U2 songs that 'name check' or reference real people

U2 has consistently demonstrated a profound connection to the world beyond their music, often weaving social, political, and personal narratives into their songwriting.

These direct mentions serve various artistic purposes, ranging from heartfelt tributes to influential figures and personal acquaintances to reflections on historical events and reactions to contemporary culture.

By analyzing these lyrical choices, a deeper understanding of U2's artistic vision and their engagement with history, culture, and personal experience emerges.

The deliberate act of naming specific individuals in their lyrics anchors U2's often expansive and spiritually inclined songs in a tangible reality, fostering a stronger connection with listeners through relatable human stories and legacies.

Song Title	Named / references Person(s)	Album/Single	Year of Release	Reason for Reference
Pride (In the Name of Love)	Martin Luther King Jr.	The Unforgettable Fire	1984	Tribute to his fight for civil rights and non-violent resistance.
MLK	Martin Luther King Jr.	The Unforgettable Fire	1984	Elegy and reflective tribute to the civil rights leader.
Angel of Harlem	Billie Holiday	Rattle and Hum	1988	Celebration of her legacy as a jazz singer and her connection to Harlem.
One Tree Hill	Greg Carroll, Víctor Jara	The Joshua Tree	1987	Remembrance of a deceased friend and honor to a martyred activist and singer-songwriter.
God Part II	Albert Goldman	Rattle and Hum	1988	Direct criticism of his biographies of musicians, particularly Elvis Presley and potentially John Lennon.
Elvis Presley and America	Elvis Presley	The Unforgettable Fire	1984	Reaction to an unflattering biography of the iconic singer by Albert Goldman.
The Ballad of Ronnie Drew	Ronnie Drew	Single	2008	Tribute to the lead singer of the Irish folk band The Dubliners, featuring collaborations with his contemporaries.
Walk On	Aung San Suu Kyi	All That You Can't...	2001	Dedicated to her fight for democracy in Burma and her years under house arrest.
Silver and Gold	Nelson Mandela	Rattle and Hum	1988	Live outro features a passionate tribute to Mandela's fight against apartheid.
The Miracle (of Joey Ramone)	Joey Ramone	Songs of Innocence	2014	Tribute to the lead singer of The Ramones and his influence on Bono.
Cedarwood Road	Guggi	Songs of Innocence	2014	Nostalgic reflection on Bono's childhood and friendship with Guggi on Cedarwood Road.
Stand Up Comedy	Napoleon, Josephine	No Line on the Horizon	2009	Figurative reference to illustrate ego and the pitfalls of fame.
Miss Sarajevo	Inela Nogić	Passengers Original Soundtrack Vol 1	1995	Highlights the story of the winner of the Miss Besieged Sarajevo contest during the Bosnian War.
Van Diemen's Land	John Boyle O'Reilly	Rattle and Hum	1988	Inspired by the story of an Irish activist deported to Tasmania.
Sweetest Thing	Ali Hewson	The Best of 1980-1990	1998	Written as an apology to his wife for forgetting her birthday.
All I Want Is You	Ali Hewson	Rattle and Hum	1988	About his wife's unconditional love and her attempts to soothe his struggles.
Peace on Earth	(Implicitly) Victims of Omagh Bombing	All That You Can't...	2000	Reflection on the tragedy of the Omagh bombing and a call for peace.
Dirty Day	Charles Bukowski	Zooropa	1993	Lyric references a collection of his poetry, acknowledging his literary influence.

Pride (In the Name of Love) - Martin Luther King Jr.

"Pride (In the Name of Love)," a cornerstone of their album The Unforgettable Fire, stands as a powerful tribute to the American civil rights leader Martin Luther King Jr.. The lyrics resonate with the spirit of King's struggle for equality and his philosophy of non-violent resistance. Notably, the song references the tragic event of King's assassination with the lines, "Early morning, April four / Shot rings out in the Memphis sky". 

While the actual shooting occurred in the evening, Bono has publicly acknowledged this factual inaccuracy and often corrects the lyric to "Early evening" during live performances. This willingness to address the error underscores the band's deep respect for King's legacy, emphasizing their commitment to honoring his memory even while acknowledging an initial oversight. The songwriting process involved research, with Bono drawing inspiration from Stephen B. Oates's biography of King, Let The Trumpet Sound. 

This indicates a genuine effort to understand and pay homage to King's life and work. The song's enduring power lies in its chorus, "In the name of love / What more in the name of love?", which encapsulates the central theme of King's message: the ultimate power of love and sacrifice in the pursuit of justice and equality. "Pride" has transcended its initial release to become one of U2's most beloved and frequently performed songs, often accompanied by poignant clips from King's speeches during their concerts. 

This continued performance highlights the timeless relevance of King's message and the song's role in preserving his memory for new generations. The focus on King's "pride" in the song's title offers an interesting perspective, transforming a concept often associated with arrogance into a positive attribute of self-respect and dignity in the face of systemic injustice. The title's interpretation shifts from a potential reference to the pride of oppressors to an affirmation of King's unwavering self-esteem and the collective pride within the civil rights movement. This nuanced use of language enriches the song's overall meaning. 

Initially, the band considered basing the song on Ronald Reagan's emphasis on American military strength, but the focus shifted to King, suggesting a deeper connection to themes of social justice and non-violence within the band. This change in direction indicates a conscious choice to prioritize a message of hope and positive social change over direct political critique, reflecting the band's evolving understanding of their music's potential to contribute to important societal conversations.
MLK - Martin Luther King Jr.

Appearing on the same album, The Unforgettable Fire, "MLK" provides a more reflective and somber tribute to Martin Luther King Jr.. Described as an elegy, the song is a concise and thoughtful piece characterized by its simple yet profound lyrics: "Sleep, sleep tonight / And may your dreams / Be realized". The brevity and directness of these lyrics contribute to the song's atmosphere of reverence and mourning for the fallen leader.  

Angel of Harlem - Billie Holiday

From the album Rattle and Hum, "Angel of Harlem" emerges as a vibrant and celebratory tribute to the iconic jazz singer Billie Holiday, affectionately known as "Lady Day" and "The Angel of Harlem". The lyrics are imbued with a deep admiration for Holiday and vividly evoke the atmosphere of New York City, particularly Harlem, the neighborhood where she lived and significantly contributed to the cultural landscape. 

The song features a direct reference to Birdland, the renowned jazz club located on 53rd Street, and also mentions other legendary figures in jazz such as John Coltrane and Miles Davis. This contextualizes Holiday within the rich history and tradition of jazz music. 

The lines, "Lady Day got diamond eyes / She sees the truth behind the lies," pay homage to Holiday's insightful and deeply emotional artistry, suggesting her ability to perceive and convey profound truths through her singing. 

U2's exploration of American roots music in Rattle and Hum led them to honor a pivotal figure in American jazz, demonstrating their appreciation for the diverse musical traditions that have shaped popular culture.

One Tree Hill - Greg Carroll and Víctor Jara

"One Tree Hill," a powerful track from The Joshua Tree, serves as a poignant dual tribute, commemorating Greg Carroll, a young New Zealander who forged a close bond with the band, and honoring Víctor Jara, a Chilean singer-songwriter and activist who became a symbol of resistance.

 Greg Carroll worked closely with U2 and became a cherished friend of Bono before his untimely death in a motorcycle accident. 

The song's title itself is a reference to a volcanic peak located in Auckland, New Zealand, a place that Bono visited in Carroll's company. This personal connection imbues the tribute with a deep sense of personal loss and remembrance. The evocative lyrics, "And when it's raining / Raining hard / That's when the rain will / Break my heart," poignantly reflect Bono's profound grief at Carroll's passing, conjuring the somber atmosphere of a wet night in Dublin, where the tragic accident occurred. 

The song also extends its tribute to Víctor Jara with the powerful lines: "Jara sang, his song a weapon in the hands of love / You know his blood still cries from the ground". 

Jara was brutally tortured and killed during the 1973 Chilean coup d'état, becoming an enduring symbol of resistance against the oppressive regime led by Pinochet. Bono's awareness of Jara's story grew after meeting René Castro, a Chilean mural artist, during Amnesty International's A Conspiracy of Hope tour.  

God Part II - Albert Goldman

"God Part II," featured on Rattle and Hum, stands as a direct response to John Lennon's introspective song "God" and includes a pointed critique of the American biographer Albert Goldman. The song mirrors the lyrical structure of Lennon's original, with Bono listing various things in which he does not believe.

 Notably, Bono explicitly mentions Goldman with the assertive lines: "I don't believe in Goldman / His type like a curse / Instant Karma's gonna get him / If I don't get him first". This reflects Bono's strong disapproval of Goldman's often controversial and unflattering biographies of prominent musicians, likely encompassing his critical work on Elvis Presley (as indicated in the context of "Elvis Presley and America") and potentially his writings on John Lennon himself. 

The subsequent reference to "Instant Karma's gonna get him" directly alludes to another iconic song by John Lennon, further solidifying the connection between "God Part II" and its primary inspiration. 

Elvis Presley and America - Elvis Presley

The track "Elvis Presley and America," also from The Unforgettable Fire, directly stems from Bono's reaction to an Albert Goldman biography of Elvis Presley, which he found to be unflattering in its depiction of the legendary singer. 

The song's creation was largely spontaneous, utilizing a slowed-down backing track of "A Sort of Homecoming" with Bono improvising the lyrics during the initial recording. This improvisational approach suggests an immediate and emotionally driven response to Goldman's interpretation of Presley's life.

 Bono initially considered the vocal track to be a preliminary sketch, intending to refine the lyrics and vocal arrangement at a later stage, but the raw and unpolished version was ultimately released. 

This adds to the feeling of a direct and unfiltered reaction to Goldman's biography. Although Presley is not explicitly named within the song's lyrics (the title itself serves this purpose), the song's very existence and its direct inspiration demonstrate U2's engagement with the lives and narratives of other musicians, particularly those whom they admire or feel have been unjustly represented. 

The experimental Passengers album took another go at the mystery and muscle of Elvis.

The Ballad of Ronnie Drew - Ronnie Drew

"The Ballad of Ronnie Drew," released as a single in 2008, stands as a heartfelt tribute to Ronnie Drew, the unmistakable and iconic lead singer of the esteemed Irish folk band The Dubliners. 

Notably, the song features collaborations with The Dubliners themselves, along with the Irish bands Kíla and A Band of Bowsies, transforming it into a collective celebration of Drew's remarkable life and significant contributions to Irish music. Ronnie Drew was a highly respected and deeply influential figure within the Irish music scene, widely recognized for his distinctive gravelly voice and his charismatic presence on stage. 

This song underscores U2's strong connection to their Irish musical heritage and their profound respect for artists who have played a crucial role in shaping the cultural identity of their country. 

By collaborating directly with Drew's contemporaries, U2 not only pays homage to him but also acknowledges their own place within the broader and enduring tradition of Irish music.

Walk On - Aung San Suu Kyi

"Walk On," a compelling track from the album All That You Can't Leave Behind, is explicitly dedicated to Aung San Suu Kyi, the Burmese academic and pro-democracy activist who garnered international recognition for her courageous efforts. 

The song was directly inspired by Suu Kyi's unwavering commitment to the fight for freedom and democracy in Burma, which tragically resulted in her being placed under house arrest for an extended period. Due to its dedication to Suu Kyi, the song faced a ban in Burma, highlighting the significant political impact of U2's music and their consistent willingness to take a public stand on critical human rights issues around the world. 

Initially, Bono approached the songwriting by attempting to capture the perspectives of Suu Kyi's husband and son, imagining the emotional toll of their separation and uncertainty. This demonstrates the empathetic approach Bono took in trying to understand the personal sacrifices involved in her activism. Suu Kyi herself later expressed her appreciation for the song to Bono, stating that it resonated deeply with her own feelings and experiences. 

However, in 2017, U2 publicly expressed its profound disappointment with Suu Kyi's silence on the Rohingya Muslim genocide, leading the band to shift the dedication of the song to the Rohingya people instead. 

This demonstrates U2's evolving perspective on complex political situations and their unwavering commitment to human rights, even when it necessitates challenging individuals they once admired. This song serves as a powerful example of U2's long-standing engagement with political activism and their consistent use of their musical platform to champion human rights and democratic ideals across the globe. 

The initial support for Suu Kyi and the subsequent change in dedication reflect a nuanced understanding of evolving political landscapes and a willingness to hold leaders accountable for their actions, regardless of past admiration.

Silver and Gold - Nelson Mandela

While the studio version of "Silver and Gold" from Rattle and Hum does not explicitly mention Nelson Mandela within its main lyrical content, a live recording of the song included on the same album features a powerful and impassioned outro delivered by Bono, directly praising the iconic anti-apartheid revolutionary. 

Bono's spoken outro vividly describes Mandela's background and his unwavering struggle against the oppressive system of apartheid in South Africa, culminating in the impactful lines, "This is a song about a man who grew up in a little shanty town outside of Johannesburg... a man who was ready to take up arms against his oppressor".

 At the time of this recording in 1987, Nelson Mandela was still unjustly imprisoned, making U2's vocal and public support a significant political statement against the apartheid regime. U2's connection with Nelson Mandela extended far beyond this song, with Bono actively participating in Mandela's 46664 AIDS charity for many years. This demonstrates a long-term and meaningful commitment to Mandela's cause and his vision for a more just and equitable world. 

U2 also wrote Ordinary Love with Mandela in mind. 

The Miracle (of Joey Ramone) - Joey Ramone

"The Miracle (of Joey Ramone)," a track from Songs of Innocence, serves as a direct and heartfelt tribute to Joey Ramone, the unforgettable lead singer of the highly influential punk rock band The Ramones.

The song's title itself explicitly names Joey Ramone and celebrates the profound impact he had on Bono's own musical journey. The lyrics draw a vivid comparison between the music of The Ramones and a "siren song," effectively conveying its powerful and transformative effect on listeners. Bono has recounted that witnessing The Ramones perform during his formative teenage years significantly reduced his self-consciousness about his own singing abilities. 

This personal anecdote reveals the deeply influential role that Ramone played in Bono's development as a frontman and his confidence as a performer. This song clearly demonstrates U2's acknowledgment of their own musical influences and their profound respect for artists who, even from seemingly different musical genres, paved the way for their own subsequent success. 

Cedarwood Road - Guggi

"Cedarwood Road," another introspective track from Songs of Innocence, offers a deeply personal reflection on Bono's childhood experiences and his enduring friendship with Guggi, a close friend who lived nearby on the same street. 

The song is explicitly dedicated "For Guggi," underscoring the personal nature of the tribute. The lyrics vividly paint a nostalgic picture of their shared youth on Cedarwood Road in Dublin, specifically mentioning a cherry blossom tree as a significant and symbolic landmark of their formative years. Adding further context and depth to the narrative, a spoken-word narration by Gavin Friday, another childhood friend from Cedarwood Road, provides additional details about their shared upbringing, directly mentioning Guggi by name and recounting their collective experiences as teenagers. 

This song offers a more intimate and personal glimpse into Bono's life, revealing the lasting importance of early friendships and the formative influence of his immediate environment during his childhood. 

Stand Up Comedy - Napoleon and Josephine

While not a direct tribute to historical figures in the traditional sense, "Stand Up Comedy" from No Line on the Horizon includes a metaphorical and somewhat whimsical reference to Napoleon and Josephine. The lyrics feature the lines: "Stand up to rock stars / Napoleon is in high heels / Josephine, be careful / Of small men with big ideas". 

This appears to be a commentary on the potential for inflated egos and the inherent absurdities that can accompany fame and success within the music industry. The historical figures of Napoleon, known for his ambition and relatively short stature, and his wife Josephine are used as a somewhat ironic and cautionary image. 

This instance represents a more figurative application of real historical figures within U2's lyrics. 

Rather than engaging with their historical significance directly, the reference serves to illustrate a broader observation about human nature and the potential pitfalls associated with achieving fame and influence. 

The comparison to Napoleon and Josephine injects a layer of subtle irony and wit into the lyrics, utilizing well-known historical figures to make a contemporary point about the music industry and the potential dangers of unchecked ego - subject Bono knows all too well. 

Miss Sarajevo - Inela Nogić

"Miss Sarajevo," a powerful and moving collaboration with Brian Eno and the renowned opera singer Luciano Pavarotti, directly references Inela Nogić, who gained international attention for winning the 1993 Miss Besieged Sarajevo contest during the harrowing Bosnian War.

 Nogić's image from the beauty pageant, a striking symbol of defiance and resilience, was prominently featured on the cover of the single.

 This visual connection immediately reinforces the song's central focus on her remarkable story. The beauty pageant itself was held in a basement in an attempt to evade the constant threat of sniper attacks, and it served as a powerful act of resistance, demonstrating that life and the human spirit would endure despite the ongoing siege. 

Nogić and the other contestants bravely held up a banner bearing the poignant message, "Don't let them kill us," a direct and impactful plea that resonated deeply with international audiences. 

Footage from the pageant was incorporated into a documentary film also titled Miss Sarajevo, which played a crucial role in raising international awareness about the devastating siege and the suffering of the people living in Sarajevo. 

Van Diemen's Land - John Boyle O'Reilly

"Van Diemen's Land," a more understated track from Rattle and Hum, draws its inspiration from the historical account of John Boyle O'Reilly, an Irish figure who was arrested for his opposition to British rule and subsequently deported to Australia, specifically to Tasmania, which was historically known as Van Diemen's Land. 

The song is performed solely by The Edge, featuring only his vocals and acoustic guitar, lending it a folk-song-like quality that evokes the historical period and the nature of O'Reilly's story. The lyrics speak of a man being forcibly transported for advocating for improved conditions, directly reflecting the circumstances of O'Reilly's activism and subsequent exile. 

This song demonstrates U2's connection to Irish history and their awareness of past struggles for independence, justice, and better social conditions. 

Sweetest Thing and All I Want Is You - Ali Hewson

While Bono has not always explicitly named his wife, Ali Hewson, in his songwriting, several U2 songs are undeniably inspired by or directly about their enduring relationship. "Sweetest Thing," notably included on the compilation album The Best of 1980–1990, was written by Bono as a heartfelt apology to Ali for having forgotten her birthday while the band was deeply immersed in the recording sessions for The Joshua Tree. 

This personal anecdote offers a glimpse into the human side of a globally famous rock star, revealing the everyday challenges of balancing the demands of a high-profile career with the importance of personal relationships. 

"All I Want Is You," a powerful ballad from Rattle and Hum, has been described by Bono as a song that reflects Ali's unwavering and unconditional love for him, as well as her acceptance of all aspects of his personality, including his struggles. Bono has clarified that Ali is, in fact, the central protagonist of the song, with the lyrics representing her perspective and her efforts to provide solace and support during his difficult times. 

This offers a deeply personal and mature perspective on the complexities of long-term love and commitment, moving beyond idealized notions of romance to acknowledge the realities of navigating life's challenges together. 

Peace on Earth - Victims of the Omagh Bombing

"Peace on Earth," a poignant track from All That You Can't Leave Behind, serves as a reflective lament for the victims of the devastating 1998 Omagh bombing in Northern Ireland. The Omagh bombing was a horrific act of terrorism that resulted in the tragic deaths of 29 individuals and two unborn children, leaving a lasting scar on the community. 

This tragedy occurred shortly after the signing of the Good Friday Agreement, a pivotal moment that brought a sense of hope for lasting peace to Northern Ireland. While the song does not explicitly name any of the individual victims of the bombing, it functions as a collective expression of grief and a heartfelt plea for enduring peace in the aftermath of this senseless violence. 

This song demonstrates U2's ongoing engagement with the political and social issues that affect their homeland, utilizing their music as a powerful medium to express profound grief and to advocate for the vital importance of peace and reconciliation in a region that has experienced significant conflict. 

Dirty Day - Charles Bukowski

"Dirty Day," featured on the album Zooropa, draws its inspiration not only from sayings commonly used by Bono's father but also from the literary works of the writer Charles Bukowski. 

Specifically, the lyric "these days, days, days, run away like horses over the hill" is a direct reference to a collection of poetry by Charles Bukowski titled The Days Run Away Like Wild Horses. Bukowski was renowned for his raw, often cynical, and deeply introspective portrayal of everyday life and the human condition. 

This song highlights U2's engagement with the world of literature and demonstrates how they draw inspiration from writers who explore themes of human experience in unconventional and often challenging ways. 

While "Dirty Day" is not explicitly about Charles Bukowski himself, the direct incorporation of his poetic imagery serves as a clear acknowledgment of his literary influence on the band's songwriting. The inclusion of a Bukowski reference suggests a thematic resonance between the song's exploration of father-son relationships and the passage of time, and the often gritty and introspective nature of Bukowski's literary work.

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I wonder if The Edge knows how to use this interactive Circle of Fifths chord finder tool

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Bono's deeply personal song lyrics about Mothers and Fathers

All good songwriters tap their family tree for lyrical inspiration now and then.

There's been plenty of popular songs that feature lyrics about parents and their children.

A classic example is Cat Steven's Father and Son and Cats in the Cradle by Harry Chapin.

It's with no great surprise then that Bono has chosen to reveal insights into his feeling about his family in a few of U2's songs.

Bono, U2's enigmatic frontman, frequently threads the theme of motherhood into his lyrics, often drawing from his own experience of losing his mother Iris at a young age. This personal tragedy has infused U2's music with an undercurrent of longing, loss, and the search for feminine strength and comfort. 

In songs like "I Will Follow" from their debut album "Boy," Bono explores the profound impact of his mother's death, conveying both the pain of loss and the enduring influence she had on his life. 

His ability to weave these deeply personal narratives into the band's music speaks to the universal nature of loss and the enduring power of a mother's influence, making these songs resonate with listeners on a deeply emotional level.

Here's some thoughts about a selected few...

U2 songs with themes about Mothers and Fathers

Mofo

Mofo, the sixth single flogged from the supposedly terrible Pop album, stands as one of the more frenetic and intense tracks in the band's catalog. With its aggressive techno beats and distorted sonic layers, the song encapsulates the band's experimentation with electronic dance music in the late 1990s. 

However, beneath its harsh exterior lies a deeply personal narrative, with Bono channeling the anguish of losing his mother, Iris, at a young age. 

The lyrics reflect a search for identity and connection, as Bono grapples with the void left by her death, making "Mofo" not just an artistic departure but an emotionally charged exploration of grief and longing. 

Bono would later refer to his mother again in Iris (Hold Me Close) from Songs of Innocence.

It featured this most incredible lyric of open reflection:

The star that gives us light
Has been gone a while
But it’s not an illusion
The ache in my heart
Is so much a part of who I am

Mothers of the Disappeared

The Mothers of the Plaza de Mayo, is a unique organization of Argentine women who have become human rights activists in order to achieve a common goal. For over three long decades, the Mothers have fought for the right to re-unite with their abducted children. It was this work that inspired Bono's lyrics.

The song is a poignant reflection on the universal pain of mothers who have lost their children to political violence. Bono's use of maternal themes in his lyrics not only provides a window into his personal grief and healing but also serves as a homage to the strength and resilience of mothers everywhere. 

 

Sometimes You Can't Make it On Your Own

The lyric was written by Bono as a tribute to his father, Bob Hewson, who died in 2001.

Bono sang this at his funeral.

In the video for the song it was prefaced with the following from Bono:

"My father worked in the post office by day and sang opera by night. We lived on the north side of Dublin in a place called Cedarwood Road. He had a lot of attitude. He gave some to me - and a voice. I wish I'd known him better."

The song shares similar parental sentiments as found in Kite from the All That You Can't Leave Behind album.

Tomorrow

The October album marks a pivotal moment in Bono's artistic journey, particularly in terms of how he grapples with spirituality, faith, and personal loss.

One of the standout tracks in this regard is "Tomorrow," where Bono confronts the deep emotional trauma of his mother’s death and wrestles with the notion of her afterlife, potentially encountering Jesus. The song is haunting, with its Irish folk influences and plaintive melody evoking a funeral procession, underscoring the weight of the grief and confusion he felt at such a young age.

In "Tomorrow," Bono’s lyrics are filled with both longing and uncertainty—he reflects on the devastation of losing his mother when he was just 14 and questions what comes after death, particularly in the context of his Christian beliefs.

The line “Won’t you come back tomorrow?” can be read as a desperate plea for his mother’s return, but also as an inquiry into resurrection and the hope of reunion in the afterlife.

The specter of her potentially meeting Jesus brings Bono’s spiritual crisis into sharp focus: his faith is both a source of comfort and a challenge, as he contemplates the mystery of life after death and the soul’s journey.

The First Time 

A song from the Grammy Award winning album, Zooropa, The first verse of The First Time hints at sentiments of falling in love for the first time or perhaps truly, madly, deeply falling for someone.

The lyric "I have a lover, a lover like no other" suggests the latter perhaps is true.

The second verse refers to the love of a brother who would do anything for his sibling - the word brother could easily stand in for friend here as well. 

The final verse talks of the love between a father and son that perhaps has gone sour.

Collectively these three different settings make for a great story and makes you wonder what kind of person is telling this story and how do those elements relate to one another?

Indeed, there's almost a hint of the Prodigal Son story surrounding the entire fabric of the song. 

Dirty Day from the same album features a line from Bono of which his Dad used to say "I don't know you and you don't know the half of it", "No blood is thicker than ink", "Nothing's as simple as you think", and "It won't last kissing time."

I will follow

A boy tries hard to be a man
His mother takes him by the hand
If he stops to think, he starts to cry
Oh why

"I Will Follow," from U2's debut album Boy, serves as a vivid reflection of Bono's deep grief following the loss of his mother when he was 14 years old. The song pairs post-punk energy with emotionally charged lyrics that delve into the confusion, longing, and anguish of a young boy dealing with such a monumental loss. 

The opening lines, "I was on the outside when you said you needed me," suggest a sense of disconnection and self-doubt, capturing the void left by his mother's absence. The refrain "If you walk away, walk away / I will follow" conveys an unwavering desire to stay connected, even beyond life.

The urgency of the music mirrors the chaos of grief, with lyrics that blend vulnerability and defiance. The image of "eyes making a circle" evokes the cyclical nature of memory and loss, as Bono processes the permanent absence of his mother while struggling to keep her presence alive in his mind. "I Will Follow" becomes an anthem for resilience, symbolizing the transformative journey from pain to self-realization. The track remains a cornerstone of U2's exploration of themes like personal loss and spiritual endurance.

Songs of...  parents

U2's journey through their last two albums, "Songs of Innocence" (2014) and "Songs of Experience" (2017), offers a profound narrative arc that encapsulates themes of youth, maturation, loss, and reflection. 

These albums are not just collections of songs but a diptych, where each complements and contrasts with the other, mirroring William Blake's thematic exploration in his poems "Songs of Innocence and of Experience." 

U2's exploration in these albums is deeply personal, reflecting their own lives, the environment they grew up in, and the poignant experiences of losing parents.

"Songs of Innocence," released in 2014, serves as a retrospective journey into the band's youth in Dublin. The album is an introspective examination of their early life experiences, touching on their upbringing in Ireland's tumultuous sociopolitical landscape. Songs like "Cedarwood Road" and "Iris (Hold Me Close)" are particularly illustrative of this theme. 

"Songs of Experience," released three years later, is a more contemplative work, looking at life from the vantage point of maturity. This album reflects on themes of mortality, legacy, and the wisdom gained through experience. It's a continuation and a response to the innocence depicted in the previous album.

Songs like "The Little Things That Give You Away" and "13 (There is a Light)" demonstrate a more reflective and philosophical approach. The former delves into the complexities of life and relationships, acknowledging the small details that can have profound impacts. "13 (There is a Light)" can be seen as a thematic sequel to "Song for Someone" from "Songs of Innocence," offering a message of hope and resilience, a light that continues to shine despite life's challenges and losses, including the loss of parents.

The lyrical journey in these albums is not just a personal reflection for U2 but also serves as a universal exploration of human experiences. The band effectively weaves their personal narratives with broader themes, making these albums not only a reflection of their journey but also relatable to anyone who has experienced the innocence of youth and the wisdom that comes with age and experience. The portrayal of Ireland, not just as a physical location but as a canvas of their formative years, adds a rich, cultural layer to their narrative, embedding their personal stories within the larger tapestry of Irish history and social dynamics.

Want to know more about some other U2 lyrics? Check out 10 U2 Love Songs.

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What U2 songs does The Edge sing on?

What U2 songs does The Edge sing lead vocals on?

In the expansive discography of U2, a band renowned for its distinct sound and profound impact on the music industry, the contributions of the guitarist David Howell Evans, better known as The Edge, extend beyond his innovative guitar techniques and backing vocals. 

The Edge's role as a vocalist, although less prominent than that of the lead singer Bono, offers a unique and compelling dimension to U2's music. 

The Edge's vocal contributions, characterized by their clarity and emotive resonance, provide a contrast to Bono's more dominant and robust singing style. 

His voice, often described as introspective and ethereal, adds a layer of subtlety and depth to the songs he leads. The exploration begins with "Seconds" from the 1983 album "War," where The Edge's vocals punctuate the song's anti-nuclear message with a sense of urgency and starkness. This track stands as an early example of his ability to convey powerful themes through a more restrained vocal delivery.

Numb

"Numb" was released as Grammy Winner, Zooropa's first single. 

Numb is a repeating, monotonous mantra spoken by The Edge with a drumbeat sampled from the Leni Riefenstahl film Olympia. 

"Numb" also features backing vocals by Bono and Larry Mullen, Jr i.e. while The Edge sings in a slow rap monotone while Bono sings around it in his 'opera' voice. Bono did the same on Zooropa, the Johnny Cash track. 

Here's the video of Numb as it's a classic!

Van Diemen's Land

Van Dieman's Land was the original name used by Europeans for the island of Tasmania, Australia. The lyrics were written and sung by U2's one and only The Edge. 

The song is dedicated to a Fenian poet named John Boyle O'Reilly, who was deported to Australia because of his poetry and Fenian leanings. 

The track itself is from Rattle and Hum.

Sunday Bloody Sunday

During the Pop Mart tour, The Edge took lead vocal duties live on stage for this song. Edge sang alone and without accompaniment from the rest of the U2 band, save for his own guitar and capo on the second fret.

You're The Best Thing About Me

From Songs of Experience, The Edge sings a full verse near the end of the song:

"I can see it all so clearly
I can see what you can’t see
I can see you lover her loudly
When she needs you quietly"

The Edge is also noted as singing the first half of the song "Seconds" from War, dual vocals with Bono in "Discotheque" from the Pop album, and the bridge in the song "Miracle Drug" (though there's some debate about that).

Recently The Edge sang the last verse on Country Mile from the How to Dismantle an Atomic Bomb reissue.

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U2 lyrics that explore religion, Jesus, Yahweh and The Good Book

It seems almost obligatory to do a post on U2's spiritual side. They are perhaps the world's most popular Christian band after all!  I say Christian very loosely though as for some people that kind of connotation can turn them right off  but U2's is most definitely a band that is not shy of exploring their spiritual lyrical side.

Bono, U2's main lyric writer, is a noted musical magpie who steals lines from the Bible to help with his song crafting. Indeed, there's a whole page of bible references Bono has made across the U2 song catalogue.

You could almost put U2's song lyrics into two distinct camps - songs about spirituality and songs about politics (such as nuclear war). 

You could throw in a third camp about of U2's love songs if you wanted but since when has 'love' not ever been spiritual or a matter of politics?

Jesus is a popular man in U2 songs, along with mentions of Yahweh, the references to the Koran and a few other Saints - so I thought  I'd feature a few U2 song lyrics that show case Bono's spiritual side and give a little insight into what I think the lyrics mean and perhaps give a little context on the genesis of some of them...

I Still Haven't Found What I'm Looking For

Many people suddenly found themselves to be U2 fans in the late 80s when The Joshua Tree album started topping charts around the world.

Helping lead the charge was I Still Haven't Found What I'm Looking For which is the gold standard if you are looking for a U2 song that focuses on a spiritual yearning. 

Stealing the line from the Bible's 1 Corinthians 13:1: "If I speak in the tongues of men and of angels, but have not love, I am only a resounding gong or a clanging cymbal." Bono directly references Corinthians 13 in Elvis Ate America from the Original Soundtracks Vol 1.

Bono sung  "I have spoken with the tongue of angels" thus heralding to the world where he was coming from yet he then signalled his mischievous side with the following lyric that he had also 'held the hand of the Devil'.

Wake Up Dead Man from the Pop album

In tough times people often turn to their spiritual advisor for support - Wake Up Dead Man is Bono trying to get a direct line with Jesus to come and fix "the fucked up world'.

Originally written during the Zooropa recording sessions, the final version ended up on Pop as an effective album closer.

Fun aside, Hold Me Thrill Me Kiss Me Kill Me also came from the Zooropa recording sessions and asks a question of Jesus.

Gloria 

The lyrics of "Gloria" from U2's October album are a powerful expression of spiritual yearning and the tension between human limitations and divine transcendence. Bono uses the Latin phrase "Gloria in te Domine" (Glory in you, Lord), immediately situating the song within a religious context, invoking a direct appeal to God. 

The chorus, with its repetition of "Gloria," echoes a form of worship, a plea for connection with the divine. The verses reflect a personal struggle—Bono sings of feeling both empowered by faith and constrained by doubt, as he expresses the desire to "sing out loud," but feels his "voice can't take the strain." This contrast between the desire for liberation and the awareness of human frailty runs through the song, capturing the essence of spiritual conflict. 

"Gloria" is about searching for God amidst life's chaos, seeking to break free from earthly confines to embrace something higher. The recurring imagery of rising and being lifted points to a longing for spiritual elevation, while the song's soaring melody mirrors this aspiration. 

Ultimately, "Gloria" is both a cry for help and an act of devotion, reflecting Bono's ongoing quest for faith and purpose, which is a central theme of the October album.

Yahweh

A beautiful track from U2's How to Dismantle An Atomic Bomb, Yahweh's lyrics are a reflection of Bono's faith (as the son of a Catholic father and an Anglican mother) and points to the differences in the power that he believes between God and mankind. 

The word 'yahweh' has traditionally been by transliterated from the word Jehovah. Jehovah is often described as "the proper name of God in the Old Testament".

Larry, Bono, Edge and Adam, hold the bike while I get on?

Sunday Bloody Sunday

A protest song about the political troubles that have face the people of Ireland, its inspiration was a couple of events where soldiers shot civilians in Northern Ireland. 

The Derry massacre, or Bloody Sunday, was deeply intertwined with the religious divide between Catholics and Protestants in Northern Ireland, where Catholics, largely identifying as Nationalists, sought reunification with the Republic of Ireland, while the Protestant Unionists favored continued British rule. 

The religious divide was a driving force behind the sectarian violence, with British military intervention being perceived by many Catholics as siding with the Protestant-dominated government.

Until the End of the World

This has proved to be an incredibly popular song from U2's Achtung Baby and has been played on just about every tour U2 have done since that album was released in 1991.

In U2 fan circles, the song is semi-legendary for being interpreted as a fictional conversation between Jesus and Judas following the betrayal in the Garden of Gethsemane.. The lyrics subtly convey a deep sense of remorse on Judas's part, suggesting that he came to regret his actions after betraying Jesus. This spiritual theme delves into the weight of guilt, forgiveness, and the consequences of moral failure, culminating in Judas’s tragic decision to take his own life. The song invites listeners to reflect on themes of redemption, betrayal, and the complex human emotions tied to spiritual crises.

Tomorrow

A classic earnest lyric from Bono, the song reflects a period in his life when he was grappling deeply with his faith, mortality, and spiritual identity. 

The October album, in particular, marks a pivotal moment in Bono’s songwriting, often referred to as the "God Watch" phase. This phase was characterized by an intense personal search for meaning, fueled by the loss of his mother and the existential questions that followed. 

His mother's death, which occurred when Bono was a teenager, left a lasting impact on him, and this grief permeates much of the album's lyrical content, as he contemplates life, death, and what lies beyond.

Bono's lyrics reflect internal dialogue about his relationship with God, his struggles with doubt, and the idea of meeting Jesus. It's as if the songs are meditations or prayers, filled with both yearning and uncertainty, as Bono navigates the tension between his faith and the harsh realities of life. 

Stranger in a Strange Land

The lyrics of U2's "Stranger in a Strange Land" evoke the biblical story of the Road to Emmaus from Luke 24, where the resurrected Jesus appears as a stranger to two of his disciples. Throughout their journey together, the disciples fail to recognize him until he breaks bread with them, revealing his true identity. 

This theme of spiritual blindness and revelation resonates in the song's lyrics, with Bono seemingly drawing parallels between the experience of feeling disconnected from or alienated within the world and the deeper spiritual realization that can suddenly arise in unexpected moments. 

The metaphor of being a "stranger" captures the human condition of searching for meaning, struggling with faith, and the longing for a connection that transcends the ordinary—similar to how the disciples, initially lost and disillusioned, found hope and recognition in Jesus once their eyes were opened. 

If God Will Send His Angels

It's hard to discern the actual message of this song. The lyrics possibly suggest the character is living in a world where they need some help and they need some angels to come and sort things out.

The line "where is the hope, and where is the faith, and the love?" hints at a lost soul that needs some guidance in light of a world they are concerned about such one where the cartoon network leads into the news and the blind lead the blondes.

The song featured on the City of Angels soundtrack and was a fairly popular single from the Pop album.

Salome

Salome is inspired by the story of the death of John the Baptist which was from the gospel of Mark.

Supposedly a seductive dancer (in the modern-day vernacular, she'd be known as a stripper) Salome's super gyrations convinced the King to grant her a wish to which she asked for the head of John.

Pretty random story and sounds like something that got lost in translation when the Bible got rewritten. It's either that or Oscar Wilde had an overactive imagination. 

These eight songs were only a taste of the many songs that Bono has imbued with lyrics that refer to the Bible or have looked into an 'ecumenical' matter of sorts - Gloria, for example, could probably have a whole essay written about it.

The Wander

In "The Wanderer" from Zooropa, Johnny Cash's vocals paint a vivid picture of a man drifting through a dystopian landscape, searching for meaning in a morally bankrupt world. His journey takes him through the "capitals of tin," a metaphor for modern cities where superficiality reigns, and freedom is stifled, symbolized by the line "where men can't walk or freely talk, and sons turn their fathers in." This chilling observation reflects a society where trust is broken, and even familial bonds are sacrificed for survival or conformity.

As he stops outside a church, Cash highlights the paradox of people desiring the comforts of a spiritual kingdom but rejecting the divine presence itself—"they say they want the kingdom, but they don't want God in it." 

This speaks to a hollow, materialistic spirituality devoid of true faith or connection. The wanderer continues his ride down "that old eight lane," a symbol of the vast, impersonal highways of modern life, passing countless signs, searching for his identity, but finding nothing. His journey is both physical and spiritual, one of existential longing, as he went out "with nothing but the thought you'd be there too, looking for you," a poignant reflection of the hope that perhaps in this desolate world, he might find someone who shares his quest for meaning, love, or redemption. 

The song, rich with metaphor, explores themes of isolation, disillusionment, and the relentless pursuit of something greater in a fractured world.

What other songs do you think show U2's spiritual side? What do they mean for you?

2 comments God / Jesus / Bible / Religion Lyric Reference, lyrics, u2, wake up dead man

10 songs that show Bono's lyrical qualities

The one thing that truly stands out for me when thinking about the brilliance of U2 is not their songs, the drums, or riffs.

 
Nor is it the hype and hyperbole of one of the world's most popular bands.

It's simply Bono's lyrics.

Bono has written the vast majority of U2's lyrics and in many of them, you can find some true gems of penmanship, little sparkles of lyrical bliss that took a good song and put it into the territory of musical greatness.

I suggest that while some non U2 fans take any chance to diss Bono, they would be really grumpy buggers if they denied that Bono was a great lyricist.

Like a good poet, Bono's lyrics feature a whole range of subjects - love and loss, drugs, faith, faith in drugs, gods, Elvis and other monsters and of course, politics and its prisoners. He can sometimes get a little dark, touching his inner Darth Vader.

This work leaves ample room for an inquiry into U2's lyrics, especially when The Edge chips in the odd song.

10 songs that show Bono's lyrical writing qualities

What rhymes with achtung?

So what are Bono's best lyrical moments and qualities? 

What's his inspiration for putting pen to paper?

What makes Bono's lyrics so well received by millions of listeners and readers around the world?

I can't speak for anyone else but I thought I could share 10 U2 songs which I think highlight Bono's mastery of his craft.

Some things are simply clever word plays, others are stories of delight and irony - a thing which Bono and the boys were very heavy on in the 1990's.

Trabants on stage anyone?

10 songs that show Bono's lyrical qualities

One

Perhaps second only to With Or Without you in terms of popularity, it is arguably U2's finest song and I believe the lyrics are what make this so - I think this is because it's one of those songs where the lyrics can mean anything and everything to anyone.

At work last week a manager did a pop quiz and asked what this song was about. The answers varied from 'it's about a gay couple' or 'two torn lovers'.

I think Bono's actually on record in the U2 by U2 book as One being a song about a couple that's breaking up.

But that doesn't matter as its words are universal and have been taken to heart by so many U2 fans - indeed some have even had it as their wedding song which I'm sure would be a delicious irony for Bono. 

The Wanderer

"They say they want the kingdom but they don't want God in it".

I think that's Bono perfectly capturing the wishes of so many of us.

We want the nice things, but aren't prepared to put in the effort.

Or something.

For me, The Wanderer always seemed like some post apocalyptic dream - and it's perhaps a sign of a great song where it allows you to shape your own thoughts and fantasies around it (well when Bono mentions the 'atomic sky', that's nice nudge).

Indeed, the whole of Zooropa's lyrics seem to take me to a strange other world, where in some places it's OK to feel numb or taste the lemon but spit out antifreeze.

Original of the Species

The title is suggestive of what's to come in this song, a play on Darwin's epic work about evolution - the song's lyrics are possibly a father looking at his daughter's own evolution from - child to woman.

The second half is more likely Bono singing to his wife (and the message in the first half could also before her) - either way both, themes are heartwarming.

If God Will Send His Angels

'Blind leading the blond' is perhaps my favourite U2 lyric ever. It's just a cleverly simple play on words.

Bono does that trick a fair bit in the Pop album - an almost too cute example is from The Playboy Mansion which opens with the lyric "If Coke is a mystery, and Micheal Jackson, history...".

It was a nice play on the failing career of Jackson and a play on the name of his Greatest Hits album.

Sunday Bloody Sunday

Bono defiantly wears this song's lyrics on his sleeve.

A song about soldiers shooting civilians in Northern Ireland - the lyrics capture the moment crisply by invoking a cross fire between religion and the military (and by extension the State) and the sad consequences when both collide.

Featuring a fine use of  a marching drum beat by Larry Mullen, the song's chorus is a defining moment for Bono - it was one of U2's first truly popular 'classic' songs and it many ways this song defined U2 as a band that could carry some political weight.

U2 would return to this theme with "Please" and "The Troubles".
.

Until the End of the World

"In my dream I was drowning my sorrows
But my sorrows, they learned to swim
Surrounding me, going down on me
Spilling over the brim

Waves of regret and waves of joy
I reached out for the one I tried to destroy
You, you said you'd wait
'Til the end of the world"

Simply one of Bono's finest song writing moments.

Water is commonly used as a metaphor life yet here's Bono drowning in his sorrows.

The song can be seen as a obvious story about how Judas betrayed Jesus and thus seen as one of those "U2 going on about God and spiritually" type songs but as with all good lyrics they can mean anything.

I tend to see this one more of a dramatic break up between two lovers where the relationship perhaps has been bit one sided.

The Wanderer

"They say they want the kingdom but they don't want God in it". I think that's Bono perfectly capturing the wishes of so many of us.

We want the nice things, but aren't prepared to put in the effort.

For me, The Wanderer always seemed like some post apocalyptic dream - and it's perhaps a sign of a great song where it allows you to shape your own thoughts and fantasies around it (well when Bono mentions the 'atomic sky', that's nice nudge).

Indeed, the whole of Zooropa's lyrics seem to take me to a  strange other world, where in some places it's OK to feel numb or taste the lemon but spit out antifreeze.

Please 

Not a hugely popular song on release as a single but I think time has shown that Please was a fine song from U2's Pop album.

Lyrically it was a political plea, invoking the captains of Irish politics to sort their messes out (The Troubles).

The listener would perhaps know the song had political connotations if they had seen the cover which featured Gerry Adams and other elected leaders - however this stanza effectively leaves no stone unturned as Bono thows a rock in the air to hit home the issues:

Your Catholic blues, your convent shoes
Your stick-on tattoos, now they're making the news
Your holy war, your northern star
Your sermon on the mount from the boot of your car

Strong stuff from an album many people were quick to write off.

Get on Your Boots

One could be forgiven for thinking that Get on Your Boots was simply a throw away song by U2 ( indeed one wonders why they released it as the first single from No Line on the Horizon when Magnificent probably would have given them a hit single) however the lyrics of this song run deep.

Almost a stream of consciousness, tripping through its seemingly nonsensical words but when Bono writes "I don’t want to talk about the wars between the nations" is he saying everything or just burying his head in the sand?

All I Want is You

This is Bono's finest love letter he has ever written.

The closing from Rattle and Hum is simply a man tell a woman how he loves her - it's perhaps not the happiest song with undertones suggesting things may have gone awry - indeed the tremendous coda at the end suggests a passionate love affair being ripped apart by uncaring forces.

A good lyric deserves a fine musical backing and All I Want is You has it in spades.

Summary

So that was my attempt to highlight some of the fine lyrical qualities and charms that Bono and U2 have to offer.

Of course, with any interpretation of songs, the whole exercise is a subjective journey, indeed a musical journey that could have stopped at a completely different set of songs.

Bono is a bit of a lyrical magpie.

He steals lines from the bible and riffs on the work of others (such as when he tried to write a sequel of sorts to John Lennon's 'God') to make his point. But he does that and gets his unique messages across to the listener very well.

If someone hasn't already printed a book featuring all of U2's lyrics, they surely will as they serve as some fine literature in their own right. Throw in some politcal rallying and a little love making and there's a best seller book of poetry on your hands....

What are your favourite lyrical moments from U2?

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