“Hold Me, Thrill Me, Kiss Me, Kill Me” is a swirling, darkly seductive piece of U2’s lyricism, both a departure from and an echo of the themes that have marked the band's most resonant work. Bono’s lyrics here pulsate with a sense of conflicted identity, celebrity, and the dangerous allure of fame.
Written during U2’s Zoo TV era—a period defined by excess, irony, and exploration of media saturation—the song captures the tense, almost antagonistic relationship between artist and audience, fame and authenticity.
Bono presents a distorted self-reflection, grappling with the constructs of stardom and the inherent paradox of intimacy on a public stage. His voice, straining between confession and performance, brings to life the tension between vulnerability and bravado that stardom demands.
Thematically, this song dives into U2’s fascination with identity and the self, mirroring similar explorations in tracks like The Fly and Until the End of the World. Here, however, Bono’s words carry a darker, more seductive edge.
The lyrical command to “Hold me, thrill me, kiss me, kill me” feels less like a plea for intimacy and more like a provocation, a challenge to the audience. It reflects the addictive quality of fame—the need for love mingling with the eventual toxicity of adoration.
Bono, caught in the throes of his own constructed personas, critiques the very image he presents, using the audience as both participant and antagonist. This interplay reveals a vulnerability masked in cynicism, a nod to the emotional exhaustion inherent in life on display, reminiscent of his more vulnerable moments in Achtung Baby and Zooropa.
In BP Fallon's book 'U2 Faraway So Close' Bono suggests the lyrics are about "being in a rock 'n' roll band I suppose, being a star, whatever that is."
You just know what you got
Oh Lordy you've been stealing
From the thieves and you got caught
In the headlights of a stretch car
You're a star
Dressing like your sister
Living like a tart
They don't know what you're doing
Babe, it must be art
You're a headache in a suitcase
You're a star
Oh no, don't be shy
You don't have to go blind
Hold me, thrill me, kiss me, kill me
You don't know how you got here
You just know you want out
Believing in yourself
Almost as much as you doubt
You're a big smash
You wear it like a rash
Star
Oh no, don't be shy
It takes a crowd to cry
Hold me, thrill me, kiss me, kill me
They want you to be Jesus
They'll go down on one knee
But they'll want their money back
If you're alive at thirty-three
And you're turning tricks
With your crucifix
You're a star
Oh child, of course you're not shy,
You don't have to deny love
Hold me, thrill me, kiss me, kill me
In the broader arc of U2’s discography, “Hold Me, Thrill Me, Kiss Me, Kill Me” stands as a complex meditation on self-destruction and identity, a song that uses the language of romance to portray the fractured soul of a performer. By framing fame as an almost sacrificial exchange, Bono channels themes of martyrdom and resurrection, long-standing motifs in U2’s work, albeit stripped here of their redemptive light.
It’s a song that pulls U2’s audience into the tension between love and obsession, a haunting confession of the ways fame distorts the soul. The track’s lyrics serve as both invitation and caution, leaving listeners to question whether the relationship between fan and idol is one of adoration or annihilation—a theme that U2 would revisit in the darker, introspective work that followed, reminding us that every connection, every kiss, carries its own shadow.
Ultimately, the song's lyrics resonate as a commentary on the interplay of fame and personal turmoil, illustrating how the quest for validation can lead to both thrilling heights and profound existential crises. Recorded during the Zooropa sessions, the track's subsequent inclusion in the Batman Forever soundtrack underscores its thematic ties to the film's exploration of identity and moral ambiguity, amplifying its commentary on the darker side of fame in contemporary culture.
Written during U2’s Zoo TV era—a period defined by excess, irony, and exploration of media saturation—the song captures the tense, almost antagonistic relationship between artist and audience, fame and authenticity.
Bono presents a distorted self-reflection, grappling with the constructs of stardom and the inherent paradox of intimacy on a public stage. His voice, straining between confession and performance, brings to life the tension between vulnerability and bravado that stardom demands.
The lyrical command to “Hold me, thrill me, kiss me, kill me” feels less like a plea for intimacy and more like a provocation, a challenge to the audience. It reflects the addictive quality of fame—the need for love mingling with the eventual toxicity of adoration.
Bono, caught in the throes of his own constructed personas, critiques the very image he presents, using the audience as both participant and antagonist. This interplay reveals a vulnerability masked in cynicism, a nod to the emotional exhaustion inherent in life on display, reminiscent of his more vulnerable moments in Achtung Baby and Zooropa.
In BP Fallon's book 'U2 Faraway So Close' Bono suggests the lyrics are about "being in a rock 'n' roll band I suppose, being a star, whatever that is."
U2's "Hold Me, Thrill Me, Kiss Me, Kill Me" song lyrics from Batman Forever
You don't know how you took itYou just know what you got
Oh Lordy you've been stealing
From the thieves and you got caught
In the headlights of a stretch car
You're a star
Dressing like your sister
Living like a tart
They don't know what you're doing
Babe, it must be art
You're a headache in a suitcase
You're a star
Oh no, don't be shy
You don't have to go blind
Hold me, thrill me, kiss me, kill me
You don't know how you got here
You just know you want out
Believing in yourself
Almost as much as you doubt
You're a big smash
You wear it like a rash
Star
Oh no, don't be shy
It takes a crowd to cry
Hold me, thrill me, kiss me, kill me
They want you to be Jesus
They'll go down on one knee
But they'll want their money back
If you're alive at thirty-three
And you're turning tricks
With your crucifix
You're a star
Oh child, of course you're not shy,
You don't have to deny love
Hold me, thrill me, kiss me, kill me
-
It’s a song that pulls U2’s audience into the tension between love and obsession, a haunting confession of the ways fame distorts the soul. The track’s lyrics serve as both invitation and caution, leaving listeners to question whether the relationship between fan and idol is one of adoration or annihilation—a theme that U2 would revisit in the darker, introspective work that followed, reminding us that every connection, every kiss, carries its own shadow.
Ultimately, the song's lyrics resonate as a commentary on the interplay of fame and personal turmoil, illustrating how the quest for validation can lead to both thrilling heights and profound existential crises. Recorded during the Zooropa sessions, the track's subsequent inclusion in the Batman Forever soundtrack underscores its thematic ties to the film's exploration of identity and moral ambiguity, amplifying its commentary on the darker side of fame in contemporary culture.
, and one of the two new songs recorded for that album (the other one being the Oscar nominated "
. It was nominated for Best Original Song at the 75th Academy Awards but lost to Eminem's "
movie. It did win the less coveted Golden Globe for original song.
was written by Leonard Cohen and was recorded by U2 for soundtrack to the movie I'm Your Man. 
at the start, a none too subtle reference to New Orleans and Hurricane Katrina.
