NORTH AMERICA & C A NA DA
VANCOUVER SEATTLE SANTA CLARA LOS ANGELES HOUSTON DALLAS CHICAGO PITTSBURGH MANCHESTER, TN MIAMI TAMPA LOUISVILLE PHILADELPHIA WASHINGTON TORONTO BOSTON E. RUTHERFORD CLEVELAND EUROPE
LONDON BERLIN ROME BARCELONA DUBLIN PARIS AMSTERDAM BRUSSELS
AN INTRODUCTION BY WILLIE WILLIAMS - SHOW DIRECTOR BACK TO THE FUTURE: CREATING THE JOSHUA TREE TOUR, 2017 The idea of U2 performing an ‘album show’ initially came as something of a surprise to me. In my 35-year sojourn with this band they have always been about the future, rarely ever looking backwards; even with the semi-autobiographical Songs of Innocence and the Innocence + Experience tour, they found a way to examine their early years without falling into nostalgia. In this same way, and with the knowledge of Songs of Experience to come, it soon felt entirely logical that this year they might take a moment to hold The Joshua Tree up to the light.
Almost immediately, the goal became to create a show that was in every respect Joshua Tree in spirit and aesthetic, whilst at the same time being wholly based in the 21st century. Anton Corbijn went back to Zabriski Point in Death Valley where he shot the original album cover images, but returned with films that are entirely about America now. We looked at the original Joshua Tree stadium stage and then allowed its bold, simple intention to guide the design of the technological marvel that is sitting in the stadium today. Some of the signature looks remain, of course, but this is a factor of their having accompanied us on the journey ever since. From tour to tour, songs have been reborn to find new meanings and new resonances over and over again. Bullet
“HEARING ALL THESE SONGS PERFORMED TOGETHER FEELS SOMETHING LIKE A FAMILY REUNION.”
the Blue Sky has found itself in Central America, Vietnam, Wall Street, Syria and even once took a Pop-acid trip. Where the Streets Have No Name, the gift that keeps on giving, has celebrated with us, campaigned with us and even held our hand through 9-11. Other songs have only seen the light of day on special occasions and some slipped down the back of the couch years ago. Consequently, hearing all these songs performed together feels something like a family reunion; we all go way back but the conversation is about what we’re doing now. Some songs have had more adventures than others but this is where they all came from. Each of us has our favourites but undeniably they all belong together (and it might be a while before we all get together again).
There are members of the touring team who hadn’t been born the last time some of these songs were performed, and (remarkably) there are about a dozen of us who are still around from the original tour. For all of us though, putting the show and the tour together has felt like working on a brand new project. Everything about the 2017 Joshua Tree seems forward looking and we hope that, whilst feeling like a homecoming, there will still be some surprises for the people who come to see it. Willie Williams - Show Director April 2017
EL PUEBLO
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EL PUEBLO VENCERÁ: THE PEOPLE WILL OVERCOME IN THE SUMMER OF 1986, BONO AND ALI TOOK A VISIT TO CENTRAL AMERICA AT A TIME WHEN THE REGION WAS IN THE MIDST OF POLITICAL UPHEAVAL, REVOLUTION AND VIOLENCE. THE VISIT, TO NICARAGUA AND EL SALVADOR, PROVED INSPIRATIONAL TO SOME OF THE SONGS ON THE JOSHUA TREE. IT WAS LED BY DAVE BATSTONE, NOW AN ETHICS PROFESSOR AT THE UNIVERSITY OF SAN FRANCISCO AND FOUNDER OF THE GLOBAL ANTI-SLAVERY ORGANISATION NOT FOR SALE. HE TALKED TO BRIAN DRAPER AHEAD OF THE JOSHUA TREE TOUR 2017. HOW DID YOU COME TO BE WORKING IN HUMAN RIGHTS IN CENTRAL AMERICA? DB: I’d gone there to work for a charity, living with communities to figure out how they were dealing with poverty. When I returned to the US, I had a call from El Salvador, from someone at a church I was attached to. He said,“Our pastor just got picked up by the death squads. Please do something!” I was 23, and a good-hearted charity worker, that’s all. But I called 30 friends and we showed up at the embassy in San Francisco. Four of us walked in and said we weren’t leaving. It became a huge story; eventually the president of El Salvador phoned and said he’d make sure our pastor was safe. As a result, I started Central American Mission Partners, to help Salvadorians who were under threat. We soon were blacklisted, banned from entering the country, so we set up a front for our human-rights work: economic development (because even dictatorships love an investment). I asked one of my friends (a philosophy major) to be an ‘agronomist’, another to be a ‘nutritionist’, I was the ‘economic development specialist’! And we became good at it! I pretended to be a venture capitalist, and then got really good at investment! HOW DID YOU MAKE THE CONNECTION WITH BONO? I met Bono and Edge two or three years into this. Willie Williams was a friend of mine, and when U2 came to San Francisco for the Conspiracy of Hope Tour in June 1986, I took Willie to a place in the city where refugees from Central America had painted their stories on the walls of an alleyway. Street art. I told Willie the story of what I’d been doing, and he said,“Bono has to see this.” Next day Willie comes back with Bono, Edge and Lou Reed...And we did the same walk. I was just thinking how nice it was to show these guys the art, but half-way through, Bono says,“When are you going to Central America next?”And I’m trying to communicate to him - “It’s not that safe!” I was worried about him. Anyway, I thought, there’s no way this rock star will be going. It’s just a fit of emotional exuberance. Four weeks later, there he is, with Ali, at the airport in Managua.
WERE YOU A U2 FAN? I knew about them, but wasn’t a ‘fan’. There was a funny rockstar moment the first night, when Bono invited us out for a nice meal (we were grass roots, living off gas fumes). At the end, he pulls out his credit card, not realising they don’t take cards, not even a double platinum. Plastic means nothing when inflation is going through the roof. He looked at me, very embarrassed. He got used to carrying cash again on that trip. WHAT DID YOU DO WHILE HE WAS THERE? We spent the first few days in Managua, immersing him in what was going on, visiting communities. We met with the foreign minister and had conversations with leaders of the Sandinista people and the opposition. It was the 7th anniversary of the revolution, so we couldn’t get a hotel room. People had come from all over the world, and we ended up sleeping in a hostel, all in one room, five of us, including Bono and Ali, and a guy on the floor. We were like backpackers, staying in hostels and eating simple meals. It was a magical time. We talked about everything from politics to theology to music to revolutions. AND YOU COULD SENSE THIS WAS FORMATIVE ..? He’d been to Ethiopia the year before, and that had a big impact on him. It was moving him on and connecting his faith. So much of our conversation was around, What does it mean to be a human in a world full of so much suffering? Neither of us were inclined towards party politics in particular, but the politics of the heart, of compassion - that’s what compelled most of our journey. What’s happening in the world? What deeper role can we play? This was his discovery phase. Drop the Debt, the One Campaign, RED - none of that had happened yet. He wanted to immerse himself, and you had to admire that. Bono did his work. HE WAS ALSO MEANT TO BE COMING UP WITH LYRICS, WASN’T HE? The people around him (not necessarily the band) were like,“You’re going where?” They seemed worried that he wasn’t going to produce lyrics. But he wasn’t taking a song and thinking, how do I fit lyrics into this? Bono gets into a space, into a world which he then wants to communicate to his audience. He talks more in terms of “How do I grasp all these emotions and feelings, how do I understand that world for myself - and ... OK, now I’m going to pour it out through the music.” And that really happened in El Salvador, when he was ready to communicate all kinds of impressions that just spilled out. SPILLED INTO BULLET THE BLUE SKY, FOR ONE..? Yes. We went out into the countryside to where we were doing economic development work with peasant communities, poor farmers.We were visiting a village, and suddenly we started hearing all this noise, and we looked across the valley and could see all these bombs being dropped on this village, no more than 3 or 4 kilometres away. Bono was so shocked, it was like, “How could this happen? That’s a village!” He was witnessing human-rights violations at the highest level, a near genocide.
It disturbed him, and rightly so. He was very affected by that, and it became Bullet the Blue Sky. Next day we were driving to a village and there was a dead body by the side of the road. We pulled over, and a note was pinned to the guy’s chest, which said, ‘This is what happens to people who try to bring about revolution.’ We walked over to a group standing nearby and asked why no one was attending to the body. They told us that if they did, they would be identified as his colleague, and they feared for their lives. I think that was a very deep moment for Bono.These images would affect anyone, but particularly at this moment, after he had seen the violence of poverty in Ethiopia, he’s now seeing how poverty is maintained - the violence that keeps people poor when they try to change their lives. The day after, we visited the Mothers of the Disappeared: mothers whose children had been taken in the middle of the night and had never been seen again (much like the situation with our pastor). Ali and Bono were both very much affected by these humble women who were just telling their stories about their children. It provoked this righteous sense, not necessarily of anger, but that “This is not right: I have to do something about it”. WHEN HE RETURNED HOME, BONO ASKED EDGE TO PUT THE BOMBING OF THAT VILLAGE THROUGH HIS AMP. COULD YOU HEAR IT IN THE SONG? I was blown away. This is where Edge is such a magician. As soon as I heard the song, it took me back to being on that hillside in rural El Salvador. He captured the emotions. How do you do that? The feeling of being in a place where you are powerless but you are seeing something that enrages you.The energy in that song captures that. And it shows the depth of relationship, too - that Bono can go to Edge, communicate how he is feeling, and Edge can turn that into chords. Crazy. I went to Ireland six months later to visit Bono and Ali, and Edge, Adam and Larry all told me how Bono’s trip had had a profound affect on him, and how they had paid attention to it. That taught me a lot about U2. If something happens to Bono, it happens to them. And the incredible thing for me was that the art was always evolving. When U2 were filming Rattle and Hum out in the desert in Arizona, I went backstage and they wanted to write another verse for Mothers of the Disappeared in Spanish. It’s an hour or so before they go on, Edge is sitting there with his guitar, Bono’s sitting there, and they’re asking,“What’s the Spanish word for this?” so I’m helping them to write these lyrics... AS SUCH AN EXPERIENCED ACTIVIST, DO YOU THINK SONGS CAN REALLY BE A FORCE FOR GOOD? We need a song book to remind us, what is the world I want to live in, what do I want to commit to? For those of us who lived through that time and have that Joshua Tree soundtrack, it was about our own spiritual journey. It called us to look at ourselves and the world. It wasn’t about Bono’s experience, it was about “our” experience, and I think that’s what makes this enduring. In fact, Bono was always saying to me, “I don’t want to be anyone’s hero. I do what I do because I am inspired, and I want people who listen to my music to feel inspired to do their own thing.” He was always worried about that. So in my opinion, U2 became a spiritual source for a generation of activists.
DO THE SONGS HAVE CURRENCY (IN THEIR BACKPACKS!) TODAY? Whether you call it serendipity, providence or karma, it couldn’t be a more significant moment for U2 to be touring this album. The need for spiritual inspiration and renewal and activation: it could never have been more important. We need positive energy and alternatives right now. I see this concert tour as being a reminder that there is another world, a higher vision. AND YOUR OWN METHODS OF ENGAGEMENT HAVE EVOLVED, HAVEN’T THEY? I’ve never been more inspired by the work we are doing! The organisation I run, Not for Sale, started off as ‘charity’ work, but I realised: in Silicon Valley as a venture capitalist, I’d get the best capital, talent and technology for an enterprise, yet when it came to causes of my heart, social or environmental, I would look for donations, volunteers and second-hand computers instead. I thought, there’s something wrong with this! What if I brought to the world of social change what I learned in the world of business and technology? So I started looking for innovations and solutions and it’s been extraordinary. The United Nations is naming me Global Leader of the Year - not because I’m doing great work, but because of the model. WHAT WAS IT, FOR YOU ABOUT THAT TIME WITH BONO WHICH STANDS OUT? I haven’t thought for a while about that journey, but as I do now, it was the humility and simplicity. Bono said he didn’t want to meet presidents, he just wanted to “walk and meet the people and see the work you are doing.”That gave him some of the space to come up with the genius that became Joshua Tree. But it came from a place of humility and simplicity, not from a sense of urgency or agenda. And I think that is extraordinary - right?
IN THECOMES HOW A STI
BULLET THE BLUE SKY by Andrew Mueller WHEN a protest song still sounds relevant thirty years after it was written, its composers are due a measure of credit – but the human condition must wear a burden of blame.“Bullet The Blue Sky” was initially a response to a war now long over: the squalid struggle for Central America in the 1980s, wherein the United States and the Soviet Union armed thuggish regional proxies in a bid to demonstrate the glories of their rival ideologies to any locals lucky enough to survive the ensuing mayhem. In 1986, Bono had visited Nicaragua and El Salvador, and gotten close enough to what was going on to hear bullets buzz over his head, and feel bombardments shake the ground beneath his feet. Upon his return to Dublin, Bono asked Edge to find a way to conduct that chaos and clamour through his amplifier. He had also been struck by a church mural depicting then-US president Ronald Reagan as the Pharaoh of Exodus; the angel-wrestling Israelite patriarch Jacob would earn a cameo in the lyrics.
WLIN’ WIND INGIN’ RAIN That “Bullet The Blue Sky” has since transcended its original context sufficiently to serve as a cornerstone of U2’s live show over three decades, despite the group’s restless reinventions, surely counts as an artistic triumph – but it also articulates a political tragedy. Underpinning “Bullet The Blue Sky” is a reality as brutal as it is eternal: that the personages and/or entities responsible for immense decisions are rarely personally affected by the grimmer repercussions of those calls, often only vaguely aware of them, frequently barely interested.The indifferent potentate of “Bullet The Blue Sky” is identifiably of our place and our time, the ruddy-faced huckster counting out the hundreds, but the biblical language of the lyric is nevertheless appropriate: people have been making the same complaints about the caprices of less affable overlords, conjuring miracles and dispatching plagues, at least as far back as the Psalms of David. U2 played “Bullet The Blue Sky” live for the first time on April 2nd, 1987, at Arizona State University – opening night of what would sprawl into the epic “The Joshua Tree” tour.There had been a point at which “The Joshua Tree” was going to be entitled “The Two Americas”, which would have been an unnecessarily obvious
summation of the dichotomy the album explored, between the generosity and idealism of the United States which bewitched the band (and many others), and the paranoia and cynicism which bewildered them (and ditto).This first live “Bullet The Blue Sky” was introduced with an earlier expression of that same confusion: Jimi Hendrix’s Woodstock version of “The Star-Spangled Banner”, all at once a sincere celebration and a wilful desecration of his nation’s anthem, originally conceived as a protest against the war in Vietnam. The villages of Central America were not the first that the United States had destroyed in order to save. By the “Lovetown” tour that followed the release of “Rattle & Hum”,“Bullet The Blue Sky” was occasionally promoted to open the set – an act of almost confrontational seriousness, further loaded by the Amnesty International logo hanging behind the band.This was U2 at the apotheosis of what Adam Clayton would later call their “Really serious guys from war-torn Ireland who’ve got a thing or two to tell you” phase: on some nights, excerpts from “Whole Lotta Love” would be dropped into the track, as if in acknowledgement that “Bullet The Blue Sky”, with its Old Testament fire and heavy metal brimstone, was always fundamentally an attempt to imagine Led Zeppelin fronted by Bob Dylan (other
WE SEE THEM BU SEE THE FLAMES, HI
URNIN’ CROSSES IGHER AND HIGHER
I CANAND SEE THOSE F I CAN SEE THOS
FIGHTER PLANES SE FIGHTER PLANES songs which have been excerpted during performances of “Bullet The Blue Sky” include – but are by no means limited to – The Beatles’“Happiness Is A Warm Gun”, Queen’s “We Will Rock You”, David Bowie’s “Young Americans”, Lynn Anderson’s “Rose Garden” and the theme from “Neighbours”.) The “Zoo TV” tour of the early 90s was intermittently preoccupied by another war – the one which dismembered Yugoslavia, and subsequently almost destroyed Bosnia-Herzegovina.“Bullet The Blue Sky” focused its trademark stage-prop spotlight at an oblique angle to the nationalist spectre rampaging in the Balkans.As U2 played a malevolently funky take on “Bullet The Blue Sky”, the huge vidi-walls that comprised the “Zoo TV” set filled with crucifixes of flame that morphed eventually into swastikas, linking the most potent symbols of the racist manias still at large in America and Europe.The smaller screens closer to the stage flashed what could have been the song’s original mood-board: “Gun”,“Uzi”,“Noir”,“War”,“Soul”,“Fatale”,“Ego”. “Bullet The Blue Sky” and “PopMart” seemed an incongruous fit, akin to wearing combat fatigues to a disco – but for this iteration of “Bullet The Blue Sky”, Bono did exactly that, setting the ensemble off with a starsand-stripes parasol. He waddled the catwalk like Charlie
IN THE LOC COMES A RATT
CUST WIND TLE AND HUM Chaplin’s tinpot tyrant of “The Great Dictator”, between balustrades of spotlights bestowed by Albert Speer. It looked, all in all, something like what might have resulted had President Dwight Eisenhower asked Andy Warhol to choreograph his speech warning against the entrenchment of a military-industrial complex.The live DVD of “PopMart” was recorded in December 1997 in Mexico City, where “Bullet The Blue Sky” and its visual accompaniments were heard and seen as reminders of an unhappy past.A few months earlier, in recently liberated Sarajevo, it had seemed a fanfare for a future: the animations of Roy Lichtenstein fighter aircraft soaring across the screens prompted delirious cheers from a crowd grateful for the overdue appearance of the real things in the skies above their siege-battered city.The righteousness – or otherwise – of American interventions has always been rather in the eye of the beholder. The second North America stint of 2001’s “Elevation” tour began just less than a month after September 11th, and reached Madison Square Garden six weeks after Manhattan’s highest peaks had been felled by maniacs armed with airliners. It might have been an uneasy time to play Americans at home a song critical of America abroad, but for this tour “Bullet The Blue
Sky” had already mutated once more. In Europe, it had been about the international arms trade, launching with a reminder that the five permanent members of the United Nations’ Security Council are also the five biggest traders in weapons, and backdropped by black-and-white footage of the conflicts waged with them.The American incarnation launched with a clip of Charlton Heston, who was always great in westerns because he never thought he wasn’t in one, ardently upholding the moral virtue of guns.The song was played against images of victims of America’s lavishly tooled-up and constitutionally protected war on itself. This time, the red-faced apparition of the middle rap was explicitly identified as Mark Chapman, assassin of John Lennon, and the payoff about running into the arms of America had never sounded more coldly ambiguous. By the embarkation of the “Vertigo” tour four years later, the events of four years previously found the United States, and much of the rest of the world, directly or indirectly fighting in Afghanistan and Iraq. The guitar solo of “Bullet The Blue Sky” was cued and concluded with a chorus of “When Johnny Comes Marching Home”, a song originally written by another
AND HE’S PEELIN’ OFF (SLAPPIN’ ’EM DOWN) ONE
FHUNDRED, THOSETWO DOLLAR BILLS HUNDRED Irishman fretting about Americans in uniform – County Galway’s own Patrick Gilmore, whose sister’s fiancé, John O’Rourke, served with the 6th Wisconsin Volunteers and the 1st Illinois Light Artillery during the Civil War.As Edge produced a delicate and mournful elegy, during which his black Stratocaster sounded notably less like afterburners than it had on some previous performances, Bono descended to his knees, blindfolded by the multi-faith “Coexist” headband pulled over his eyes. “Bullet The Blue Sky” took a decade off until the “Innocence + Experience” tour. By now, Bono was declaiming “Bullet The Blue Sky” through a loudhailer, as if in frustration that the message was still not penetrating.As the huge screen hanging perpendicular to the screen displayed the Middle East’s fresher historical ruins, Bono re-purposed the rap as something more inwardly reproachful, in keeping with the theme of “Songs Of Innocence” – an album which was, essen-
tially, a series of conversations between U2 and their younger and perhaps wider-eyed selves. Nearly two decades after writing a song damning the remote, cloistered panjandrums whose decisions had consequences they didn’t understand and couldn’t control, Bono was being invited to their conferences, and as a result being frequently asked – not least, it seemed, by himself – if he’d become part of the problem.“Here you are, all smiling,” jeered Bono’s youthful alter ego,“Making out with the powerful, like you’re really there for the powerless.”The response, a couple of verses later was older and wiser – which is to say altogether less certain, and rather more aware that the best we can do might just about be the best we can do. The key character of “Bullet The Blue Sky” is that apparition which lurches into view after the second chorus: the “suit and tie” flinging the Benjamins about with crass abandon,“his face red like the rose on a thorn bush”. In late 2016, with the United States preparing to consummate its flirtation with a character for whom this description might have been an all-points bulletin – U2 played at Salesforce’s Dreamfest event, and turned the ever-expanding “Bullet The Blue Sky” into a near 10-minute dialogue with the shortlyto-be-elected president. Bono interrupted a big-screen
HOWLIN’ THE WOM WHO RUN INT
OF AME
mashup of the candidate’s belligerent non sequiturs with a few pertinent questions, speaking on behalf of a bewildered world most eloquently with “And your point is?”The inevitable payoff – “You’re fired” – proved regrettably optimistic. It is, obviously, idle to make direct comparisons between the United States and U2 – one is an inescapable globe-straddling superpower whose righteous idealism sometimes rankles as well as inspires, the other is a federal republic founded in 1776, and so forth. But “The Joshua Tree” as a whole was to an extent U2, all still in their mid-twenties, peering into America, and seeing something of themselves: a colossal vista of possibilities.“Bullet The Blue Sky” has endured because the questions it puts to the United States have endured: why not just stand for the stuff you’re supposed to stand for, why not just be the shining city on the hill, the thousand points of light, the last best hope? What did the huddled masses yearning to breathe free ever do to you, anyway? In the end, the song pays America the same distinguishing compliment as so many of its critics, inside and out: that it disappoints the most when it strays furthest from its convictions.
MEN AND CHILDREN TO THE ARMS,
ERICA.
“Your body has defenses more powerful than the immune system, that prevent life-threatening diseases like cancer, by simply keeping your body’s blood vessels balanced. This defense system is called angiogenesis.” — The Edge The Angiogenesis Foundation is using science to help people live longer, healthier lives. Discover the food, lifestyle, and medical choices needed to conquer disease, through angiogenesis.
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“What we want to do is really simple, we just want to make sure that everyone, whatever their background, gets access to music tuition. That’s the idea.” Bono
www.musicgeneration.ie
The journey so far: Access for 40,000 children and young people. Job opportunities for 370 musicians. 120 tuition programmes in 12 areas of Ireland.
Adam Clayton leads Walk in My Shoes - an Irish mental health awareness and information campaign. Walk in My Shoes provides mental health resources to schools, W colleges, workplaces and communities and runs mental health awareness co initiatives throughout the year. in The most recent initiative, #MindYourSelfie, is a series of mental health eBooks Th and classroom resources which are downloadable from the website. an
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U2/Amnesty 2017 U2 has joined forces with Amnesty International because they know that without human rights, they couldn’t sing and you couldn’t listen… Right now, the world is witnessing a global refugee crisis. But instead of protecting people fleeing for their lives, many governments – particularly the wealthiest – are slamming their doors shut. Now is the time to defend refugees’ right to be protected, and refuse to let fear and prejudice win. Change starts with all of us, when we simply say “I welcome”. Please join us. Together, we’ll urge countries worldwide to do the right thing and welcome their fair share of refugees, now.
www.amnesty.org/en/get-involved/i-welcome We are the UK’s leading learning disability charity. We exist to improve the lives of the people with a learning disability and their families in the here and now, and campaign alongside them for a better, more equal future. Our services cover health, education, housing, leisure and employment. Up and down the UK, thousands of Mencap staff are passionately committed to supporting thousands of people with a learning disability. Together, we are working towards a world where people with a learning disability are listened to, valued and included.
To find out more about Mencap’s vital work go to www.mencap.org.uk Twitter: @mencap_charity
U2 HAS PARTNERED WITH MUSIC RISING,
MUSIC RISING NOW SERVES AS A
CO-FOUNDED BY THE EDGE AND
MUSIC EDUCATION DISASTER RELIEF
PRODUCER BOB EZRIN IN THE WAKE OF
ORGANIZATION, DEDICATED TO
HURRICANE KATRINA TO RESTORE AND
REBUILDING SCHOOL MUSIC PROGRAMS
PRESERVE THE MUSICAL CULTURES OF
IN TIMES OF CRITICAL NEED.
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CEPAD Providing training in poor Nicaraguan villages to support local community leadership, women’s economic development, food security and care for the environment.
www.cepadnica.org
PUBLICITY RMP, LONDON: REGINE MOYLETT, BRÍDÍN MURPHY MITCHELL NASTY LITTLE MAN, US: LAURA ELDEIRY, STEVE MARTIN COMMUNICATIONS DIRECTOR FOR BONO: KATHY McKIERNAN
BONO THE EDGE ADAM CLAYTON LARRY MULLEN
GUY OSEARY – MANAGER ARTHUR FOGEL - TOUR PROMOTER / TOUR PRODUCER
MAVERICK MANAGEMENT VP ARTIST MANAGEMENT, MAVERICK - JESSE PETERS, SETH FRIEDMAN MAVERICK MANAGEMENT – NADINE KING, JENNIFER PITCHER, GREG THOMPSON,ABE BURNS, KELLY McNAMARA, NIAMH McCARTHY, CONSULTANT TO U2 PAUL KREMEN LIVE NATION MICHAEL RAPINO, ARTHUR FOGEL GERRY BARAD, CRAIG EVANS,TRES THOMAS, SUSAN ROSENBERG, AMIT SANDHU, SIMON McGRATH, TYLER AREND, JENNIFER KELLER, EMILY VINEYARD, BEAU HUMPHREYS, MIKE McDONOUGH SOLO JOHN GIDDINGS AND SARAH BIRCH CREATIVE TEAM WILLIE WILLIAMS CREATIVE DIRECTOR RIC LIPSON SET DESIGNER, STUFISH GAVIN FRIDAY EXECUTIVE DIRECTOR AND BAND CONSULTANT ES DEVLIN CREATIVE CONSULTANT MORLEIGH STEINBERG CREATIVE CONSULTANT AND CHOREOGRAPHER SHARON BLANKSON CREATIVE CONSULTANT AND STYLIST JOE O’HERLIHY SOUND DESIGN STEFAAN “SMASHER” DESMEDT LIVE VIDEO DIRECTOR
UNIVERSAL MUSIC GROUP (ISLAND RECORDS, INTERSCOPE & UME) / UNIVERSAL MUSIC PUBLISHING / SIR LUCIAN GRAINGE, DAVID JOSEPH, DARCUS BEESE, JOHN JANICK, JON TURNER, BRIAN CELLER, HOLLY WILLIAMS, STEVE BERMAN, ANDREW KRONFELD, ROB FLEMING, THOM WRAFTER, CHRISTINE GOUGH, LISA POWER, DAVID ROWE, STEPHANIE COX, CHARLOTTE LOWE, OLIVER NUSSE, PHILIPPE LAUGIER, EMILIE BUTEL, DAVID HAWKES, FRANK BRIEGMANN, GEORGE ASH, JESUS LOPEZ, DIRK BAUR, MARK CROSSINGHAM, RICHARD CONSTANT, JEFF HARLESTON, BRENDA ROMANO, DENNIS DENNEHY, MATT LAMOTTE, GARY KELLY, ALASTAIR SMITH, KAREN LYNCH, STEVE PITRON, WILL PUXLEY, CHARLIE DRINKWATER, DORA BURROUGH, POLLY WITHINGTON, SVEN KILTHAU-LANDER, ADAM BARKER, CLAIRE SUGRUE, OLLY LESTER, HANNAH STRICKLAND, GLENN COOPER, PAUL JESSOP, NICOLE CSABAI, CHRIS MORTIMER, ERIKA SPIELDOCH, GREG PRINK, TRACY KIES, ANDREA EDMONDSON, KRISTEN BURKE, MATT VOSS, KABUKI SNYDER,ALESSANDRO MASSARA, MARIO SALA, CRISTIANO MAGGI, NORBERT PLANTINGA, PER SUNDIN, ANTHONY SEYLER, EVAN LAMBERG, DAVID KOKAKIS, PAUL BROOKS, LORI ROSALINO, JODY GERSON, JOY MURPHY, PAUL VEITCH, JAMES RUSHTON, GREG TURNER, JASON MIRCHANDANI, ADAM GARDINER, ZOE STOLL, NEIL MULFORD, FRANCISCA GONCALVES, DALIA FRANCO SHMUEL, SEAN ROSEN, SERENA BUTTERWORTH, DON TERBUSH,TONYA PUERTO, KEITH DURBAK, BRUCE RESNIKOFF, JANE VENTOM, JASON FEINBERG, STEVE WENGERT, SUJATA MURTHY, JEREMY SPONDER, MEGAN McLEAN CORSO, JASON BOYD, AARON STRIEGEL, GRETCHEN ANDERSON, DOUG BARASCH, MATT D’AMICO, JAMIE HARTLEY, MICHELE HORIE, ANDREW DAW,TOM ROWLAND.
SCOTT CASEY JAKE BERRY BOB KOCH CRAIG EVANS JESSE PETERS SETH FRIEDMAN SOPHIE KENNY KELLY Mc NAMARA NIAMH McCARTHY ALLISON BIGGS EMMANUELLE PACTUS DARREN MURPHY VIKKI WALKER NATASHA ISAACS LEAH McCULLAGH
TOUR PERSONNEL TOUR MANAGER TOUR PRODUCTION DIRECTOR TOUR BUSINESS MANAGER TOUR DIRECTOR MAVERICK - VP ARTIST MANAGEMENT MAVERICK - VP ARTIST MANAGEMENT HEAD OF GUEST RELATIONS MANAGEMENT ASSISTANT MANAGEMENT ASSISTANT CHIEF OF STAFF TO BONO ASSISTANT TO BONO ASSISTANT TO THE EDGE ASSISTANT TO LARRY MULLEN ASSISTANT TO ADAM CLAYTON GUEST RELATIONS ASSISTANT
CYNTHIA R. OKNAIAN
DIRECTOR OF VIP AND ARTIST TICKETING
TIFFANY HILLIARD
ASSISTANT TO ARTHUR FOGEL
ROCKO REEDY JON BOSS AARON SIEGLER ALISON LARKIN
STAGE MANAGER STAGE MANAGER / HEAD ELECTRICIAN TOUR PRODUCTION COORDINATOR TOUR COORDINATOR
JOYA CLEVELAND MATTHEW SERGISON MORGAN TAYLOR
PRODUCTION ACCOUNTANT ACCOUNTANT PRODUCTION ASSISTANT
BRÍDÍN MURPHY MITCHELL LAURA ELDEIRY AND STEVE MARTIN
PUBLICIST AND PRESS COORDINATOR - EUROPE PUBLICIST AND PRESS COORDINATORS - NORTH AMERICA
MISE SPAIN
U2 TRAVEL MANAGER
WENDY OVERS STEPHENSON CREW TRAVEL COORDINATOR LORI TIERNEY CREW TRAVEL COORDINATOR ROSS STEWART
VIDEOGRAPHER
SARAH O’HERLIHY
ASSISTANT TOUR MANAGER
MARTIN WROE
ONLINE EDITOR / TOUR CHAPLAIN
BRUNO VILLERS HAGEN STROH DAVE HANCOCK
PERSONAL TRAINER PHYSIOTHERAPIST PHYSIOTHERAPIST
SAM O’SULLIVAN DALLAS SCHOO STUART MORGAN TERRY“TERRY WORLD”LAWLESS RAB McALLISTER DUNCAN STEWART SCOTT NICHOLS
STUDIO MANAGER AND DRUM TECH - LARRY MULLEN GUITAR TECHNICIAN - THE EDGE BASS TECHNICIAN - ADAM CLAYTON PROGRAMMER/KEYBOARDS U2 SYSTEMS MANAGER GUITAR AND KEYBOARD TECHNICIAN SECURITY DIRECTOR / VENUE SECURITY
BRIAN MURPHY SECURITY TONY DUNCAN SECURITY DARREN MURPHY SECURITY JERRY MELTZER SECURITY LIAM MARTIN SECURITY TRACY NEFF PRODUCTION SECURITY COORDINATOR JAVIER SALDNA PRODUCTION SECURITY COORDINATOR SHARON BLANKSON JENNIFER QUINN ELIZABETH BENNETT NATALIE KINSELLA
STYLIST AND HEAD OF WARDROBE WARDROBE ASSISTANT WARDROBE ASSISTANT GROOMER
JOE O’HERLIHY
SOUND DIRECTOR - FOH MIX ENGINEER
ALASTAIR McMILLAN RICHARD RAINEY CJ EIRIKSSON
MONITOR ENGINEER / RECORDING MONITOR ENGINEER MONITOR ENGINEER
NIALL SLEVIN
SENIOR MONITOR SYSTEMS ENGINEER AND RF TECHNICIAN
JO RAVITCH JOEL MERRILL MICHAEL LACROIX BRANDON SCHUETTE ANNE BUTT HANNES DANDER PASCAL HARLAUT
SENIOR FOH SYSTEMS ENGINEER / CLAIR CREW CHIEF ASSISTANT FOH SYSTEMS ENGINEER PRO TOOLS SYSTEMS ENGINEER – PA TECH GRAND MASTER PATCH – STAGE SYSTEMS ENGINEER SYSTEMS PA TECH PA TECH / CLAIR RIGGING PA TECH / CLAIR RIGGING
WILLIE WILLIAMS MARK RISK ALEX MURPHY ALLEN BRANTON
LIGHTING DESIGNER LIGHTING DIRECTOR LIGHTING DIRECTOR AND SHOW CALLER LIGHTING CONSULTANT
NICK BARTON BLAINE DRACUP ADAM MORGAN GARETH MORGAN JOE SIMPSON JASON WRIGHT MATT LEROUX STUART LEE MICHAEL BUTLER DALE JEWETT
LIGHTING CREW CHIEF LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN LIGHTING TECHNICIAN
SMASHER DESMEDT STUART HEANEY SANDRO BRUNI ERIC GEIGER JOHN O’BRIEN KES THORNLEY DREW WELKER GORDON DAVIES JAY STRASSER JIM TOTEN JUSTIN WELCH LEWIS McMILLAN KENNETH CLAIR JR
VIDEO DIRECTOR VIDEO CREW CHIEF VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW VIDEO CREW
DALTON GERBER
PRODUCTION IT TECHNICIAN
ANDRE WARNOCK DENNIS CRESPO ROBERT NICHOL
POWER POWER POWER
CHUCK MELTON JAKE HARRELSON
HEAD RIGGER RIGGER
FLORY TURNER JOSH SMITH BORJA GONZALEZ AJ RANKIN MICHAEL OSULLIVAN STEVE WARD MICHAEL MEYER PATRICK BLASZKOSKI
HEAD CARPENTER CARPENTER CARPENTER CARPENTER CARPENTER CARPENTER CARPENTER BARRICADE / CARPENTER
DION PEARCE
AUTOMATION
JAMES JAQUES REBECCA SLOAN JAMES ASHMAN PAUL CARRINGTON RENA RUTKOVSKY JENNIE WAGSTAFF STEVE JENKINS
DRESSING ROOM - FURNITURE DRESSING ROOM – AMBIANCE VIP - FURNITURE AND AMBIANCE
KATHRYN RIDDLE
ROCKNROLL LAUNDRY
ROBERT HALE MIKE TIERNEY
SITE COORDINATOR SITE COORDINATOR
HELEN KNOX JAMIE GOODEN
VIP EVENT MANAGER VIP EVENT COORDINATOR
ANDY ACTON-PETERS RICHARD CARTER DIETER SZCZYPINSKI JASON VALHUERDI TERRY RUCHOTZKE
U2.COM, MERCHANDISE DIRECTOR MERCHANDISE MERCHANDISE MERCHANDISE MERCHANDISE
EMMA SAXBY
RED ZONE COORDINATOR
BAND CHEF BAND CATERING ASSISTANT ADVANCE CATERING ADVANCE CATERING
KATE REEVES
RED ZONE SUPPORT
SAIRA O’MALLIE SAMANTHA MEYER
ONE COORDINATOR ONE COORDINATOR
BEN GILLESPIE
UPS
CHRISTOPHER WIITALA
SUSTAINABILITY
TIFFANY LYON PAUL OKNAIAN
VIP/ARTIST TICKETING SUPPORT VIP/ARTIST TICKETING SUPPORT
FRANCISCA COOMBS DE AREND U2 SPECIAL EVENTS CATRIONA GARDE CANDIDA BOTTACI
DUBLIN LIFE SUPPORT DUBLIN LIFE SUPPORT
HENDRIK VERDEYEN JANOS KEREKGYARTO WILFRIED CELEN BENNY STERCKX VAN DIJCK WIM CARENS MAATEN VAN KRUIJSDIJK HUGUES IMSCHOOT PAUL WURM FLORIAN SADRAWETZ JONAS FETS ATILLA SZERDAHELYI ANDY MARCH EMANEL OSHLER JOHAN VAN ESPEN OLE BRINKMANN JASPER RUEBENS DENNIS BREUCKELAERS JAN VAN EYCK CEES DAZLER GAETAN HENNECO ANTONIO MONTEIRO JAN VAN LIESHOUT MARTIN VAN EYCK ROBERT SCHUITEMA JORG JEROMIN MARK GANDY TAMBANI LOKOZA RAF GOETHUYS FRANK BÖHME THOMAS SIEBER MATTHIAS FRENZEL JÖRG KÖHLER SVEN PRAUSE JACOB MURRINS
STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW STEEL CREW
DAVID HEATH SCOTT COOPER CRAIG JONES
TRUCK COORDINATOR LEAD TRUCK DRIVER ASSISTANT LEAD TRUCK DRIVER
VIDEO SCREEN CONTENT EXECUTIVE PRODUCER SAM PATTINSON, FOR THE THIRD COMPANY LTD. UK PRODUCERS
BEN NICHOLSON, FOR EMPIRICAL STUDIO, US LIZZIE POCOCK, FOR THIRD COMPANY LTD. UK
THE JOSHUA TREE FILMS DIRECTOR ANTON CORBIJN SERIAL PICTURES VIOLAINE ETIENNE AND EXECUTIVE PRODUCERS MICHEL WAXMAN SERIAL PICTURES JENNIFER GEE HEAD OF PRODUCTION PRODUCERS TONY ABBOTT AND RUTH MINKLEY LINE PRODUCER SAUL GERMAINE DIRECTOR OF PHOTOGRAPHY SEBASTIAN WINTERO PRODUCTION DESIGNER JEFF HIGINBOTHAM EDITORS JAMES ROSE, NICK ARMSTRONG, JACK SINGER FOR CUT AND RUN COLORIST YOOMIN LEE FOR JOGGER STUDIOS CONTENT BY JR DIRECTOR JR PRODUCER EMILE ABINAL LINE PRODUCERS CLEMENT PIGNAL GUILLAUME LEFRANCOIS EDITOR CECILE DESSERTINE DIRECTOR OF PHOTOGRAPHY CHRISTOPHE GUYON STEADICAM LOIC ANDRIEUX DRONE PILOT UGO BEZARD PRODUCTION COORDINATOR JULIA MONGIN SOUND PHILIPPE WELSH FIXER ILHAB MHUTASEB
ADDITIONAL SCREEN CONTENT CREATIVE DIRECTION WILLIE WILLIAMS EDITOR ANIMATION
WARREN CHAPMAN CHRIS SHONE, SUSANA YAMAMOTO, BRANDON KRAEMER, BRETT BOLTON, TERRY SCRUBY
THIRD CO. PRODUCTION MANAGER HERSTORY RESEARCH
HELEN CAMPBELL
ARCHIVIST
MATTHEW SANGER
VIDEO CONTENT LEGAL
SEBASTIAN DAVEY - RUSSELLS
ALICE WROE
TOUR SERVICES AAA RADIOS TOUR RADIOS - LORI RACIOPPI A2C - IT SUPPORT KEVIN P. O’DONOGHUE AMAZON WEB SERVICES CLOUD COMPUTING – JUSTIN BURKS, STEPHANIE DISANTIS AVAI TOUR APP DEVELOPMENT – DANNY McKEAN BARRY SLATTERY TOUR INSURANCE CONSULTANT BEAT THE STREET EUROPEAN BUSING AND CREW TRANSPORTATION JOERG PHILIPP, IAN MASSEY CAT ENTERTAINMENT POWER - MITCH MARGOLIN CHAPMAN FREEBORN EURO AIR CHARTER – CLAUDETTE GHARBI CISCO TOUR NETWORK TECHNOLOGY – ALEX ROSEN, ROB NEUMANN, MARIA DINCEL CLAIR GLOBAL – CLAIR BROTHERS SOUND – TROY CLAIR, GREG HALL CUBE SERVICES CREDENTIALS - STEPH VOGEL CUSTOM AUDIO ELECTRONICS THE EDGE GUITAR RIG - ROBERT BRADSHAW DYLAN BRADSHAW DUBLIN DYLAN BRADSHAW EFFECT PARTNERS INC. SUSTAINABILTY MANAGEMENT MIKE MARTIN EMPIRICAL STUDIO VISUAL EFFECTS PRODUCTION - BEN NICHOLSON EPS BARRICADES AND FLOORING OKAN TOMBULKA FEINGOLD AND ALPERT, LLP TAX ADVISORS - FRED FEINGOLD, MARK BERG FIVE POINTS RIGGING SERVICES - JOHN FLETCHER PRODUCTION SERVICES CLIFF CHASE, MATT PICONE, FRACTAL AUDIO ROSH ROSLIN FRAMEWORTH CUSTOM BRIAN EHRENWORTH, FRAMING INC. RICHARD McCORKELL GIBNEY, ANTHONY IMMIGRATION LAWYERS & FLAHERTY - STEPHEN MALTBY, KERRY MONICA, RODERICK POTTS GLD DRESSING ROOM FURNITURE - GRAEME DIXON GRUBMAN, SHIRE ATTORNEYS AT LAW AND MEISELAS, P.C. - DAVID TORAYA,ALLEN GRUBMAN, THEODORE HARRIS, KAREN GOTTLIEB, JOSEPHPENACHIO, JOSEPH BRENNER, JORDAN MANEKIN, MARLIES DWYER JAKE BERRY PRODUCTIONS PRODUCTION CONSULTANT - JAKE BERRY LIVE NATION MERCHANDISE BRUCE FINGERET, RICK FISH, ANDY ACTON-PETERS, PETE WEBER, BEN RAWLING, EMILY THEOBALD LHPR LINDSEY HOLMES, DEIRDRE CROOKES, AOIFE GRAY MAZARS FRANK GREENE,ALAN MURRAY, BRIAN MURPHY MICROSOFT LEN FENSTER NATIONWIDE TOURING NYC TRANSPORTATION SERVICES, LLC - GLENN McNAMARA NOT US LIMITED DAVID ENRIGHT, JOHN O’NEILL, ANNE-MARIE SMITH PJS AIR CHARTER NORTH AMERICA – GREG RAIFF PRG LIGHTING - TIM MURCH, ROBIN WAIN PRG NOCTURNE VIDEO - MARK O’HERLIHY Q4PR MARTIN MACKIN, SILE MURPHY RPMC TRAVEL PACKAGES - KELLY WEINBERG, LINDSEY KIMBALL, AARON DAVIS RZO, LLC JOHN GULA, JEN CZIN, ILENE BASHINSKY SALESFORCE LYNN VOJVODICH, KARIN FLORES
CREW WORLDWIDE TRAVEL GROUP ITINERARY - WENDY OVERS STEPHENSON, LORI TIERNEY, CHARLES ZIMMER SAMSUNG PHIL FERNANDEZ SENATORS AMERICAN JOHN AIKIN BUS COMPANY SIT STILL SALON LOS ANGELES ZAC JENKINSON SOUND MOVES INC. FREIGHT WORLDWIDE - DUANE WOOD, MARTIN CORR, DUNCAN PEEK, JUSTIN CARBONE STAGE CO DIRK DE DECKER, MARY LOU FIGLEY, HEDWIG DE MEYER,TOM FREDERICK STUFISH ENTERTAINMENT SET DESIGN ARCHITECTS TAG GLOBAL TOURING JOHN GIANQUITTO - CHAIRMAN AND CEO BYRON CARR – GROUP GLOBAL TOURING DIRECTOR MISE SPAIN - U2 TRAVEL MANAGER TAIT TOWERS STAGING AND AUTOMATION - JAMES ‘WINKY’ FAIRORTH, ADAM DAVIS,AARON SIEBERT TEAM SEQUEL TOUR SECURITY - SCOTT NICHOLS THIRD COMPANY VIDEO AND SHOW CONTENT PRODUCTION - SAM PATTINSON TOSHIBA AMERICA MARK SIMONS, PATRICK MANI, INFORMATION SYSTEMS, INC. CARL PINTO, ERIC PAULSEN TRANSAM TRUCKING EUROPEAN TRUCKING - MARK GUTERRES, STEVE ELSEY, MARTIN PALMER U2 TOUR MANAGEMENT DESIGN AND DEVELOPMENT DATABASE - PAMELA NEHF U2.COM MARTIN WROE, SEBASTIAN CLAYTON, DJANGO BAYLESS, TIM HONAN UPS BEN GILLESPIE UPSTAGING US TRUCKING - GREG REGAN, DiCARLO VMWARE FRANK RAUCH WEB HOSTING HOSTINGIRELAND.IE YOUNG JETS EUROPEAN CREW CHARTER COMPANY SUPPLIERS THANKS FENDER GUITARS AND AMPLIFIERS, D’ADDARIO GUITAR STRINGS, GIBSON GUITARS, TAYLOR ACOUSTIC GUITARS, RICKENBACKER GUITARS, VOX AMPLIFIERS, FRACTAL AUDIO SYSTEMS, KORG ELECTRONICS, DUNLOP PEDALS, LEVY GUITAR STRAPS, CUSTOM AUDIO ELECTRONICS, MATES CARTAGE, ENCORE ROAD CASES, DUBLIN FLIGHT CASES, WESTWOOD MUSIC LA, SWEETWATER. COM, WALTONS DUBLIN, XMUSIC DUBLIN, DANVILLE GUITAR REPAIR DUBLIN, DWAYNE HUMMEL DATUMMACH CUSTOM GUITAR SLIDES, A&S CASES, GRETSCH GUITARS, SHURE PRODUCTS AND MICROPHONES, DR STRINGS, FENDER BASSES, WARWICK BASSES, SENNHEISER, AGUILAR AMPLIFICATION, AMPEG AMPLIFICATION, YAMAHA DRUMS & KEYBOARDS, PAISTE CYMBALS, PRO-MARK DRUM STICKS, REMO DRUM HEADS, MARK OF THE UNICORN, HANWAY HAULAGE TOUR PROGRAMME TOUR PROGRAMME PRODUCED BY GAVIN FRIDAY AND NADINE KING CREATIVE DIRECTOR GAVIN FRIDAY ART DIRECTION AND DESIGN BY SHAUGHN McGRATH – AMP VISUAL, DUBLIN PHOTOGRAPHY BY ANTON CORBIJN ALSO INCLUDES PHOTOGRAPHY BY KEVIN MAZUR, AARON HARRIS, BILL RUBENSTEIN, DANNY NORTH, BRYAN MEADE, SHARON BLANKSON AND SHAUGHN McGRATH 3D RENDERS OF THE JOSHUA TREE TOUR 2017 STAGE BY RIC LIPSON/STUFISH DRAWING OF THE JOSHUA TREE TOUR 2017 STAGE BY WILLIE WILLIAMS OFF-SCREEN STILLS FROM ELEVATION LIVE FROM BOSTON DVD Q & A WITH DAVE BATSTONE BY BRIAN DRAPER BULLET THE BLUE SKY ESSAY BY ANDREW MUELLER PRINTED BY ALAN HILL AT HILL SHORTER, UK WWW.U2.COM
THE JOSHUA TREE ALBUM, 1987 WHERE THE STREETS HAVE NO NAME* I STILL HAVEN’T FOUND WHAT I’M LOOKING FOR WITH OR WITHOUT YOU* BULLET THE BLUE SKY* RUNNING TO STAND STILL RED HILL MINING TOWN* IN GOD’S COUNTRY TRIP THROUGH YOUR WIRES ONE TREE HILL EXIT MOTHERS OF THE DISAPPEARED PRODUCED BY DANIEL LANOIS AND BRIAN ENO RECORDED BY FLOOD ADDITIONAL ENGINEERING BY DAVE MEEGAN WITH PAT McCARTHY *MIXED BY STEVE LILLYWHITE MIXING ENGINEERED BY MARK WALLACE ASSISTED BY MARY KETTLE ONE TREE HILL: RADD STRINGS RECORDED BY BOB DOIDGE. PLAYED BY THE ARMIN FAMILY RED HILL MINING TOWN:THE ARKLOW SILVER BAND, RED HILL MINING TOWN BRASS.ARRANGED AND CONDUCTED BY PAUL BARRETT PHOTOGRAPHY BY ANTON CORBIJN ORIGINAL COVER DESIGN AND ART DIRECTION BY STEVE AVERILL MANAGER: PAUL McGUINNESS PRINCIPLE MANAGEMENT DUBLIN:ANNE-LOUISE KELLY PRINCIPLE MANAGEMENT NEW YORK: ELLEN DARST
DEDICATION IF THESE SONGS HAVE STOOD THE TEST OF TIME, IF YOU’RE HERE SO HAVE YOU - THANKS FOR GIVING US THIS LIFE.WE ONCE THOUGHT IT WAS TIME TO CHOP DOWN THE JOSHUA TREE.THIRTY YEARS ON WE REALISED YOU WOULDN’T LET US.YOU WERE RIGHT. THANKS FOR KEEPING THESE SONGS CLOSE AND THANKS FOR STICKING WITH US. OUR GREAT THANKS TO THE INSPIRATIONAL RESIDENTS OF THE ZAATARI REFUGEE CAMP IN JORDAN AND TO THE STAFF OF THE UNITED NATIONS HIGH COMMISSIONER FOR REFUGEES FOR INVITING US TO VISIT AND FILM. THEY DESERVE A LOT MORE SUPPORT THAN THEY’RE GETTING FROM THE INTERNATIONAL COMMUNITY AND THANKS, ESPECIALLY TO OMAIMA THAER HOSHAN AND HER FAMILY.