“Let’s Talk, Please” @ U2CON 2018 BELFAST

Would you like to spend a few days with real people, in real time, in a real place having really spirited discussions, debates and discoveries about U2? Are you tired of being lured into arguments online, shut out of conversations and blasted with quick quips? Does all the posturing make you wonder if it’s possible anymore to disagree and remain friends? Or even find friends?

Would you like to share, learn, challenge someone and be challenged yourself about U2’s music, work and influence, all to come away feeling not only your fandom was nourished but your heart and mind flourished?

Me too. I want to go there with you and you and you …

Let’s meet in Belfast, 13-15 June 2018. Belfast’s learned how to meet up and talk it through, like they did in 1998 to achieve the Good Friday Agreement. Belfast’s a city for conversation. Pop might be U2’s most divisive album among fans, so we should have plenty to talk about. And then there’s all the rest about U2, ourselves and our worlds we could talk about too.

“A chance to connect with long-time and just-met friends from around the world, a space in which conversation with complete strangers was always easy due to our common vocabulary, a great exercise for intellectual curiosity and the celebration of amazing music.” — Angela Pancella, U2CON 2013

At the U2 Conference 2018, you’ll find fans of U2. You’ll also be with fans of music, art, activism, social engagement and change. You’ll be with people who want to grow and know how to stay smack in the middle of a contradiction and turn it into something positive. U2 fans have no problem holding their own with scholars, teachers, journalists, critics and clerics. We try to bring everyone together because we know it’s about everyone, together, talking and listening and building the future we want.

“The uniqueness of the conference was in this blend of fan, academic, and activist audiences. None overshadowed the others but each brought their particular interests and specific energies to the conference. I had a blast just meeting other U2 fans from all over the world and from all walks of life.” — Daniel Kline, U2Con 2009

Join us.

Read more about our POPVision conference theme.

Read more about what past attendees have said.

Submit a proposal for what you’d like to talk about by December 15, 2017.

Or, just registershow up and lend your voice to the conversations. Everyone is welcome.

Please stop fighting, please
Let’s talk, please – “Please (live from Rotterdam), Bono

Taking U2’s Familiar Story A Little Further, With Room for More

Book Review: Neufeld, Timothy D. U2: Rock ‘n’ Roll to Change the World. Rowman & Littlefield, 2017. 238 pages.

Neil R. Coulter

In the forty-plus years of U2, many people have written about the band (including the band members themselves). Through all of that prose a familiar biographical story has taken shape. No matter the storyteller, certain key moments are always highlighted: Larry’s notice pinned to the bulletin board at Mt. Temple Comprehensive School in 1976; three of the band members’ connection to, and eventual departure from, the Shalom community; changes in U2’s sound on The Unforgettable Fire; international superstardom by the time of The Joshua Tree; dreaming it all up again for Achtung Baby; political activism. There’s a comfort in hearing that story rehearsed every so often – especially as the band continues to inspire appreciative devotion from its fans with each new tour, album, or bit of news. For their fans, U2 is a kind of family and hearing all the old family stories makes for a good time.

Tim Neufeld’s U2: Rock ‘n’ Roll to Change the World is the most recent book to take us through the story. If you have followed U2 for a while, you probably know the story pretty well by now. Neufeld’s book really isn’t for you.  It’s a solid introduction to the band but it offers only a little for the die-hards. After a helpful timeline, showing “Cultural Events” along the left side and “U2’s Career” on the right, Neufeld guides the reader through a quick tour of the band’s history. In telling the story, he draws on other well-known sources, especially U2 by U2 (2006) and Bono: In Conversation with Michka Assayas (2005), but also many other book chapters and interviews spanning U2’s career. Each chapter looks, in chronological order, at a phase of U2’s development.

I particularly enjoyed the first chapter, “Growing Up in Ireland,” in which Neufeld explains the historical background in Ireland that led to the decades-long Troubles, which so colored the lives of U2’s members. In just a few pages, he does a fine job of setting up the Dublin of U2’s youth, helping the reader understand the questions the band members struggled with as they became U2.

The final two chapters of the book look at broader themes that resonate throughout U2’s history. These two chapters read as individual essays, distinct from the narrative flow of the rest of the book. In chapter 7, “Faith and Art,” I appreciated how Neufeld showed faith to be not a static identity that a person either has or doesn’t have. Rather, faith is dynamic, a kind of companion that accompanies a person throughout his or her journey. This is evident in the overview of ways that U2’s faith has informed their activity. That those activities have changed over time demonstrates the difficulty in grasping what a living faith really is. Chapter 8, “Social Engagement,” also shows U2’s journey, in relation to political activism and dreams of a better world. The shock at the injustice in the world, evident in U2’s words and actions in the 1980s, has matured into a quieter, but still intense, way of realizing the ideals the band members have never left behind.

From the book’s title, I had assumed that more of the book would take the approach of these last chapters and examine the “world changing” ways of U2. Though the retelling of the band’s story is good, I was expecting a deeper level of analysis of the band and their interaction with the world through their skillful use of the authority their celebrity gives them. Neufeld suggests many avenues with great potential for future writing about U2, and I look forward to the ways other authors will dig still deeper. I wonder, for example, how a political scientist might investigate Bono’s leadership in global debt-reduction; or how a sociologist would analyze the context of the Zoo TV tour and its construction of community amidst contradictions and irony; or how an economist would reflect on the effect a U2 tour has on a city or nation? These are big topics that come up in any retelling of U2’s story, and I often wish that some of those points would be further teased out by specialist who might see things that we’re missing.

Neufeld’s writing style is accessible and free of jargon; the book doesn’t presume any previous knowledge of U2’s history. For me, however, the tone of the writing was at times too general — for example, saying that “As the calendar turned from one decade to another, the world was an anxious place” (70) is too quick and ambiguous a way to describe the global context which U2 attempted to engage. And, when Neufeld talks about an uncomfortable moment of the Zoo TV tour, when a satellite linkup brought war-traumatized Sarajevans to the concert’s video screens, it seems wrongly abrupt to write, “It was an intense and awkward incident, leaving Larry to believe that the band might be guilty of exploiting Sarajevans for the sake of entertainment. Many people outside the U2 franchise felt the same” (83), but then leave it there and move on to the next part of U2’s story. I was looking for more than simply the facts as they happened; I also wanted some commentary to help me process it all.

For newer U2 fans who want to learn more about the band’s story, it can be confusing to decide which book to read first. If you are interested in U2 and haven’t yet read U2 by U2, then that book should be at the top of your list. Relatively new fans would do well to read U2: Rock ‘n’ Roll to Change the World next. I hope some of those fans will then respond to Neufeld’s implicit invitation to keep filling in the spaces, to help us enjoy and understand U2 from a wide variety of perspectives.

U2: Rock ‘n’ Roll to Change the World is available from Rowman & Littlefield and Amazon.

The U2 Conference Art by Beth Nabi

The U2 Conference is extremely grateful for the creative work of Beth Nabi. She re-designed our main U2 Conference logo (and its many color variations), advised on freshening the look of the website and created our U2 Conference 2018 POPVision logo

Nabi is an Associate Professor of Art and Design at the University of North Florida, Jacksonville, and the creator and curator of the The U2 Tattoo Project.

She presented a talk on “What You Don’t Have You Don’t Need It Now: How the World’s Most Iconic Band Got There Without a Logo” at the U2 Conference 2013, and brought The U2 Tattoo exhibit to the Rock and Roll Hall of Fame in September, 2016, as part of the Rock Hall’s celebration with @U2 of U2’s 40th anniversary.

Here’s is a sample of Beth’s art for the U2 Conference.

                                   

New Entries in the U2 Studies Bibliography

We’ve recently updated the U2 Studies Bibliography with these six new entries:

Fast, Susan. “Music, contexts, and meaning in U2.” In Expression in Pop-Rock Music. Ed. Walter Everett. New York: Routledge, 2008, 33-57.

Galbraith, Deane. “Meeting God in the Sound: The Seductive Dimension of U2’s Future Hymns.” In The Counter-Narratives of Radical Theology and Rock ’n’ Roll: Songs of Fear and Trembling. Ed. Mike Grimshaw. New York: Palgrave Macmillan, 2014. 119-135.

Huliaras, Asteris and Nikolaos Tzifakis. “Personal Connections, Unexpected Journeys: U2 and Angelina Jolie in Bosnia.” Celebrity Studies. 6.4 (2015): 443-456.

Neufeld, Timothy D. U2: Rock ‘n’ Roll to Change the World. Lanham, MD: Rowman & Littlefield, 2017.

Williams, Michael. “One but not the same: U2 Concerts, Community and Cultural Identity.” In Identity Discourses and Communities in International Events, Festivals and Celebrations. Ed. Udo Merkel. Basingstoke: Palgrave Macmillan, 2015. 242-259.

Williams, Michael. “Politics as spectacle: U2’s 360° tour (2009-11).” In Power, Politics and International Events: Socio-cultural Analyses of Festivals and Spectacles. Ed. Udo Merkel. London: Routledge, 2014. 174-190.

Please visit the full U2 Studies Bibliography for more resources.

Stimulating Intellectual Discussion, Premiere Rock and Roll Reading

Happy to see this review of U2 Above, Across and Beyond by Peter Roche of AXS.com on June 23, 2017.

Brush up on your Bono with brainy U2 book

It’s one thing to say a favorite band has fallen off your radar after a certain point in their career. Maybe there was some peculiar album you didn’t care for, some phase where the group decided to “experiment” or “evolve.”

Sounds familiar, right?

But it’s quite another thing—a personal thing—to insist a band has lost its way. After all, it’s their way to “lose,” right? Isn’t that the nature of art?

So it is with U2, an act we couldn’t get enough of in the late ‘80s and early ‘90s—but whose last two studio albums barely blipped on our radar screens (notwithstanding all the “free album” iTunes hubbub for Songs of Innocence).

What happened?

The band members would probably tell you they grew, they matured: They evolved from the spirit-driven, punk-inspired Dublin quartet they once were into open-minded uber-rockers who recognized that the world was their stage. But we also grew, and the ‘90s and ‘00s flooded our free time with other exciting music worthy not only of rocking out to, but evaluating with critical ears.

We were in junior high when The Unforgettable Fire lit up our senses—kids without a care in the world, save the ones Bono deemed worthy of singing about. Twenty years on, we’re all married people with fancy college degrees and fulltime jobs, mortgages, and kids. So any singers and guitarists vying for what little attention we have left these days had better be on point.

Bono and the boys succeeded with 2000’s All That You Can’t Leave Behind, which proved a welcome return to the band’s jangly, intimate guitar rock of old. But they started losing me again with How to Build an Atomic Bomb (2005). So much so that I didn’t even pick up No Line on the Horizon (2009) until weeks after its release, only to discover none of it clicked with me.

Maybe you could sing the whole of War (1983) and The Joshua Tree (1987), but can’t name a single entry on Songs of Innocence (2014) outside “The Miracle of Joey Ramone.”

Still, we’d be the last to level a finger at U2 and accuse them of letting us down, right? Were you sometimes disappointed by their changes in direction? Disinterested in some of their post-millennial music? Sure. Maybe you just haven’t given their last two albums much of a chance, and that—if anything—you’re secretly pleased the band continues to test its boundaries, planting its heels in untrodden musical territory instead of revisiting the well-worn paths.

That’s the nature—the essence—of art. Love it or hate it (or both), the music of U2 has always forced listeners to reckon with it.

Plenty of reckoning was done at the 2013 U2 Conference in Cleveland, Ohio. Held in conjunction with the Rock and Roll Hall of Fame (whose Director of Education Jason Hanley participated in panel discussions), the gathering invited fans and academics alike to consider (and reconsider) the legendary Irish band’s contributions to rock, to pop culture…to global consciousness.

Conference Director (and Cedarville University Professor of Literature) Scott Calhoun encouraged conference attendees to reassess the myriad ways Bono and his band have impacted or otherwise influenced the cultural Zeitgeist with their music, their message, even their (ever-changing) image.  The results of that open challenge—presented at the conference, and now available in the aggregate on Rowman and Littlefield’s Lexington imprint—is a new book “U2: Above, Across, and Beyond.”

As is the norm with a Lexington publication, Above, Across is less a fan book than it is a college-worthy appreciation of its subject.  Specifically, it is an octet of eight separate essays (or Interdisciplinary Assessments) scrutinizing various aspects of U2’s mostly-impressive oeuvre, and whose topics are thematically bound by Calhoun’s edict to thrust the transitive qualities of the band’s work under the microscope.

Put another way, these writers walked “Where the Streets Have No Name” to help find what Bono was looking for, what we listeners found, and what remains lost (whether deliberately or not) in the ether of U2-dom.

And that the authors do, with varying degrees of success—but with a common, undeniable passion for their subject.

Welshman Christopher Wales (NLA University College) tackles the group’s “Collaborative Transactions” by studying how U2 have enacted its art and interacted with its fan-base over the years in a communion of what social psychologist called “sensemaking” and “sensegiving.”  Drawing on the tumultuous (but invigorating) 1990 recording sessions for “One” at Hansa Studios in Berlin—as well as the Davis Guggenheim documentaries It Might Get Loud (2008) and From the Sky Down (2012)—Wales suggests that the whole of the band is indeed greater than the sum of its parts, that “the hats” (Bono and The Edge) and “haircuts” (Larry Mullen and Adam Clayton) carry one another through the creative process so as to realign themselves and reinvent their sound (and appearance).

In “Trans-valuing Adam Clayton” Rock Hall research assistant (and musicology Ph.D. candidate) Brian F. Wright argues why Clayton’s role in U2 is far more critical than the bassist’s naysayers would it.  While Wright agrees Clayton probably derived his propulsive, root-note style from so-called “unskilled” punks like The Ramones, Sex Pistols, and Joy Division, he argues that Clayton’s preference for simplicity is both conscious and creative.  Dissecting the bass lines for three key U2 cuts (“With or Without You,” “New Year’s Day,” and “Beautiful Day”), Wright makes a case for the “active” quality of the bassist’s rhythms and its tendency to lend movement to the songs, whether said lines be in the forefront (“New Year’s Day”) or background, as subtle support mechanism for Edge’s textural guitar meanderings (“Beautiful Day”).

Heck, Wright even provides sheet music (and tablature) for the songs, should you care to grab your four-string and have a go.  Cleveland rocks!

RMIT University lecturer (and club culture enthusiast) Ed Montano uses his “Translating Genres” article to discuss how U2 “replaced its 1980s monochromatic aura of sincerity with a 1990s multicolor façade of irony” on Achtung, Baby(1991), Zooropa (1993), and Pop (1997) by incorporating elements of the EDM (electronic dance music) so prevalent in clubs.  Pointing at songs like “Lemon,” “Mofo,” “Discotheque,” and “Daddy’s Gonna Pay for Your Crashed Car,” Montano explains how Bono and company drew from disco (Studio 54), techno, and acid house (The Hacienda) and collaborated with (or mimicked) D.J.s like Howie B. and Paul Oakenfold to bring a fresh, danceable color palette to its work.  More importantly, Montano mulls over the significance of EDM in the balance between the group’s “gender” (masculine rock versus female EDM) and the musicians’ deliberate efforts to lampoon themselves (authenticity versus inauthenticity).

In “A Transcendent Desire” scribe Arlan Elizabeth Hess (Vermont College of Fine Arts, University of Padua) gets sidetracked debating the “Irishness” of U2 by her own (however noble) attempt to counterbalance critical homophobia aimed at other emerald isle artists, like drag queen Panti Bliss (Rory O’Neill).  Hess—an expert on Irish lit and “the Troubles”—is most effective when debunking John Waters (Race of Angels) claims that Irish-ness has more to do with one’s reaction to an historic oppression (colonization) than anything else—including one’s birthplace.

“For Waters, it follows that Zoo TV was the result of centuries of exceptional Irish leadership, struggle, and adaptation,” she poses.

Hess feels Waters too easily dismisses the band’s “unique musical collaboration [and] artistic vision” when appraising U2 albums and tours—as if any other musical collective would’ve dreamt up the same music and stage shows under similar circumstances, based simply on shared “cultural inclusivity.”  Hess also touches on themes of equality, justice in her discussion, and examines Bono’s schizophrenic pulpit / performer shtick using Leszek Kolawksi’s “priest / jester” template.

English professor Fred Johnson (Whitworth University) plays archeologist in U2’s “Transmedia Storyworld” by excavating the bits and pieces of ephemera (albums, movies, books) U2 have produced over the last three decades.  Not a morsel was arbitrarily dispatched, argues Johnson—for while the songs and photos may have derived from an organic, genuinely artistic source, the members of U2 enjoy final say on what goes out into the world.  In other words, the band has created its own story—its own wunderkammer—(and continues to do so), carefully selecting which stuff (and how much of it) is put out into the world for mass consumption, depending on what its goals are at the time.

“The glittery trapping of the Zoo TV tour was clearly put on, an obvious performance,” surmises Johnson.  “Yet they were a performance that the simulacrum band of the ‘80s would never have approved.”

In “Transmitting Memories” Flinders University senior lecturer Steve Taylor sifts through Bono’s in-concert “lyrical departures” from the recorded versions of key tracks to arrive at an understanding of how the band memorializes people, places, and events during performances—thereby manufacturing unique new moments for the ticketholders in attendance.  Spring-boarding from his discovery of a shout-out to the thirteen-years-dead Frank Sinatra in a live version of “Until the End of the World,” Taylor comments upon Bono’s many mentions of past concerts, prior locations…and dead people (Eunice Shriver, Greg Carroll, buried miners in New Zealand) from the stage, and how these seemingly unscripted one-liners establish both an oral history of the band and a “collective memory” for concert audiences.

“What would motivate such changes?” Taylor ponders.

Calendrical repetition, verbal repetition, and gestural repetition conspire upon U2’s gargantuan stages, weaving a ritualistic tapestry the band tosses over audiences like a playful papa blinding a laughing toddler with her “woobie.”  There’s more than meets the eye when Bono waves at Larry behind the drums, thrusts a finger in the air, or points his microphone at fans in the front row.  These are “concert-rical” connections that make each show special and enhance the universal appeal of each tour after the fact.

Remember Bono’s white flag at Red Rocks (Under a Blood Red Sky), or how he danced with a girl from the audience at Live Aid?  These small, spontaneous gestures mean a lot in the long run, says Taylor, establishing a fascinating “fixity” to how we recollect what the band has done.

We first saw U2 at Cleveland Municipal Stadium in October 1987 (on the third leg of The Joshua Tree tour). And it wasa transformative and magical concert—rife with ritual, studded with signature moments and yes, brimming with bricolage “now part of the toolbox of found objects that the band can employ in the future,” as Hamilton puts it.  The show did feel intimate, but we’re guessing that had more to do with our companions (and the booze) than anything the band was doing visually (we’re assuming it was U2; we couldn’t actually see Bono [and his broken arm] from the nosebleeds, and this was before the age of the Jumbo Tron).  They could’ve piped in a recording from some a previous show on the tour and thrown a lookalike band up there, and we wouldn’t have been the wiser.

But that’s just nitpicking—and from some thirty year on, no less.  We take Hamilton’s meaning, and will make it a point to pick up “U2 360 at The Rose Bowl” DVD as suggested.

Above, Across, and Beyond may tickle a few nostalgia tendrils, but it’s neither fanzine nor officially-sanctioned scrapbook.  This is heady stuff written by individuals who’ve given serious thought to U2’s “missteps, disappointments, failures…and ordinary problems.”  There are no glossy pictures of the group, young or old (there are no photos at all).  But there is ample (and stimulating) intellectual discussion of the Irish band’s “proclivity for change” in a world that doesn’t always welcome it.  And each of the eight articles (none longer than thirty pages) makes for an easy-to-digest, hour-long patch of premiere rock and roll reading.

“U2:  Above, Across, and Beyond—Interdisciplinary Assessments” on Amazon or order directly from the publisher by clicking here, then catch U2 on their Joshua Tree 30th Anniversary Tour.

U2 and Music Theory Series Debuted on @U2.com

Professor Christopher Endrinal, Florida Gulf Coast University, writes about U2 and music theory in “Theorectically Speaking,” a new series on @U2.

Theoretically SpeakingHave you ever been listening to a familiar song and suddenly noticed something new about it? This happens to me all the time, especially with U2’s music. If I hear something new or particularly interesting, my music theory training instinctively kicks in and compels me to dive deeper. That’s what this series, “Theoretically Speaking…”, is all about: an exploration of U2’s music through the lens of music theory.

His debut article is Rhythmic Representations of Uncertainty in ‘Zooropa.‘” 

U2 Tattoo Project’s “Ink, Icons, Identity” exhibit to open Aug. 15, 2016

From Professors Beth Nabi, University of North Florida, Jacksonville, and Christopher LeClere, Flager College:

The U2 Tattoo Project is excited to announce our first exhibit, “Ink, Icons, Identity: Exploring U2’s Brand Through Fan Tattoos,” running Aug. 15–26, 2016, in Jacksonville, Fla., at the University of North Florida Gallery of Art.

The exhibit will feature photos and multimedia displays of fans’ U2-related tattoos alongside some of the original artifacts that inspired these tattoos in an exploration of the transition from ephemeral marketing to permanent body modifications. Lectures and panels are being planned to accompany the exhibit, as well as a special fan gathering at the gallery Saturday, Aug. 20.

Look for more details in the coming weeks. Follow news and updates about the U2 Tattoo Project. 

New Study: Emotions in U2 Fan Videos

From this Media Release:

Music fans’ emotions could be used to help them find new songs online, according to research at the University of Strathclyde.

A study of 150 music videos made by U2 fans uncovered a range of methods, both visual and musical, used to convey emotion, through location, style of music and video content.

Dr Diane Pennington, a Lecturer in Strathclyde’s Department of Computer and Information Sciences, carried out the research. She said: “Although music holds no emotion in itself, it can elicit very deep emotions in listeners and performers.”

The videos were covers of U2’s Song For Someone, from their 2014 album Songs Of Innocence. They were made and posted on video streaming website YouTube, after the band invited their fans to create their own clips, which would “make (it) your song.”

The research found that the videos, and viewers’ responses to them, were highly individual but often also social, with shared emotions creating a sense of community.

It also found that such emotions could help to inform searches, recommendations and playlists in online music providers.

Dr Pennington said: “The emotion music evokes is the main reason people listen to it and many would like to be able to search for music videos that meet an emotional need, such as a desire to be cheered up.

“However, information retrieval systems, such as those used in video streaming sites, don’t currently support this well. To advance these systems, new systems need to be envisioned that go beyond traditional keyword-based or subject-based queries and process information requirements in new ways.

“I chose the Song For Someone clips as a case study after U2 called for fans to make them. This was because it would be a rich source of information and because, for their fans, U2’s songs and concerts are highly emotional; this is reflected in the content of the Song For Someone clips and the reactions they produced.

“Many of the cover versions were personalised by people recording their own versions in their houses or bedrooms, or including images of their loved ones. Others signified their devotion to U2 by using their original version to accompany the clip or by including U2 paraphernalia, such as t-shirts, posters and photos.

“Emotions are difficult to define tangibly and describing them in a way which could benefit information retrieval presents a challenge. However, this research could inform commercial music service providers on how they might include emotional factors in their recommendations and automatically created playlists.

“Allowing retrieval system users to search, browse and retrieve by positive emotions could also have a contribution to make to music therapy.”

Dr Pennington’s research has been published in the Journal of Documentation (doi.org/10.1108/JD-07-2015-0086)

 

Book Review: U2 Above, Across, and Beyond: Interdisciplinary Assessments

“This is heady stuff written by individuals who’ve given serious thought to U2’s ‘missteps, disappointments, failures…and ordinary problems.’ … [t]here is ample (and stimulating) intellectual discussion of the Irish band’s ‘proclivity for change’ in a world that doesn’t always welcome it. And each of the eight articles (none longer than thirty pages) makes for an easy-to-digest, hour-long patch of premiere rock and roll reading.” — Peter Roche, Cleveland Music Examiner

Read the full review here.

“U2 and The Beatles” Session at the PCA/ACA National Conference 2016

If you’ll be at the PCA/ACA national conference in Seattle March 22-25, 2016, you might want to catch “’Taking on the Shape of Someone Else’s Pain’: U2 and Irish Postmemory” by Jason Cash of Southwestern Oklahoma State University, on Tuesday, March 22, 1:15 p.m.2:45 p.m. 

From the description page:

Two songs on U2’s 2014 album Songs of Innocence, “Raised by Wolves” and “The Troubles,” return directly and indirectly to the band’s signficant engagement with Irish politics and violence. These songs explore the complex experience of historical trauma both as an observer and as a people steeped in a storytelling culture that celebrates and condemns militaristic nationalism, often at the same time. Using Marianne Hirsch’s concept of postmemory, a term she has used to describe the transmission of memories from survivors of the Holocaust to their children, this paper will argue that U2’s challenge and rejection of this process in popular media ensures that postmemory will continue. This paradox sheds light on the difficulty and the importance of reassessing inherited narratives continuously, a project with particular resonance for a band as self-aware as U2 and for a nation whose identity is as defined by storytelling as Ireland.

Cash’s presentation is the only one on U2, while there are three more on The Beatles. The full panel presentations are listed here.

The U2 Conference logo and site design by Beth Nabi.