Show Notes
U2 had finished up the wildly successful Elevation Tour with their iconic performance at the Super Bowl and had resoundingly risen to Bono's throw down issued on the eve of the release of All That You Can't Leave Behind; they really had reclaimed the title of biggest band in the world. Bono said, "Wow, if we could bottle this, what mad elixir would it be?" So, the band decamps in a basement in Monte Carlo to start work on a pure rock and roll album. But it doesn't quite go as planned as they end up finishing an entire album with Sex Pistols & Roxy Music producer Chris Thomas that Adam and Larry veto. They then turn to Steve Lillywhite and come away with How to Dismantle An Atomic Bomb. Tune in for our Part 1 on the backstory, making of and discussion of the first half of this front loaded record.
More from Into The Heart of U2 Podcast
Easter Lily marks U2's second surprise EP in the first few months of 2026 after almost 9 years without an album of original material. Where its predecessor, Days of Ash, looked outward commenting on the chaotic times of the present day, Easter Lily turns inward with more thoughtful songs emerging from a more personal and private place exploring the themes of friendship, loss, hope, and ultimately renewal. What does it all add up to? Their most unapologetic collection of songs of devotion since October and guess what? U2's best work in over 20 years. We'll also touch on the just released new single "Street of Dreams" from the still untitled new album due later this year.
Let's be honest, we were all resigned there wasn't going to be a new U2 album until late 2026 or even 2027. But lo and behold, on the morning of February 18th, came the news of a new U2 EP called "Days of Ash" - six new songs Bono said that "couldn't wait; these songs were impatient to be out in the world. They are songs of defiance and dismay, of lamentation." We go deep on the two years since the residency at the Sphere ended up to the surprise release of this EP (and a brief mention of the other surprise EP "Easter Lily" which we'll get to next time) as the band continues to work on the full album coming later this year.
For the 20th Anniversary of "How to Dismantle An Atomic Bomb," U2 remastered the original record and released a bevy of remixes as well as the entire Verigo Live from Chicago show from 2005, but the big ticket item was something they called "How to Re-Assemble An Atomic Bomb" - a Shadow Album - of 10 songs that didn't make HTDAAB. The reaction to this Shadow Album has been resoundly positive - even the haters have been quiet about it. But is that because its been so long since U2 has released something that sounds so fresh and exciting? Or is it because these songs are so unadorned and, not so fussy...that it speaks to what's been missing and so frustrating about U2's output the last decade or so? From the critics to long time fans - and even Oasis' Noel Gallagher chimed in - they're all asking the same question: "Why the hell didn't these songs make it onto HTDAAB?" We take a deep dive into all that and even give our picks for the 12 songs that whould make a definitive HTDAAB.
In our final episode (at least until a new U2 record surfaces), we cover everything from the beginning of the lockdown to the present: Bono's voiceover in the Sing 2 movie; U2's underwhelming single "Your Song Saved My Life"; Bono & Edge’s surprise appearance in a Ukraine subway station turned bomb shelter; Bono's book and book tour. Songs of Surrender; the Disney+ documentary: A Sort of Homecoming with David Letterman; U2 changing managers. The Sphere residency, the latest on Larry's illness, all the U2 projects in the pipeline; all the up to the minute news about the new album and tour & the just released 20th Anniversary "How to Dismantle an Atomic Bomb" Deluxe Edition including the Shadow Album "How to Re-Assemble An Atomic Bomb."
In this special bonus episode, we take a very deep dive into every aspect of U2 at the Sphere. From the deal James Dolan and MSG made to get U2, the ticket kerfuffle, the technological advancements the Sphere allowed, the sparse stage design, the setlist, the visual message of the show, and what this all means for U2 and, for that matter, the future of concert tours going forward. We've seen every tour, why not tune in to see where we think U2 landed this time?