Letterman." More recently, U2 appeared on "SNL."
"I love to see an outsized band like U2 behaving like they're in the kindergarten and just doing what you do with your first album — taking it to the market, setting up your table, selling your wares, selling it out the street corners, giving out fliers," says an animated Bono, breaking into a wide grin behind his trademark sunglasses. "I think selling out is when you stop believing enough in your music to put yourself out to explain it to people."
U2's Blackberry partnership includes an application that allows users to download the CD and photographs, liner notes and more.
Yet the band is also careful not to be too unwieldy when it comes to attempting new avenues to promote its music.
"We're trying to do everything we can on that front without having to change what we're about artistically: The music stays sacrosanct," The Edge says. "We are much more focused on being the best than being the biggest."
And that means perhaps making the kind of album that doesn't guarantee hits but does guarantee surprises and new ideas, which "No Line" has delivered.
"The biggest danger for a band like U2 is accepting that you've reached a certain age, and, therefore, you can just actually sit back," says Mullen.
"That's not what we signed up to do. We want to make relevant, great music, and Bono has said numerous times, 'One crap album and you're out,'" he adds. "We've avoided it so far."
http://news.yahoo.com/s/ap/20091023/ap_ ... s_music_u2
guess he forgot all about " Pop " .
That it ain't no sin to be glad you're alive
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It all makes sense now, what with 25 years of history behind us, but at the time U2's decision to tap Brian Eno and Daniel Lanois to produce the pivotal follow-up to their breakthrough album War was far from the most obvious course of action. Eno, after all, was a cerebral sounding board and problem solver splitting his time between his own projects and happily throwing a playful spanner into the works of others. Lanois, on the other hand, was far from a known quantity, a few years away from the defining work he would go on to do with such acts as Peter Gabriel, Bob Dylan, and Emmylou Harris. Yet somehow the unlikely combination of this band and these producers worked.
In advance of the 25th anniversary re-release of The Unforgettable Fire, the classic 1984 album Eno and Lanois ultimately made with U2 and the first of their many fruitful collaborations, we tracked down the two busy producers to talk about how they began their now quarter-century relationship with the band.
Pitchfork: Daniel, the story goes that Brian Eno recommended you produce U2 after they first came to him.
Daniel Lanois: Brian and I had been working in Canada in a town called Hamilton. We'd been making ambient records [including On Land and Apollo] for a few years, some very cool records. But I'll be real straight with you. During that ambient music-making chapter, I was pretty isolated. Nothing had really come my way that was illustrious, in terms of invites. I had poured my soul into these ambient works with Eno, and a lot of phone calls were coming in-- David Bowie was calling, Iggy Pop the next day. None of them to me, all to Brian. Brian was pretty much in the fast lane of record making at that point. He was pretty much on the pulse of things in New York City, and then he said that he wasn't producing records anymore. He was finished with it, and was therefore not interested in working with U2.
Brian Eno: I had never worked with that kind of music before, and I was not completely convinced that I would be the right person for it. I thought, well, I can handle the ideas side of it all right, but can I handle the actual traditional production side alright? I knew Dan was very good at that side of things, and very good at working with bands, getting the best out of the players and so on, so I said, "Why not have both of us? We'll sort of overlap in some parts, but we actually sort of serve different functions as well." That was how that working relationship started.
DL: I said to him that I would be interested in working for them because I was looking to sink my teeth into rock'n'roll. He said, well, perhaps an introduction can be made, because Brian felt that I had something to offer. Beyond my appetite to do good work, he felt that I had something to offer because I had a burning desire. So he accepted a meeting, and we went to Ireland with the idea of getting me on the U2 record.
BE: We had never actually produced anything of anybody else's before, though we had worked together quite a lot. We knew each other well, and we had some respect for each other's different talents. That seemed to me like the ideal situation. We could just do the bits we were sort of comfortable doing.
DL: They were oblivious to my existence, so in the end, he agreed to co-produce it with me.
Pitchfork: U2, particularly at that time, was totally at odds with the kind of music you were making. Why do you think they looked to you as producers?
BE: I think they were very keen on the Talking Heads stuff that I had done. I think they also, dare I say it, liked some of my music! [laughs] The main thing, actually, was that they wanted to go somewhere else.
DL: They wanted to do something different. U2 has been listening to New Gold Dream by Simple Minds as a point of reference, a record they liked. The panorama of the ambiance appealed to them. I think that Bono wanted to get to a place that was wider than stripped-down rock'n'roll, so we allowed ourselves the flexibility to embrace the colors that Eno and I had been developing.
BE: I had this phone call with Bono-- he is the greatest salesman of all time, you have to bear that in mind-- where I said to him, look, what I'm worried about is that I might change things rather unrecognizably. People might not particularly like the new you that comes out of this. And he said, well, actually we want to be changed unrecognizably. We don't want to just keep repeating what we've done before. He said if we wanted to, we're on track for being a band that just does the kind of records we've done so far. He said we want to do something different from that. He said we wanted to be more-- I forget the word he used, but "cutting edge" was the meaning. I thought, OK, as long as you appreciate that there's a risk involved in that.
After that conversation was when I came up with a plan. I thought, well, I knew that Danny was a great producer, and even if nothing about the working relationship between me and the band worked out, they would still have a really good producer in him. In fact, it worked out very well.
DL: The entire record has soft edges, but I suppose it can be viewed as...when you see great photographic images printed from film, the raw edges surrounding the portrait are part of the beauty. The medium presents itself, and therefore the restrictions become part of the dedicated work. I still love that about restrictions. I think we did the best we could with what we had to work with. We had very few tools, and there were no outside influences. We were huddled up as a team, and we got what we got because of what we brought to the table. Part of me likes a more ragged, jagged guitar sound or performance, but our work might not have been as innovative had we followed in the footsteps of what came before. We were very proud of what we had hit on.
Pitchfork: Daniel, you're more of a traditional musician than Brian is, and you obviously bring something different than he does to the albums you work on.
DL: We are similar in the sense that we love soul music, using "soul" as a broad banner for anything that feels right, that has a sense of purpose to it. That's ultimately what we love in records, as a human race. We want to be lifted. But Eno's an incredible catalyst, and has a way of quickly presenting another way of looking at things. That's really his genius, and he's still the best at it. Of course, he might spontaneously come up with a fresh way to look at things, but when the shop door closes, Lanois is still sweeping up!
Posted by Joshua Klein on October 23, 2009 at 5:40 p.m.
(c) Pitchfork, 2009
interesting that the band looked to the simple minds for inspiration.
ive seen them multiple times in mid 80s.
they sounded really really good at radio city music hall on a few occasions.
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
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where do we go to exactly to watch on youtube?
youtube wi have a link on the main page i assume ?
or do we need to go thru u2.com ?
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
http://www.UNOS.org
Donate Organs and Save a Life
http://www.youtube.com/U2
Peace
*MUSIC IS the expression of EMOTION.....and that POLITICS IS merely the DECOY of PERCEPTION*
.....song_Music & Politics....Michael Franti
*The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite INSANE*....Nikola Tesla(a man who shaped our world of electricity with his futuristic inventions)
11:30 EST. You can watch after the Yankees lose!
http://www.youtube.com/U2
Vegas 93, Vegas 98, Vegas 00 (10 year show), Vegas 03, Vegas 06
VIC 07
EV LA1 08
Seattle1 09, Seattle2 09, Salt Lake 09, LA4 09
Columbus 10
EV LA 11
Vancouver 11
Missoula 12
Portland 13, Spokane 13
St. Paul 14, Denver 14
Thanks I got confused on the time difference.
Peace
*MUSIC IS the expression of EMOTION.....and that POLITICS IS merely the DECOY of PERCEPTION*
.....song_Music & Politics....Michael Franti
*The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite INSANE*....Nikola Tesla(a man who shaped our world of electricity with his futuristic inventions)
http://latimesblogs.latimes.com/music_b ... -bowl.html
http://blogs.laweekly.com/westcoastsoun ... ed-review/
http://www.youtube.com/watch?v=QWFeWffH-s8
and i caught the end of black eyed peas...i'm not much of a fan but their version of sweet child o mine with slash was cool!!
http://www.youtube.com/watch?v=fiW66xPZ4Vg
yankees, lose ?
not exactly.
you must mean the fallen angels . :roll:
Glad to read you had a good show norm.
definitely jealous of Black Eyed Peas and Slash doing Sweet Child- f'n cool !
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
http://www.UNOS.org
Donate Organs and Save a Life
November 02, 2009
By Ryan Dombal
Best New Reissue
Rating: 9.3
The first song on 1984's The Unforgettable Fire is called "A Sort of Homecoming" -- not just "A Homecoming." And that shade of uncertainty -- that "sort of" -- is key. Compared to U2's first three albums -- and almost everything that has come afterward -- The Unforgettable Fire is marked by a sketchy in-between-ness that works as a gracious foil to the the band's natural audacity. It's sort of stadium rock, sort of experimental, sort of spiritual, sort of subdued, sort of uncharacteristic, sort of brilliant, sort of a classic.
After their first major breakthrough with 1983's War and its anthems "Sunday Bloody Sunday" and "New Year's Day," U2 could have easily continued to perfect the fist-pumping, flag-waving arena battle cry. Instead, they sought out producer Brian Eno, a bold choice for a band looking to parlay semi-success into something Springsteen-ian. While Eno is now seen as a go-to stadium savior (see: Coldplay's Viva La Vida), back then he was still the guy who coaxed magnificent weirdness out of David Bowie and Talking Heads, to say nothing of his own work, which ranged from prog-rock insanity to elegant wallpaper. The U2/Eno braintrust has since become one of the most out-and-out successful in rock history, but The Unforgettable Fire finds the pair -- along with frequent conspirator Daniel Lanois -- feeling each other out and testing limits. The album ebbs and flows along the spectrum between the spiky, post-punk U2 of old and the impressionistic, Eno-assisted U2 they were yearning to become.
Not only were U2 and Eno an odd match musically, but their personalities clashed in a remarkable way as well. The album's interpersonal drama plays out on a half-hour making-of documentary originally released in 1984 and included in this reissue along with the remastered album and a disc of requisite B-sides and live cuts. While U2 were caricatured as honest and hardworking Irish boys who never met a stone-faced portrait they didn't admire, and Eno was the aloof London aesthete who openly mocked rock convention, you can watch the two subtly influencing each other throughout the intimate documentary. For example, after Bono is seen roiling himself into a frenzy while improvising over "Pride (In the Name of Love)" -- screaming, sweating, and flailing like a wounded lunatic in the recording booth -- Eno is nearly left speechless before he utters a totally sincere understatement for the ages: "I must say, this track is really bringing something out in your singing." The producer's unflappable cool often leads to a fatherly kindness that goes lengths to explain his lasting appeal.
The documentary, much like the album itself, humanizes U2 while fueling the idea that this band's head was completely up its own ass in the '80s. "I believe the songs are already written, and I think the less you get in the way of them the better," says Bono at one point in the film, explaining his muse, "The minute you take up that pen ... you start interfering with the song -- I don't know if that sounds too spiritual." And while I'm not sure if the idea that God is writing your songs is truly "spiritual," it does sound quite presumptuous. But that's also the beauty of this band; whether in ironic or world-saving mode, their ambition is boundless. This can lead to garish stadium extravaganzas, but it can also birth something like "Bad," The Unforgettable Fire's centerpiece and one of the grandest arena-rock songs ever written.
There's no half-assing "Bad." After years of radio repeats, the track seems commonplace, which is a testament to just how much U2 have burrowed their way into the world's collective musical memory. Because this six-minute monoculture moment chronicling the torment of heroin addiction has no discernible chorus. Its hook is a burning build passed down from the Velvet Underground's "Heroin." But whereas that song ends with Lou Reed smacked up and despondent -- "And I guess I just don't know," he mutters -- "Bad" is the sound of revelation, recovery. "I'm wide awake!" belts Bono, triumphant in the face of isolation, desolation, and pretty much every other -ation there is. Once again, U2 put a patently cool underground icon -- this time it's Reed -- through their mega-band filter and end up with a song that sounds just as strong in record-collector headphones as it does to 100,000 fans physically forced to clap along by some primordial urge.
The Reed tribute is cemented on the live version of "Bad," filmed at Live Aid and included in this package, where Bono introduces the song with a little "Satellite of Love" and ends it riffing on "Walk on the Wild Side." In between, the possessed singer jumps down from his high perch onstage to slow dance with a fan, effectively bringing some punk-inspired spontaneity and compassion to an event that typified notions of classic rock heroism. The performance single-handily upped U2's stock in the global rock realm, and it's easy to see why.
So The Unforgettable Fire isn't U2's biggest commercial success (that would be The Joshua Tree) or its most rewarding artistic coup (Achtung Baby), but without it those records would not exist. It's a transitional album of the highest magnitude. The hits-- "Pride," "Bad" -- still hit, and even its sometimes-derided abstractions like "Promenade" and "Elvis Presley and America" contain enough mystery to keep unraveling 25 years later. The opener tells of an ambiguous return. And "A Sort of Homecoming" would come to define this band's fascinating internal struggle between sticking to what they know and venturing toward something undiscovered.
© Pitchfork Media Inc., 2009.
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
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Presented by BlackBerry
July 19 at 7 PM
Don't miss it as U2 brings their dynamic 360° Tour to
New Meadowlands Stadium next summer!
As a member of Meadowlands All Access, you have the opportunity to purchase tickets before the public on sale. Presale begins November 3 at 12 PM and ends November 5 at 5 PM.
Use password: ACCESS
Ticket Prices: $253, $98, $58, $33
(Ticket price includes $3 facility fee)
Looking for the VIP experience?
VIP package includes preferred seating, a pre-concert reception with open bar, gift package, and a chance to win a backstage tour!
Click here for information and to buy your VIP tickets
(code: BOOTS)
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
http://www.UNOS.org
Donate Organs and Save a Life
according to u2.com:
Q - I used some, but not all, of my four-ticket allocation in the presale for the 2009 North American shows. Will my unique presale code still be valid to use in the upcoming presales for the 2010 shows ?
A - You will be able to use the code to complete your four ticket allocation against future North American shows - but not against any European shows.
so if you still have your code from last tour you should be able to use it now...i guess...it's a bit confusing
as long as youre staying domestic ( seattle ) you should be okay.
You can always contact Fanfire ( now Live Nation ) their customer service should answer your question . I still havent used my discount there, either .
As for that Unforgettable Reissue Box Set, this is a must have !
That it ain't no sin to be glad you're alive
ORGAN DONATION SAVES LIVES
http://www.UNOS.org
Donate Organs and Save a Life
Seattle 04 1 & 2 Denver 06 1 & 2 Vegas 06
Honolulu 12/02/06 & 12/09/06
Seattle 12/09/2013
Denver 10/22/2014
EV San Diego 1 & 2 EV Chicago 1 & 2 2008
EV Honolulu 1 & 2 2009
EV Austin 11/09, 11/11 2012
RNDM Boulder 11/18/2012
9/24/96 MD. 9/28/96 Randalls. 8/28-29/98 Camden. 9/8/98 NJ. 9/18/98 MD. 9/1-2/00 Camden. 9/4/00 MD. 4/28/03 Philly. 7/5-6/03 Camden. 9/30/05 AC.
10/3/05 Philly. 5/27-28/06 Camden. 6/23/06 Pitt. 6/19-20/08 Camden. 6/24/08 MSG. 8/7/08 EV Newark, NJ. 6/11-12/09 EV Philly, PA. 10/27-28-30-31/09 Philly, PA., 5/15/10 Hartford,5/17/10 Boston, 5/18/10 Newark, 5/20-21/10 MSG
I bought 4 for Giants stadium
Yeah but I got christmas coming up!..I wish tickets didnt have to go onsale in November for a July show!
9/24/96 MD. 9/28/96 Randalls. 8/28-29/98 Camden. 9/8/98 NJ. 9/18/98 MD. 9/1-2/00 Camden. 9/4/00 MD. 4/28/03 Philly. 7/5-6/03 Camden. 9/30/05 AC.
10/3/05 Philly. 5/27-28/06 Camden. 6/23/06 Pitt. 6/19-20/08 Camden. 6/24/08 MSG. 8/7/08 EV Newark, NJ. 6/11-12/09 EV Philly, PA. 10/27-28-30-31/09 Philly, PA., 5/15/10 Hartford,5/17/10 Boston, 5/18/10 Newark, 5/20-21/10 MSG
Seattle 04 1 & 2 Denver 06 1 & 2 Vegas 06
Honolulu 12/02/06 & 12/09/06
Seattle 12/09/2013
Denver 10/22/2014
EV San Diego 1 & 2 EV Chicago 1 & 2 2008
EV Honolulu 1 & 2 2009
EV Austin 11/09, 11/11 2012
RNDM Boulder 11/18/2012
I just wish they would put the Seattle tickets on sale so I can just stop worrying about this!