BONO: STORIES OF SURRENDER interview

BONO: SONGS OF SURRENDER interview

BONO: SONGS OF SURRENDER interview

Bono and Zane Lowe sitting down for a chat is always going to be an event, and their recent conversation about U2’s SONGS OF SURRENDER did not disappoint. Far from a mere promotional plug, the interview delved deep into the very essence of artistic legacy, vulnerability, and the ongoing dialogue between an artist and their work. What emerged was an insightful look at why a band like U2, already etched into the annals of rock history, would choose to revisit, reimagine, and even “surrender” their most iconic songs.

One of the most striking takeaways from the interview is Bono’s almost disarming honesty about the motivations behind SONGS OF SURRENDER. This isn’t just about acoustifying old hits; it’s a profound act of re-examination. Bono speaks about feeling that some of the original recordings were “underwritten” or that the songs themselves had grown and evolved beyond their initial sonic frames. This humility, from a frontman of one of the biggest bands in the world, is refreshing. It speaks to a genuine artistic curiosity that refuses to rest on past laurels.

Lowe, with his characteristic ability to draw out profound observations, guided Bono through a conversation that explored the idea of “surrender” not as defeat, but as a form of liberation. For U2, this meant stripping back the bombast and the stadium-filling production to reveal the raw, often intimate, core of the songs. Bono eloquently articulated how this process allowed the lyrics and melodies to breathe in new ways, sometimes uncovering meanings that had been obscured by the sheer force of their original arrangements. It’s a testament to the enduring power of good songwriting that these tracks can hold up, and even flourish, in such a dramatically different context.

The conversation also touched upon the inherent challenge of revisiting cherished material. Fans have deep emotional connections to the original versions, and any alteration can feel like a transgression. However, Bono made a compelling case for the artist’s right, and perhaps even responsibility, to engage with their own work over time. He spoke about how his voice has changed, how his understanding of the world has deepened, and how these shifts inevitably impact how he connects with the songs he wrote decades ago. SONGS OF SURRENDER isn’t an attempt to erase the past, but rather to acknowledge the present and allow the songs to mature alongside their creators.

Beyond the musical aspects, the interview offered fascinating glimpses into Bono’s philosophy on creativity, fame, and the relentless pursuit of relevance. He discussed the collaborative nature of U2, the constant push and pull within the band that has fueled their longevity, and the ongoing search for new ways to connect with an audience. There’s a tangible sense of an artist who is still learning, still experimenting, and still deeply passionate about the power of music to move and inspire.

In a world saturated with nostalgia acts and easy cash-ins, SONGS OF SURRENDER, as illuminated by this insightful interview, feels different. It’s an act of artistic courage, a testament to the enduring power of songs, and a profound statement about the ongoing journey of an artist. For fans and casual listeners alike, it’s a compelling invitation to rediscover familiar melodies through a fresh, vulnerable, and deeply human lens.

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Ronan stars in TALKING HEADS music video

Ronan stars in TALKING HEADS music video

Ronan stars in Talking Heads music video

Fifty years after Talking Heads first took the stage at CBGB, opening for the Ramones in 1975, the seminal band has chosen to mark this milestone with something remarkable: the first-ever music video for “PSYCHO KILLER,” their 1977 classic that helped define an era. What makes this celebration particularly striking is the collaboration at its heartβ€”acclaimed filmmaker Mike Mills directing four-time Oscar nominee Saoirse Ronan in a performance that transforms our understanding of the song itself.

Ronan, fresh off her powerhouse performances in FOE and THE OUTRUN, brings an extraordinary range to what could have been a straightforward concept. Playing an office worker navigating her daily routine, she delivers a masterclass in physical storytelling, dancing, squirming, shuddering, and screaming through the mundane reality of modern existence. Mills captures her moving through the full spectrum of human emotion, including those feelings that can only be expressed through what he might call “a weird little dance.”

The video operates in cyclesβ€”sun rises, Ronan dons a new outfit, wears a new emotion on her face, copes with coworkers and boyfriends, commits to going through the motions until moonrise resets everything for another day. It’s Mills’s signature exploration of repetitive mundanity, the same keen eye that made BEGINNERS, 20TH CENTURY WOMEN, and C’MON C’MON such resonant examinations of how we actually live our lives.

For Ronan, this project represents something deeply personal. “To simply be mentioned in the same breath as Talking Heads is hands down one of the coolest things that has ever happened to me,” she said, “let alone making a video with the singular Mike Mills to accompany one of their most iconic songs. I have grown up listening to their music, so this truly is a childhood/teenage/lifelong dream come true.”

Mills, whose enviable creative career spans graphic design for Supreme and Sonic Youth to music videos for Air and The National, found particular meaning in this collaboration. Talking Heads’ debut album “literally changed what was possible in life for me,” he explained. “To get to play with the subversive, uncategorizable beauty of Talking Heads, and to play with Saoirse who brought so much surprise, power, vulnerability and mischief to the party, it’s one of the best things I ever got to be a part ofβ€”still can’t believe it actually happened.”

What emerges is something that deliberately subverts expectations. Rather than lean into the morbid implications of the song’s title, Mills and Ronan create a sympathetic interpretation that finds the human vulnerability beneath the surface. As the band noted, “This video makes the song better. We LOVE what this video is NOTβ€”it’s not literal, creepy, bloody, physically violent or obvious.”

This video arrives at a moment when Ronan continues to cement her position as one of cinema’s most compelling young performers. Her recent work has shown an actress unafraid to take risks, whether in period dramas or contemporary pieces, and her collaboration with Mills suggests an artist eager to explore new creative territories. The pairing feels naturalβ€”both Mills and Ronan share an ability to find profound meaning in seemingly ordinary moments, to locate the extraordinary within the everyday.

The timing coincides with Talking Heads announcing a Super Deluxe Edition reissue of their second album, More Songs About Buildings and Food, set for release on July 25, suggesting this video is just the beginning of their 50th anniversary celebrations. But it’s hard to imagine they’ll top this particular collaborationβ€”a meeting of minds that transforms a classic song into something entirely new while honoring everything that made it timeless in the first place.

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U2 wins Fellowship of the Ivors Academy Award

U2 wins Fellowship of the Ivors Academy Award

U2 wins Fellowship of the Ivors Academy Award

Ed Sheeran inducted U2 into the Fellowship of The Ivors Academy Friday night in London, making them the first Irish group to receive this prestigious honor. As Bono, Edge, Adam, and Larry delivered moving speeches at the 70th edition of the world’s most celebrated gathering of songwriters, they joined an exclusive circle of just 32 legendary artists including Paul McCartney, Kate Bush, and Bruce Springsteen.

Even as they celebrated this career-defining recognition, the band announced news that sent ripples through the music world: after an eight-year gap, U2 are officially back in the studio creating new material. The extended hiatus came as drummer Larry Mullen Jr recovered from neck surgery to address years of damage from their legendary live performances, with what he describes as problems with his “elbows, knees and neck” that sidelined new recording projects save for 2023’s “Atomic City.”

“It was difficult being away because of injury,” Mullen reflected backstage, “so I’m thrilled to be back in a creative environment, even if I’m not 100% there and I’ve got some bits falling off.” His return carries particular emotional weight: “When I was away from the band, I missed it, but I didn’t realise how much I missed it.”

The past decade has seen U2 in an extended period of reflection, mining their catalog while searching for new creative directions. Their 2017 stadium tour celebrating THE JOSHUA TREE served as both nostalgic journey and artistic statement. The pandemic brought different introspection as Bono wrote his memoir “Surrender,” leading the band toward their mostly acoustic SONGS OF SURRENDER reimagining project. Last year’s Las Vegas shows recreated their 1990s Berlin reinvention around ACHTUNG BABY, followed by archival material from HOW TO DISMANTLE AN ATOMIC BOMB sessions.

For Bono, this sustained look backward served a crucial purpose. “We spent a moment thinking about the past – but you do that because you need to understand where that desire to be heard came from,” he explained. “And then you can get to the present and to the future – because the sound of the future is what we’re most interested in. It doesn’t exist yet. It’s ours to make, and that’s what we have the chance to do.”

The Fellowship recognition arrives as U2’s influence feels both established and ongoing. As they return to the studio with Larry Mullen Jr back behind the kit, they face their perpetual challenge: honoring their past while creating something genuinely new. The sound of the future, as Bono puts it, remains unwritten. But if U2’s history teaches us anything, their most compelling work emerges from this tension between reflection and revolution, between understanding where they’ve been and discovering where they’re going.

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Irish Music