On July 13th, 1985, apparently every major rock act on Earth played the Live Aid concert for african dearth relief, hosted primarily in Philadelphia ’ s JFK Stadium and London ’ s Wembley Stadium and circulate to over a billion people cosmopolitan. backstage at Wembley, U2 met some of their heroes, including Pete Townshend, David Bowie, Paul McCartney, and Muhammad Ali. Freddie Mercury flirted with Bono, who was previously unaware that the Queen singer was brave .
20 madly Great U2 Songs only Hardcore Fans Know
U2 hit the stage in London at 5:20 post meridiem Greenwich Mean Time ( 12:20 post meridiem on the East Coast of the States ) ; they had a 20-minute slot between Bryan Adams and the Beach Boys ( both performing in Philly ). After being introduced by Jack Nicholson ( “ a group that ’ s never had any problem saying how they feel ” ), U2 kicked off their set up, which they intended to be three songs long, with “ Sunday Bloody Sunday. ”
0:00 Bono introduces U2 ’ s moment song, while we see aeriform footage of tens of thousands of fans at Wembley. ( Hey, England has the Goodyear blimp excessively ! ) “ We ’ re an irish band, ” Bono says by way of introduction. “ We come from Dublin City, Ireland. ” ( Circa 1985, the two facts fooling fans knew about U2 were that they were Irish and Christian. ) “ Like all cities, it has its good and it has its bad, ” Bono continues. “ This is a song called ‘ Bad. ‘ ” A act of a push transition, but hey, the clock is ticking .
0:20 Bono is wearing a puffy white shirt and a black, vaguely military, jacket, accessorized with a bolo tie affiliation and a crucifix dangle in front man of his throat. He ’ randomness in black leather pants. The most strike thing about his appearance is the glorious mullet, complete with blond highlights, gloriously crowning his oral sex. On a day with many outstanding hairstyles, Bono ’ south is far from the best, but it may be the most memorable .
0:23 Bassist Adam Clayton, standing behind Bono, is in head-to-foot grey. He ’ second removed the sunglasses he wore during “ Sunday Bloody Sunday. ” He looks scruffy and dazed, as if he just rolled out of bed on a submarine .
0:25 We get a wide shoot of the crowd, which has lots of banners reading “ U2 ” – some of which were visible during the sets of earlier bands. U2 has intelligibly won the hearts and minds of the crucial british chauvinistic demographic. At this charge, U2 was scratching on the door of the U.S.A. – their sole crown 40 individual, “ Pride ( In the mention of Love ), ” topped out at Number 33 – but in the U.K. they had scored three Top 10 singles and two chart-topping albums. U2 managed to koran a Live Aid slot that would maximize their american vulnerability – they supported the induce of ending african dearth, but they besides knew the air had the potential to break them to a much larger audience. The night before the display, however, U2 ’ s management called Live Aid organizer Bob Geldof at 2 ante meridiem and threatened to pull them out unless they got a soundcheck. Geldof responded “ Fuck ’ em, ” and the isthmus played as planned .
0:37 Some backing synth-like sounds have been playing lightly, but now we get the actual afford of the birdcall, a lick that insinuates itself and keeps looping back on itself, like the ouroboros snake swallowing its own tail. The Edge wrote variations on this guitar root for a long clock ; “ Bad ” is probably the best, but two years late, “ I however Haven ’ thymine Found What I ’ molarity Looking For ” would become the most successful version .
0:40 A wide-screen watch of U2. Clayton towels himself off and drinks some water, waiting for his cue. The Edge wanders out of frame. Drummer Larry Mullen Jr. consults with a roadie and audibly bangs his sticks together. Cameramen dressed in white attempt not to get in the way .
0:56 Bono starts singe : “ Bum-bum-ba-bum-bum/Satellite of love, ” he croons, quoting Lou Reed ’ s 1972 song “ Satellite of Love. ” In 1985, it felt like a boastfully deal that a concert could be happening simultaneously in two locations : separated by an ocean, linked by a satellite in the sky. It was real-life science fabrication, impressive and a little chilling. identical few people imagined that twenty-nine years later, those telecommunications satellites would offer up U2 ’ s operation to you, about anywhere, on need via a telephone you kept in your pocket .
1:22 Extreme closeup on Bono, letting us inspect his nose hair and the quality of his shave that morning. “ If you twist and turn away, ” he sings, beginning his own lyrics. On The unforgettable Fire, produced by Brian Eno, “ Bad ” was a mucky album track buried on side two. “ That is potentially a truly bang-up song… if I had finished it, ” Bono said. “ It was identical unmanageable to do, about an impossible collision of cultures for us. It was a different kind of songwriting, like Philip Glass meets Astral Weeks, Van Morrison crossed with German electronica. You have sequences which are inflexible and metronomic and then you have a freshwater bass which is improvising all the way, and the voice excessively. We were struggling so hard to find that song. ” While the studio version of “ Bad ” was inert, on go U2 played it compulsively in soundcheck, until the song came to life .
1:54 As the drums and bass kick back in, we get a side position of the stage, with the Edge in the foreground. His white shirt is untucked ; at historic period 23, his hairline is receding faster than the flush tide. This is one of the last times he will leave the house without a hat .
2:46 A see of the push reveals that “ Bad ” appears not to be sending its members into a craze. ( In paleness, they were in the in-between of their sixth hour of music : “ pace yourself ” is the count two rule at any rock ‘n’ roll festival, behind only “ drink lots of water. ” ) Visible at the front of the stage : a small cordoned area of about twenty dollar bill photographers, taking distillery pictures. Mullen Jr. settles into a martial groove .
“ If I could free myself/I ’ five hundred set your spirit free, ” Bono sings with his eyes closed, blocking out the 72,000 people in front of him, and the billion or so people watching around the world .
3:15 Rear view. Clayton is grooving to the song, while Bono is, no lie, dancing ! Yes, the penetrate half of his body is intelligibly moving in a rhythmical manner. Bono continues to cling to the microphone, lest his newfound font of felicitous feet lead him to do something inexpedient, like jump off the phase. “ Whoo-hoo ! ” he sings, “ Whoo-hoo-hoo. ” At that moment, his vowels provide more emotional liberation than actual words could .
3:43 “ So let it go/and so fade away, ” Bono belts, as the television camera zooms in on his correct profile and the band brings the simmering music to a boiling point. The lyrics of “ Bad ” don ’ thyroxine translate well to line-by-line analysis – they ’ re about the lay waste to of heroin, but you probably wouldn ’ thymine know that if the set hadn ’ deoxythymidine monophosphate told you. They are, however, highly evocative, summoning up longing and defiance. And with this “ fade aside ” line, Bono taps into decades of rock history, encompassing “ not Fade Away ” by Buddy Holly, the Stones ’ cover of that song, Bruce Springsteen ’ s single “ Fade Away, ” and Neil Young ’ s refrain in “ Hey Hey, My My ( Into the Black ) ” that it ’ randomness better to burn out than to fade away. Bono has zeroed in on the lapp addict ache that made Kurt Cobain quote Neil Young ’ s lyric in his suicide note nine years former .
4:00 “ Wide awake ! I ’ molarity wide wake up ! ” Bono belts, sweat on his brow. then a syllogism : “ I ’ m not sleeping. ” The lyric was intended as a refutation of the heroin life style : staying awake rather than nodding off in a narcotic haze. But against the backdrop of a concert about suffering in Africa, it plays as a song about striving to do good in the world, quite than regarding your own navel .
4:12 A cameraman finds that rock-show staple : a girl in a tanktop seated on person ’ mho shoulders. meanwhile, Bono detaches his microphone from the stand and strides to the front of the stage, where he kneels down ; you can see a bombastic clock behind him, in the wings on the correct side of the phase. The fourth dimension in London is 5:30 p.m .
A roadie with curly hair untangles Bono ’ s microphone cord with intense stress. This is Greg Carroll, a Maori man from New Zealand ; in the year leading up to Live Aid, he had become the band ’ sulfur adjunct and one of Bono ’ mho best friends. Almost precisely one year after this operation, Carroll would die in a motorbike accident in Dublin ; a shattered Bono wrote the song “ One Tree Hill ” about him .
4:32 Bono hits a entire clam : “ possibly they ’ five hundred tell me what I should say, ” he sings, squeaking “ they ’ five hundred ” like a adolescent hitting puberty, driving by his mean note like he ’ sulfur doing 60 miles per hour past a take-out window .
5:17 Bono tentatively puts a high-heeled kick – his right one – on the monitors in front of the stage, and then leans forward, trying to get closer to the audience, which makes him look like the front man on a ship, possibly the S.S. FEED THE WORLD. Bono then enters the valley of the “ tion ” rhymes : “ desperation/separation/condemnation/revelation/in temptation/isolation/desolation/isolation. ” This is, honestly, a dirty rhyme schema, but somehow he pulls it off. It ’ second no worse a lyric than “ your eyes make a circle ” on “ I Will Follow ” – two eyes, by definition, make a line .
6:04 Bono channels David Byrne for a brief sideways dance, center between the Watusi and an epileptic seizure .
6:09 Bono drops the microphone with a brassy clop. He roams the stage, trying to exhort the herd, feeling that something in the set ’ randomness operation is lacking. Searching for it, he jumps down onto the stage ’ s apron : a narrow platform in front of the main stage and its monitors, about two feet lower. He runs the length of the apron, towards something on stage right : disappointingly, it ’ s a cadre of photographers.
6:32 “ I don ’ deoxythymidine monophosphate like the outdistance between stage and crowd, ” Bono said later. “ I don ’ deoxythymidine monophosphate like the distance between performer and consultation. So I ’ megabyte looking for a symbol of the day, something I can hold onto. ” He tries a whoremaster he ’ sulfur done at shows before : pulling a girl from the hearing, the same way Bruce Springsteen would find a live dance partner for “ Dancing in the Dark. ” Bono makes eye contact with a girl in the front row and gestures with both hands : come here .
That girl is a young Brit, Melanie Hills. “ Bono looked at the hearing and abruptly looked towards me, ” she remembered. “ I was looking around : me ? me ? And they were saying, yeah, you, you, get up there. Oh my God. And thus the security men grabbed me, but they wouldn ’ t pull me directly onstage. They took me around. so I think he thought that I ’ five hundred equitable fainted because I was then overcome by what was going on. ”
6:50 Melanie Hills is extracted from the scrum by security guards in bright yellow vests. ( Years later, Bono would suggest that he was trying to help fans who were getting crushed, but his elementary motivation seems to have been finding a consequence that would elevate U2 ’ randomness set beyond the everyday. ) Bono keeps gesturing broadly, like he ’ mho playing charades with a slow-on-the-uptake partner. He ’ s now pointing at the female child who was standing next to Melanie : her sister, Elaine Hills. apparently, he ’ randomness hoping that security will hoist her up onto the apron with him, but they ’ re not doing it .
“ I was making sure the eye contact was decidedly happening, ” said Elaine, who wanted to make certain that Bono wasn ’ t actually summoning another female child in her general vicinity. Security extracts her from the movement rowing. “ I was whisked off, ” she said, “ and I didn ’ triiodothyronine know where I was being whisked to. ”
7:17 Bono, frustrated that the girls are not being lifted up to him onstage, vaults off the apron and onto the muddy land approximately ten-spot feet below, out of view of the ring and most of the crowd at Wembley, but not the television cameras. ( Years late, Mullen joked with Bono, “ I don ’ t think you realized that once you climbed polish, it was like a two-mile walk to get to the punters. ” ) Bono gestures to a one-third girlfriend in the crowd and security pulls her out. There are 72,000 fans in attendance at Wembley Stadium ; if Bono keeps up this pace, pulling fans over the security barriers one by one, he can get the entire herd over the barricades in precisely 12 and a half days .
The third daughter is 15-year-old Kal Khalique. She is not in the front row because she wants to be near to Bono. “ My sister and I were desperate to see Wham !, so we had made it down to the front of the stage, ” she explained. ( George Michael and Andrew Ridgeley made a guest appearance during Elton John ’ south set three and a half hours former. ) That ’ south right : Bono has selected a fan whose tastes run less along the lines of “ New Year ’ s Day ” and more to “ Wake Me Up Before You Go-Go. ”
7:40 Khalique is pulled out of the crowd and Bono wraps her up in his arms. They stagger back a few steps, and then start slow-dancing, her head buried in Bono ’ s shoulder. Khalique looks happy but overwhelm. It ’ s taken a fortune of feat, but Bono has found the dramatic moment he ’ south been striving for, breaking down the barrier between the bands and the fans. “ I didn ’ thymine know that when I was holding on to her I ’ five hundred be holding on to the respite of the world, ” Bono said late. He kisses Khalique ’ mho hand, and then kisses her on the buttock. Their whole confrontation lasts about 20 seconds – she walks away with her bridge player on her brow, obviously in a state of shock, while Bono sprints off through the mud and the break down pop bottles .
8:10 Cut to the phase : It has been two hearty minutes since we saw the Edge, Clayton or Mullen, when Bono dropped the microphone and left them to play on. even more relevant to the other three members of the dance band : when Bono jumped off the edge of the stage, they lost ocular contact, like he was an Apollo condensation on the darkness side of the moon. Two minutes can be an eternity in front of a live crowd, let alone a global television hearing .
During that clock, the three musicians have been heroically vamping, with Clayton throwing in minor but compel variations on his bassline. “ How long can we do this for ? ” Mullen said he thought to himself. “ It was kind of excruciating. We didn ’ t know whether we should stop, we didn ’ t know where he was, we didn ’ triiodothyronine know if he had fallen. ”
As the Edge remembered it, “ Bono ’ s dive into the crowd went a bit incorrect because he had so a lot stuff to climb over to get to the front row. It was a massive stadium indicate with multiple barriers and television camera tracks and a level difference between the stage and the deck that must have been twenty feet. We lost sight of him completely. He was gone for then retentive I started to think possibly he had decided to end the set early and was on his direction to the dress room. I was wholly shed, and I ’ thousand looking at Adam and Larry to see if they know what ’ s going on and they ’ ra looking back at me with complete panic across their faces. ” He concluded, “ I ’ meter just glad the cameras didn ’ triiodothyronine show the pillow of the band during the solid drama, because we must have looked like the Three Stooges up there. ”
just as the band is about to stop play, Bono clambers up a ladder, through a group of photographers and back onto the proscenium, in clear watch again .
Bono belated admitted, “ I ’ five hundred gone AWOL to try and find a television moment and forgot about the birdcall. ”
8:18 Melanie and Elaine Hills are standing on the apron, waiting for Bono. He embraces Melanie and twirls her around, and then pulls Elaine in to join the hug, giving her a kiss on the brow. “ It was a actually boastful wet kiss, ” Elaine said. “ And he had all this stubble and perspiration and I thought, whoo. ”
Bono wheels around, his right branch outstretched, looking for a microphone, knowing that Greg Carroll will bring one to him. In his field of imagination on degree proper is the clock : it ’ south now 5:34 in London. Carroll detaches the microphone from its stand and jumps onto the apron, handing it to Bono .
8:36 “ Kick it off ! ” Bono shouts, audible once more. As Elaine Hills climbs off the apron to rejoin the crowd, Bono walks over and plants another snog on her. Mullen goes into a dramatic fill, relieved to have a break from the cram model he ’ s been playing over and over. “ here we go ! ” Bono yells. He knows that his venture into the crowd has taken all the clock time allotted for the dance band to play their third sung, “ Pride ( In the identify of Love ) ” – this will be U2 ’ s final sung of the day. so when he launches back into “ Bad, ” he gives it everything he has : “ Let it go ! Go ! Go ! Go ! Let it go ! ”
9:43 After an electrifying refrain, the band returns to the like lap they ’ ve been vamping on. Bono sings “ I ’ thousand not sleeping, ” and starts quoting other rock songs : foremost the Rolling Stones ’ “ Ruby Tuesday, ” which he turns into a singalong. then the Stones ’ “ Sympathy for the Devil, ” throwing his body into a doubled-over spasm on each line, before seguing into Lou Reed ’ s “ Take a walk on the Wild Side. ” Tens of thousands of people sing “ Doo doo doo, doo-doo-doo-doo, ” and Bono raps a modified translation of the lyrics : “ Holly came from Miami, F-L-A/Hitchhiked all the way across the U.S.A./She could hear the satellite coming down/Pretty soon she was in London town : Wembley Stadium. ”
Bono has frequently enhanced “ Bad ” with snatches of early songs – the final score at Live Aid was two by the Stones, two by Lou Reed. sometimes included in this era, but not on this day : the Beatles ’ “ norwegian Wood ( This Bird Has Flown ) ” and Elton John ’ s “ Candle in the Wind. ”
11:30 “ Thank you, ” Bono tells the crowd. “ God bless you. ” He drops the microphone like he ’ mho just won a pat battle, clambers back onto the independent degree, and walks past his bandmates while they play that riff yet again. On his manner out, Bono grabs a white towel and waves to the crowd, who are now ecstatic .
11:56 The television ends with a brief inject of a helicopter : footage of Phil Collins making his travel from Wembley to Philadelphia via the Concorde. besides on the Concorde : Cher, who obviously had no idea Live Aid was happening. “ She asked what was going on, ” Collins said. “ I told her about Live help and she asked whether I could get her on. I told her just to turn up. ”
After this video recording : U2 had a huge argument backstage. Mullen, Clayton, and the Edge were dysphoric with Bono ’ south venture into the push, which hung them out to dry and denied the set a probability to play their biggest strike, “ Pride ( In the name of Love ). ” The consensus among the four band members was that their performance had been awkward and earthbound. “ We felt like we ’ d blown an opportunity to be big, ” Mullen said .
“ It was a bang-up day, but I thought I had fucked it up, ” Bono said. He flew home to Ireland with his wife Ali, visiting her parents in Wexford, brooding about what felt like a massive failure. Over the following workweek, however, the band discovered that their performance was considered by most observers to be the day ’ s eminent point ( alongside Queen ’ s triumphant dress ). far from being a blow opportunity, it was a career-making consequence that returned all their albums to the U.K. charts, established them in the U.S.A., and transformed them into cosmopolitan stars. The band begrudgingly had to admit that Bono ’ s instinct as a performer trumped their sensible show-biz plans.
The Edge said, “ It actually took us by surprise when people started talking approximately U2 as one of the noteworthy performances of the day. I thought they were joking, I truly thought we were crap. But looking back, as I did a week late, I started to see what it was. It was the sense of substantial, total hazard, which is constantly very exciting for a live consequence, and Bono ’ s complete determination to make physical liaison with the crowd and finally getting there after two minutes of struggling over barriers. I think there was something about the feat he had to put in to do it that somehow made it even more brawny. ”
Considering Live Aid years subsequently, Bono summed up U2 ’ s set : “ Crap good, bullshit haircuts, and we didn ’ t end up playing the hit ‘ Pride ( In the appoint of Love ) ’ because the singer fucked off into the crowd – isthmus wanted to fire me as a solution – and it turned out to be one of the best days of our life. Explain that. Ask God, he credibly knows. ”
research aid : Lauren Paylor, Killian Young, and Erin Kelly