Nine months after U2 culminated its spectacular 40-date residency at the iconic Sphere, the legendary Irish rock band returns to the unique, dome-shaped venue located just off the famed Las Vegas Strip.
Well, sort of.
“V-U2” is a groundbreaking concert film that chronicles the band’s high-tech “U2:UV” performance, where iconic frontman Bono, innovative guitarist the Edge, solid bassist Adam Clayton, and drummer Bram van den Berg, who stepped in for Larry Mullen Jr., revisited U2’s influential 1991 album “Achtung Baby.” This innovative showcase marked the debut of the venue, a $2-billion architectural marvel equipped with the world’s highest-resolution LED screen. U2’s stay at Sphere not only thrilled audiences but also proved immensely lucrative, generating nearly $250 million in ticket sales, as reported by the industry journal Pollstar. They performed amidst fierce competition, with crowd-pleasers like Taylor Swift’s Eras tour and Beyoncé’s Renaissance tour taking center stage.
It’s no surprise that U2 chose to transition its mesmerizing show to the silver screen, following in the footsteps of both Swift and Beyoncé. What sets this concert film apart, however, is that it can only be viewed in the very venue where the band originally performed — at Sphere, where “V-U2” screens on the extensive wraparound display on nights when the Eagles have no scheduled performances. (Prior to U2 and the Eagles, the venue also hosted performances by Phish and Dead & Company.) Directed by the Edge and his wife, Morleigh Steinberg, “V-U2” premiered in September and has recently been extended through the end of February; tickets for this exclusive experience are priced starting at around $100 each.
Reflecting on “U2:UV,” the Edge, now 63, shares his thoughts on the unique nature of Sphere productions, stating, “It’s its own distinct kind of art form — a new art form, I think, not just for music but for narrative film, for documentary, for all kinds of presentations. It’s the ability to translocate the audience to a new place, be it real or imaginary.” Within U2’s performance, audience members were transported through stunning vignettes featuring both a barren pre-Strip desert landscape and a vibrant menagerie of endangered wildlife species. “You can’t divorce the scale of the imagery from what you might want to do with it,” adds the Edge. He draws inspiration from the artistic wrapping of Paris’ Arc de Triomphe by Christo and Jean-Claude in 2021, as well as his fondness for Culver City’s Museum of Jurassic Technology, which he describes as one of his favorite venues in Los Angeles.
“All those tiny miniatures that fit on the head of a needle — I think it’s so beautiful,” he explains during a Zoom call from his Malibu home. “Again, it’s the scale that makes it unique.”
I get the desire to preserve an ambitious live show for posterity. And I get the impulse to sell tickets to folks who didn’t pay to catch the show in person. What was the creative opportunity you saw in making this movie?
There was a significant amount of risk involved in being the first band [to play Sphere]. It’s all untried and untested technology, and the building was only half-constructed when we first visited. So when opening night arrived, we stepped onto the stage with no certainty about whether everything would function properly. Imagine our relief when, following the initial shows, we realized not only that our ideas had taken flight, but that the performance had also resonated with the audience.
Then we pivoted rather quickly to the thought of filming it, exploring what that might entail. As we considered our options, we acknowledged that the show was so uniquely tailored to this venue that adapting it for a smaller screen wouldn’t capture its essence. That’s when we turned our attention to the potential of capturing it for the screen it was originally presented on — an immersive experience where we could authentically represent our live performance, allowing audiences to feel as if they were witnessing it live. This was the thrilling proposition.
U2 performs at Sphere in Las Vegas in September 2023.
(Kevin Mazur / Getty Images for Live Nation)
The goal was to get an audience member to buy the illusion that U2 is onstage.
Yes, indeed. The integration of stunning visuals, top-notch audio, and the unique haptic feedback of the seats were all carefully designed to flip the conventional concept of suspension of disbelief, urging viewers to remind themselves that what they were experiencing wasn’t real, rather than forcing them to pretend it was.
There’s something particularly U2 about a concert film that you can only see in the place where the concert happened.
I’d be fascinated to hear what [media theorist] Marshall McLuhan would think about this. The idea of “even better than the real thing” has been riffed on since the beginning of our touring for “Achtung Baby.” That message has certainly been well understood by us. Experiencing U2 live was genuinely stunning, giving me goosebumps. I must say, we’re not half-bad.
The first few songs are shot from a steady position in the audience. Then the camera starts moving around.
You want to build anticipation before changing the perspective. Initially, viewers should engage with the show as it was imaginatively designed. It’s only after a few songs that we shift the camera dynamic, especially after “One,” our fifth song in the set — that was an ideal moment to begin deconstructing the show a bit.
A good moment in an emotional sense?
For us, the emotional connection is the primary driving factor. Director Mark Pellington suggested capturing a close-up of Bono during “One,” which proved to be an excellent decision. This moment elevated the film beyond the premise of being a live concert experience, effectively shattering the fourth wall.
That close-up of Bono is startling to behold.
I haven’t actually measured it, but it must be the size of a building.
Did Bono get to approve such a revealing shot of his own face?
Absolutely[[laughs]. His guidance was clear: “It can’t be just spectacle — you’ve got to capture the humanity of what’s happening.” Interestingly, mistakes were welcomed; even when Bono stumbled through part of his introductions, he insisted that it should stay. This film is not overly polished.
U2’s concert movie is scheduled to play at Sphere through the end of February.
(Sphere Entertainment)
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.
That rawness stems from practical limitations. With contemporary post-production, altering standard film formats can be effortless. However, since this project involves such an enormous amount of data, executing any elaborate corrections would take extensive time and considerable computer processing power. Future projects may achieve this, but for us, we focused on making straightforward cuts to showcase the most captivating moments of the show.
Does this movie pose a threat to live music in any way? You think about this or you think about ABBA’s hologram show in London — both enable bands to offer fans a concert-like experience without having to be there in person.
I don’t view this as a threat — just like any concert film, it provides an additional option for audiences. The ABBA experience was enjoyable, especially considering that the current generation hasn’t had the chance to see them perform live for decades. However, I truly believe that the essence of live concerts remains unchanged, with these films merely adding to the array of available experiences.
How did the Sphere experience shape U2’s live ambitions going forward?
While I wouldn’t rule out the possibility of returning to Sphere in the future, we’re eager to get back to our usual concert schedule. Our next plan involves creating a new record, as this project was primarily a celebration of “Achtung Baby.” We’re excited to work on new material for what will eventually become a new U2 album, followed by another tour. Despite enjoying the predictable sound quality every night, there’s an incredible momentum to being on the road and connecting with local fans, as opposed to relying on them to come to us — it’s a different experience. We genuinely miss it.
What inspired The Edge and U2 to create the concert film “V-U2” after their residency at Sphere?
**Interview with The Edge on “V-U2” — A Unique Concert Film Experience at Sphere**
**Editor**: The Edge, thank you for joining us. Nine months after U2 wrapped its incredible residency at Sphere, you’re back with “V-U2.” What motivated you to turn your live performance into a concert film?
**The Edge**: Great to be here! The decision to film “V-U2” came after realizing that we were treading new ground with our live performance at Sphere. We knew that the venue itself was an innovative marvel, and the technology was untested when we first started. Once we recognized that our vision resonated with the audience, the idea of preserving that performance became very appealing. But we didn’t want to just create any concert film; we wanted to capture it authentically for the same venue where it was originally experienced.
**Editor**: You mentioned the unique nature of the Sphere in creating an immersive experience. How did that influence the filming process?
**The Edge**: Absolutely. We knew that adapting it for traditional screens would lose the essence of what we were trying to create. The Sphere’s massive LED screen and the haptic feedback from the seats enrich the audience’s experience in ways that can’t be replicated elsewhere. Our goal was to maintain that immersion, making viewers feel as if they were actually witnessing the performance live, even on screen.
**Editor**: Speaking of immersion, the film captures the audience experience very well. Can you elaborate on the decision to shift camera perspectives during the performance?
**The Edge**: That was crucial. We wanted viewers to first engage with the setup we designed before introducing dynamic camera movements. It’s a storytelling technique to build anticipation—especially after our rendition of “One.” Capturing that emotional connection was key for us. Mark Pellington suggested some powerful close-ups of Bono, which truly bridge the concert experience with film. It’s about breaking that fourth wall and pulling the audience into our world.
**Editor**: Was there a specific moment in the film you believe particularly stands out?
**The Edge**: Definitely. The close-up of Bono during “One” is a standout moment because it captures the raw emotion of the performance. It wasn’t polished; it felt very real and human, which was vital. Bono himself insisted we keep the imperfections—it adds to the authenticity of the experience.
**Editor**: Some may wonder if a concert film can maintain the polish that a venue like Sphere embodies, but you suggest there’s a rawness to it.
**The Edge**: That’s exactly right. While Sphere is a high-tech venue, our film embraces that rawness. It’s about capturing the real moments—the connection with the audience, the spontaneity of live performance. This film isn’t just spectacle; it’s genuine. It’s what happens when we come together in that unique space, and we wanted to honor that experience in every frame.
**Editor**: “V-U2” has extended run time through February. How do you feel about this exclusive opportunity for audiences?
**The Edge**: It’s fantastic! We’re thrilled that more fans can experience it. The immersive quality of Sphere lends itself beautifully to this film, and we can’t wait for more people to witness what we feel is a groundbreaking concert experience.
**Editor**: Thank you, The Edge. We’re excited for fans to experience “V-U2” in such a unique way.
**The Edge**: Thank you for having me! It’s been a pleasure.
