U2's 'Pop' album lyrics + meaning interpretation

Pop was the U2 juggernaut kicking back into a high gear following the sonic exploration that was Original Soundtracks Vol 1.

Pop was U2 unashamedly trying to do something new again and saw them testing the waters of electronica. While some people thought U2 took it too far, Pop produced the delightfully goofy Discotheque, the classic pop song of Staring at the Sun and the oft overlooked but perfectly judged Please (a song which covered the Irish Troubles).

Bono said in U2 by U2, "The title of the album was a piece of deliberate misinformation, and a spectacular own goal as far as the rock audience were concerned they didn't like pop".

Emerging at the twilight of the 20th century following Zooropa and Original Soundtrack Vol 1., the album captures a world grappling with material excess, technological upheaval, and existential questioning. Central to its themes is the critique of a culture increasingly defined by surface-level distractions. 

Songs like “Discothèque” and “Do You Feel Loved” revel in the hedonistic allure of modern life, yet beneath their vibrant, dance-infused veneers lies a sharp irony. These tracks expose the emptiness of superficial pleasures, reflecting the tension between desire and fulfillment.

Another key theme is spiritual yearning in the face of moral and existential ambiguity. 

Tracks such as “If God Will Send His Angels” and “Wake Up Dead Man” wrestle with crises of faith and the search for meaning in a world that seems increasingly detached from divine presence. Bono’s lyrics question God’s silence amidst suffering, embodying a raw vulnerability that contrasts with the album’s ironic and playful exterior. 

Pop examines spirituality not as a straightforward answer but as a struggle, a reaching out in the dark for redemption or clarity.

Finally, Pop addresses the fractured nature of human relationships in a consumer-driven world. Songs like “Last Night on Earth” and “Gone” convey a sense of loss—whether of innocence, connection, or authenticity—amidst the noise of fame and materialism. The album frequently juxtaposes intimate emotional struggles with broader cultural critiques, creating a tapestry where the personal and political blur. 

Through its layered lyrics and experimental soundscapes, Pop serves as a reflection of the late-1990s zeitgeist: a world seduced by its own reflections, yearning for substance but trapped in cycles of excess and illusion.

 U2's ' Pop' album lyrics + meaning interpretation 

1. "Discothèque"
2. "Do You Feel Loved"
3. "Mofo"
4. "If God Will Send His Angels"
5. "Staring at the Sun"
6. "Last Night on Earth"
7. "Gone"
8. "Miami"
9. "The Playboy Mansion"
10. "If You Wear That Velvet Dress"
11. "Please"
12. "Wake Up Dead Man"

Pop's B-sides

The singles were accompanied by a rich array of experimental B-sides that expanded on the album’s themes and showcased the band’s creative range.

The "Discothèque" single featured the gritty "Holy Joe (Garage Mix)" and its alternate "Guilty Mix," while "Staring at the Sun" included the reflective "North and South of the River" and the atmospheric "Your Blue Room" (which came from the Passengers album)

"Last Night on Earth" offered the playful "Pop Muzik (Pop Mart Mix)" and the darkly reimagined "Happiness Is a Warm Gun (The Gun Mix)." The "Please" single added depth with "Dirty Day (Junk Day Mix)" and the haunting "I’m Not Your Baby (Skysplitter Dub)."

Finally, "If God Will Send His Angels" provided fans with gems like the Willie Nelson collaboration "Slow Dancing," the poignant "Two Shots of Happy, One Shot of Sad (written for Frank Sinitra)," a live rendition of "Sunday Bloody Sunday" from Sarajevo, and the pulsating "Mofo (Romin Mix)."

Pop's chart positions around the world

Pop achieved remarkable commercial success worldwide, reflecting the band's enduring popularity and global appeal. 

The album debuted at number one in several countries, including the United States, where it entered the Billboard 200 chart and remained in the top tier for several weeks, selling over a million copies. 

In the UK, Pop also secured the top position on the UK Albums Chart, marking U2's eighth consecutive number one album in the region. 

The album performed exceptionally well across Europe, dominating charts in countries such as Germany, France, and Switzerland. Notably, Pop reached the top ten in numerous territories, including Australia, Canada, and several Scandinavian countries, showcasing its international resonance. 

However, despite its strong chart performance, the album received mixed critical reviews, which influenced its long-term reception.

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"Holy Joe" (Guilty mix) Song Lyrics by U2

"Holy Joe" is an ironic, self-aware exploration of consumerism, self-image, and the absurdities of modern life, blending humor with deeper thematic undercurrents. 

The lyrics oscillate between seemingly superficial commentary and subtle critiques of materialism and moral ambiguity. Lines such as “It’s not what I want, it’s what I need” encapsulate a tension between desire and necessity, parodying the justifications often made for indulgence.

The invocation of "Holy Joe" as a central figure suggests both a mocking nod to moral superiority and a critique of the self-righteous tendencies lurking in modern aspirations for authenticity. This juxtaposition of satire and sincerity reflects the spirit of Pop, a record that revels in irony while probing deeper truths.

The "Guilty Mix" of "Holy Joe" wraps these themes in a playful, dance-inflected arrangement, emphasizing the song’s irreverence and energy. The repetitive calls of “Come on, come on, come on, be good to me” serve as a mantra that underscores the insatiable nature of modern longing, whether for validation, indulgence, or connection.

Lyrics like “Having the best time of anybody’s life, closer than ever to everybody’s wife” amplify the tongue-in-cheek tone, painting a picture of overstated self-indulgence and relational absurdity. The track leans into a self-mocking persona, reveling in its contradictions and reinforcing its critique of how people navigate the intersection of personal desires and societal expectations.

"Holy Joe" (Guilty mix) Song Lyrics by U2

I, I'm a humble guy
No, really I try
You know it's hard sometimes
True and hard working too
Working it up to get to see you
Sham sham sham shampoo

Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe

Please, don't make me say please
To champagne and ice cream
It's not what I want, it's what I need
Precocious, just a little precocious
Expialidocious, yeah yeah yeah
Devotion and some appreciation
A little heavy rotation looks good on me
You know it's not hard
I can think of a lot harder, oh yeah
Just wanted the moment to last a little longer, yeah

Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe

Having the best time of anybody's life
Closer than ever to everybody's wife, oh yeah
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on, come on
Be good
Here it comes, here it comes
Holy Joe

-

"Holy Joe" holds a distinctive place in U2’s history as a Pop-era B-side performed live only once, during a promotional event for the PopMart tour on February 12, 1997, at a Kmart in New York City. The venue itself—a budget-conscious retail chain—was a deliberate, tongue-in-cheek nod to the consumerist themes central to Pop and its satirical embrace of commercial culture.

By choosing to play "Holy Joe" in this context, U2 underscored the song’s playful irony and critique of , aligning it with the bold conceptual ethos of the era. 

Its singular performance adds to the track’s mystique, reflecting its role as a deep cut tied to the moment rather than a recurring live staple. This one-off live rendition captures U2’s ability to blend art and commerce with a wink, embodying the experimental spirit that defined their late-1990s reinvention.

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"Wake Up Dead Man" Song Lyrics U2 - Pop

In U2’s “Wake Up Dead Man,” the final track from their 1997 album Pop, the band confronts one of the darkest corners of the human experience: the profound longing for salvation amid overwhelming despair. Released at the height of U2’s sonic experimentation, Pop is often defined by its blend of electronica, dance rhythms, and rock, but "Wake Up Dead Man" stands apart as a somber, meditative plea.

Bono's direct address to Christ—framed as a desperate, almost accusatory call—suggests not just a spiritual quest, but a confrontation with the divine in a world seemingly abandoned by faith.

It marks a raw and vulnerable moment in U2’s discography, balancing their ongoing tension between searching for meaning in a fractured world and maintaining a personal dialogue with the divine.

At the heart of "Wake Up Dead Man" is a visceral expression of spiritual despair, with Bono grappling with the seeming absence of God in a world rife with suffering. Lyrics such as "Jesus, Jesus help me" and "I'm alone in this world and a fucked up world it is too" offer a stark portrait of a soul in crisis.

The use of profanity in these lines reflects a radical honesty—an anguished cry from someone who feels forsaken. It is a plea for intervention, a raw acknowledgment of how the sacred seems painfully out of reach. In this, the song becomes a lament, not just for personal pain, but for a world lost to violence, injustice, and confusion. It captures the intense emotion of feeling abandoned by a higher power, while simultaneously demanding that this power wake up and take action.

The existential weight of "Wake Up Dead Man" lies in its questioning of faith’s role in a broken reality. It is a prayer stripped of optimism, grappling with the idea that belief alone may not be enough to repair the shattered world.

 

"Wake Up Dead Man" Song Lyrics U2

Jesus, Jesus help me
I'm alone in this world
And a fucked up world it is too
Tell me, tell me the story
The one about eternity
And the way it's all gonna be

Wake up, wake up dead man
Wake up, wake up dead man

Jesus, I'm waiting here boss
I know you're looking out for us
But maybe your hands aren't free
Your father, he made the world in seven
He's in charge of Heaven
Will you put a word in for me

Wake up, wake up dead man
Wake up, wake up dead man

Listen to the words, they'll tell you what to do
Listen over the rythm that's confusing you
Listen to the reed in the saxaphone
Listen over the hum of the radio
Listen over sounds of blades in rotation
Listen through the traffic and circulation
Listen as hope and peace try to rhyme
Listen over marching bands playing out their time

Wake up, wake up dead man
Wake up, wake up dead man

Jesus, were you just around the corner
Did you think to try and warn her
Or are you working on something new
Is there an order in all of this disorder
Is it like a tape recorder
Can we rewind it just once more

Wake up, wake up dead man
Wake up, wake up dead man
Wake up, wake up dead man

-

"Wake Up Dead Man" transcends individual spiritual despair by using Bono’s personal plea for divine intervention as a lens through which to examine a broader, collective human struggle with societal issues, war, and personal pain. The song’s stark juxtaposition of faith and doubt—an enduring theme in U2’s music—reaches new intensity here, as the rawness of Bono's lyrics strips away any illusion of resolution or redemption.

His direct appeals to Christ serve not only as expressions of individual crisis but as reflections on a world torn by violence and suffering, where faith seems inadequate in the face of overwhelming chaos.

Several U2 songs share a similar lyrical context to "Wake Up Dead Man," exploring the tension between faith, doubt, and the struggle for meaning in a broken world. "I Still Haven't Found What I'm Looking For," from The Joshua Tree, embodies a spiritual quest for fulfillment, where belief and yearning coexist in a search for something greater that remains just out of reach. The song juxtaposes deep faith with an admission of spiritual incompleteness, echoing themes of longing and frustration.

Another track, "Until the End of the World," from Achtung Baby, delves into the emotional and spiritual turmoil of betrayal, using biblical imagery to explore guilt and fractured relationships, both human and divine. "Moment of Surrender," from No Line on the Horizon, mirrors the raw vulnerability of "Wake Up Dead Man," portraying a soul lost in crisis, searching for redemption while grappling with personal failings and disconnection from the divine.

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"Please" Song Lyrics by U2

U2's "Please," from the Pop album, is a haunting exploration of the political and emotional toll of The Troubles in Northern Ireland. The song reflects the band's deep frustration with the violence and division that characterized the conflict.

By drawing on the personal cost of political strife, Bono uses the lyrics to convey both individual disillusionment and a larger, collective plea for peace. The opening lines, "So you never knew love until you crossed the line of grace," introduce a sense of exhaustion with the cycle of violence, suggesting that recognition of its futility often comes too late, only after irreversible harm has been done.

The song’s refrain, "Please... get up off your knees," can be seen as an appeal to political leaders to abandon empty rhetoric and take concrete action for peace. This phrase critiques the passivity of relying on faith or entrenched ideologies to solve the conflict. It also underscores the hopelessness many felt during The Troubles, when political solutions seemed distant, and peace was continually delayed.

The single cover for this song features the pictures of four Northern Irish politicians — Gerry Adams, David Trimble, Ian Paisley, and John Hume in an effort to draw attention to the issues.

Bono said of the song in U2 by U2 that is was about a "certain kind of person you'd meet in middle class Dublin. who are very sympathetic to the IRA paramilitaries and provide the support base for militant REpublicanism. It's people who think ideas more valuable than other people. It was the Docklands bombing that it referred to an the breakdown of peace talks in Northern Ireland but after 9/11 it became impossible to sing." 

The lyric "Your holy war, your northern star" encapsulates the religious and ideological motivations driving the violence. The Protestant-Catholic divide, a core element of the conflict, is evoked through this imagery, highlighting how deeply ideology entrenched the divisions. Bono’s plea for truth, to "stop living a lie," signals the false promises and justifications for violence that political and religious leaders continued to perpetuate, further prolonging the suffering.

U2's "Please" song lyrics from the Pop album 

So you never knew love
Until you crossed the line of grace
And you never felt wanted
Till you had someone slap your face
So you never felt alive
Until you almost wasted away

You had to win, you couldn't just pass
The smartest ass at the top of the class
Your flying colours, your family tree
And all your lessons in history

Please, please, please
Get up off your knees
Please, please, please
Please

So you never knew how low you'd stoop
To make that call
And you never knew what was on the ground
Until they made you crawl
So you never knew that the heaven you keep
You stole

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

Please, please, please
Get up off your knees
Please, please
Leave me out of this mess

So love is hard and love is tough
But love is not what you're thinking of
September, streets capsizing
Spilling over, down the drain
Shards of glass, splinters like rain
But you could only feel your own pain
October, talk getting nowhere
November, December
Remember, are we just starting again

Please, please, please
Get up off your knees
Please, please, please
Please
So love is big, it's bigger than us
But love is not what you're thinking of
It's what lovers deal, it's what lovers steal
You know I found it hard to recieve
'Cause you, my love, I could never believe

Check out the lyrics to "If God Will Send His Angels" which was a popular song from Pop.

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"If You Wear That Velvet Dress" Song Lyrics by U2

"If You Wear That Velvet Dress" from Pop (1997) captures a moment of vulnerability and introspection, wrapped in an atmosphere of sensual melancholy. The imagery of the moon "playing tricks" and the narrator feeling "sea sick" evokes disorientation and a longing for emotional equilibrium. 

The titular "velvet dress" becomes a symbol of temptation and allure, embodying the delicate interplay between intimacy and restraint. These opening verses set a mood of quiet yearning, reflecting the internal conflict of someone torn between desire and self-control.

As the song unfolds, it explores themes of seduction and surrender, framed through nocturnal imagery. The narrator’s acknowledgment of vulnerability—comparing himself to a "two-year-old" craving more—reveals a deep emotional exposure, contrasting the controlled allure of the velvet dress. The song's minimalist arrangement heightens its introspective tone, allowing the weight of the lyrics to resonate. 

The repeated references to light and darkness, such as "her daylight that gets me through," suggest a search for salvation or grounding in the midst of temptation.

"If You Wear That Velvet Dress" Song Lyrics by U2

Tonight, the moon is playing tricks again
I'm feeling seasick again
The whole world could just dissolve
Into a glass of water
I've been good 'cause I know you don't want me to
Do you really want me to be blue as you?
It's her daylight that gets me through
We've been here before
Last time you scratched at my door
The moon was naked and cold
I was like a two-year-old
Who just wanted more
If you wear that velvet dress
If you wear that velvet dress
Tonight, the moon's drawn its curtains
It's a private show
No one else gonna know
I'm wanting
Sunlight, sunlight fills my room
It's sharp and it's clear
But nothing at all like the moon
It's okay
The struggle for things not to say
I never listened to you anyway
And I got my own hands to pray
But if you wear that velvet dress
If you wear that velvet dress
Tonight the moon is a mirror-ball
Light flickers from across the hall
Who'll catch the star when it falls

-

Ultimately, the song is an intimate reflection on the complexities of love and longing, where physical and emotional desires intertwine. Its subdued delivery and atmospheric production mirror the tension between control and surrender. The velvet dress becomes both an object of allure and a metaphor for the fragility of human connection, making the song a haunting meditation on the beauty and peril of vulnerability in relationships.

Check out the lyrics to Mofo.

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"The Playboy Mansion" Song Lyrics by U2

The lyrics of “The Playboy Mansion” from U2's Pop delve into the human obsession with material wealth and societal validation, using the iconic Playboy Mansion as a metaphor for the hollow pursuit of success. The narrator contemplates the cultural allure of symbols like Coca-Cola, with its secret recipe and global appeal, and Michael Jackson, whose physical transformations embodied an extreme attempt to defy aging and conform to societal ideals. 

These references underscore the commodification of identity and the lengths individuals go to achieve perceived perfection. The narrator’s question, “What am I to do?” encapsulates the existential anxiety of chasing an unattainable ideal, exposing the deep dissatisfaction that often accompanies material aspirations.

The song’s gambling motif frames the pursuit of fame and fortune as a kind of religion, where success is reduced to chance and divine intervention is conflated with winning the lottery. Lines like “let my numbers come around” reveal the desperation of a society that places blind faith in luck rather than seeking meaningful fulfillment. 

This gamble mirrors the way individuals stake their self-worth on fleeting, external achievements, highlighting the futility and spiritual cost of such pursuits. The narrator’s entreaties to God, clumsy yet heartfelt, reflect a deeper yearning for acceptance and redemption, even as the focus remains misdirected toward worldly success.

At its core, “The Playboy Mansion” critiques the spiritual displacement inherent in a culture that equates material prosperity with divine favor. The narrator conflates the exclusivity of the Playboy Mansion with the biblical promise of heaven, emphasizing society’s distorted priorities. 

This misalignment reveals a broader commentary on how modernity trades eternal values for temporary pleasures. The song’s satirical edge amplifies this critique, inviting listeners to question whether the success they chase is truly fulfilling or merely a hollow substitute for deeper purpose. Through its clever use of pop culture imagery and spiritual undertones, the song serves as a poignant reflection on the emptiness at the heart of materialism.

"The Playboy Mansion" Song Lyrics by U2

If Coke is a mystery
And Micheal Jackson, history
If beauty is truth and
Surgery, the fountain of youth
What am I to do
Have I got the gifts to get me through
The gates of that mansion

If O.J. is more than a drink
And a big mac bigger than we think
If perfume is an obsession
And talk shows, confession
What have we got to lose
Another push and we'll be through
The gates of that mansion

I never bought a lotto ticket
I never parked in anyone's space
The banks, they're like cathedrals
I guess casinos took their place
Love "come on down"
Don't wake her, she'll come around
Chance is a kind of religion
Where you're damned for plain hard luck
I never did see that movie
Never did read that book
Love come on down
Let my numbers come around

Don't know if I can hold on
Don't know if I'm that strong
Don't know if I can wait that long
Till the colours come flashing
And the lights go on

Then will there be no time for sorrow
Then will there be no time for shame
And though I can't say why
I know I've got to believe
We'll go driving in that pool
It's who you know that gets you through
The gates of the Playboy Mansion
But they don't mention the pain

Then will there be no time of sorrow
Then will there be no time for shame
Then will there be no time of sorrow
Then will there be no time for shame

-

Check out the lyrics to Wake Up Dead Man, Bono's haunting plea for divine intervention in a broken, disillusioned world, where the desperate cries for guidance and hope are met with silence, reflecting the existential anguish of seeking meaning and moral clarity in the face of spiritual absence and societal decay.

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"Miami" Song Lyrics by U2

In 2005, Q magazine included the song "Miami" in a list of "Ten Terrible Records by Great Artists.... it's from the Pop album. This author tends to agree, however lyrically, its a bit of fun.

The song is a fragmented and satirical exploration of the superficiality, consumerism, and artifice that often define modern life, as personified by the titular city. The lyrics create a collage of imagery: "print shirts," "big hair," and "cigars" evoke a kitschy, exaggerated vision of Miami, while references to "movie sets" and "car chases" suggest a fixation on cinematic fantasy and constructed reality.

The juxtaposition of sunny escapism with undercurrents of unease, such as "surgery in the air" and "baby's always attracted to the things she's afraid of," underscores the contradictions of a culture that simultaneously celebrates and commodifies beauty, fear, and pleasure.

Musically, the disjointed rhythm and minimalistic structure reflect the song’s thematic instability, evoking a sense of detachment that mirrors the hollow consumerist culture it critiques. The refrain “Miami, my mammy” is delivered with a mix of irony and affection, hinting at both a personal connection and a broader critique of the city's intoxicating allure.

As the lyrics oscillate between affection and cynicism, U2 captures Miami as more than a physical location—it’s a metaphor for fleeting thrills, shallow desires, and the complex siren call of a culture obsessed with surface-level spectacle. 

The closing lines—"We could make something beautiful, something that wouldn't be a problem"—are tinged with irony, as they juxtapose the idealized promise of creation and connection against the shallow, performative backdrop of a place where appearances dominate substance.

"Miami" Song Lyrics by U2

Weather 'round here choppin' and changin'
Surgery in the air
Print shirts and southern accents
Cigars and big hair
We got the wheels and petrol is cheap
Only went there for a week
Got the sun got the sand
Got the batteries in the handycam

Her eyes all swimming pool blue
Dumb bells on a diving board
Baby's always attracted to the things she's afraid of
Big girl with the sweet tooth
Watches the skinny girl in the photo shoot
Freshmen squeaky clean
She tastes of chlorine

Miami
My mammy

Love the movies, love to walk those movie sets
Get to shoot someone in the foot
Get to smoke some cigarettes
No big deal we know the score
Just back from the video store
Got the car and the car chase
What's he got inside the case
I want a close up of that face
Here comes the car chase

Miami
My mammy
Miami
My mammy

I bought two new suits
Miami
Pink and blue
Miami
I took a picture of you
My mammy
Getting hot in a photo booth
Miami
I said you looked like a madonna
You said maybe
Said I want to have your baby, baby
We could make something beautiful
Something that wouldn't be a problem
We could make something beautiful
Something that wouldn't be a problem
At least not in Miami
You know some places are like your auntie
But there's no place like

Miami
My mammy
Miami
My mammy
My mammy
Shakedown
Shakedown

More Lyrics from U2's Pop.

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"Gone" Song Lyrics by U2

U2’s "Gone," from the Pop album, is a haunting reflection on loss, disillusionment, and the consequences of pursuing success at the expense of identity. The song captures the emotional weight of getting "so much for so little," where material or personal gain leaves a void rather than fulfillment. The central metaphor of a "suit of lights" refers to the dazzling yet shallow trappings of fame or achievement—bright on the outside, but ultimately hollow. 

In U2 by U2 Bono said: 

Gone is the portrait of a young man as a rock star, trying to cut himself free of his responsibilities and just enjoy the ride, the suit of lights, fame.  

Bono’s vocals convey a deep sense of fatigue with this cycle, as the character relinquishes everything they've held onto so tightly, realizing that none of it truly mattered. This song might be very a very personal reflection for Bono - the man with the birth name Paul Hewson, wrote the telling line 'You change your name but that's okay, it's necessary'.

The lyrics explore the tension between the pursuit of success and the emotional and spiritual toll it exacts. Lines like “You wanted to get somewhere so badly / You had to lose yourself along the way” suggest a critique of the sacrifices made in the pursuit of external validation or material goals, emphasizing the alienation that can result. 

The recurring refrain of “I’m not coming down” conveys a sense of liberation or detachment, rejecting the trappings of a life defined by greed and guilt. The song ultimately confronts the emptiness of freedom pursued without grounding, as Bono’s narrator seeks a path of clarity and self-realization, leaving behind the “suit of lights” of artifice and false promises.

"Gone" Song Lyrics by U2

You get to feel so guilty got so much for so little
Then you find that feeling just won't go away
You're holding on to every little thing so tightly
Till there's nothing left for you anyay

Goodbye, you can keep this suit of lights
I'm be up with the sun
I'm not coming down
I'm not coming down
I'm not coming down

You wanted to get somewhere so badly
You had to lose yourself along the way
You change your name but that's okay, it's necessary
And what you leave behind you don't miss anyway

Goodbye, you can keep this suit of lights
I'm be up with the sun
I'm not coming down
I'm not coming down
I'm not coming down

'Cause I'm already gone
Felt that way all along
Closer to you every day
I didn't want it that much anyway

You're taking steps that make you feel dizzy
Then you learn to like the way it feels
You hurt yourself, you hurt your lover
Then you discover what you thought was freedom is just greed

Goodbye, and it's emotional goodnight
I'll be up with the sun
Are you still holding on
I'm not coming down
I'm not coming down

Gone
Sun
Done
Sun
Gone
Sun
Done
Sun
Sun


More Lyrics from U2's Pop. My favorite is Staring at the Sun.

Bono has often expressed a view that he feels "spoiled rotten, and paid too much," and that he'd "do it for free." and perhaps his thoughts were also with rock star Micheal Hutchence when he died in 1997, around the same time U2 was writing and evolving their Pop album, giving further resonance to the emotional weight behind "Gone." 

The song stands as a reflection on the high costs of fame, a struggle that Bono witnessed firsthand through Hutchence’s life, making it both a personal lament and a broader commentary on the pressures of stardom. It is evident that Bono feels that Michael Hutchence harbored similar feelings, which ultimately led to his apparent suicide. Bono would later dedicate the lyrics to Stuck in a Moment to Michael Hutchence. 

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"Last Night On Earth" Song Lyrics by U2

In “Last Night on Earth,” U2 captures a moment of profound existential clarity, as the lyrics weave a narrative of a woman embracing the fleeting nature of life with unapologetic fervor. The opening lines set a scene of liberation, where stopping for gas becomes a metaphor for pausing to savor the essence of freedom amid societal constraints. 

The juxtaposition of feeling and belief speaks to the paradox of modern existence; the more we accumulate, the less we truly experience. This tension is echoed in the repeated exhortation to “give it away,” suggesting that true fulfillment lies in selflessness and connection rather than material wealth. 

The imagery of time slipping away intensifies the urgency of living fully in the present, as the woman navigates her own turmoil, unbound by the expectation of salvation. Her defiance against waiting for a savior underscores a personal agency, signaling that life’s impermanence is best met with boldness and passion. 

Ultimately, the refrain of living like it’s “the last night on earth” resonates as an anthem of embracing love, vulnerability, and the beauty of ephemeral moments, urging listeners to cherish their own “last nights” with unabashed intensity.

"Last Night On Earth" Song Lyrics by U2

When the fuel goes down she stops her car
Says it feels like freedom
She's back on the street where the sweet smells are

She feels the ground is giving way
But she thinks we're better off that way
The more you take the less you feel
The less you know the more you believe
The more you have, the more it takes today

You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
Well, she don't care what it's worth
She's living like it's the last night on earth
The last night on earth

She's not waiting on a savior to come
Here eyes are closing
She's at the bus stop with the News Of The World
And the Sun, sun, here it comes
She's not waiting for anyone

You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
Well, she don't care what it's worth
She's living like it's the last night on earth
The last night on earth

The clock tells her that time is slipping
Slipping away, slip slide today
Minute hands and seconds sticking
Slipping away
There something going on she might be missing
The world turns and we get dizzy
The world turns and we get dizzy
Is it spinning for you the way it's spinning for me
Slipping away

She's living, living next week now
You know she's going to pay it back somehow
She hasn't been to bed in a week
She'll be dead soon, then she'll sleep

You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
You got to give it away
She already knows it hurts
She's living like it's the last night on earth
The last night on earth
Last night on earth
Last night
Yeah, yeah
The last night

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“Last Night on Earth” was released as a single from U2's Pop album in 1997, a record that marked a significant departure from the band’s earlier sound and approach. While it did not achieve the same level of commercial success as some of their previous hits, it still managed to secure a place in the hearts of fans and charted moderately well, reaching the top 20 in several countries, including the UK and the US. 

This song exemplifies U2's exploration of themes such as existentialism, freedom, and the complexities of human relationships, all while experimenting with the electronic and alternative rock sounds that defined the Pop era.

The album itself was a bold reinvention, showcasing U2’s willingness to embrace contemporary trends, including dance music and electronic elements, reflecting the band's commitment to evolving with the times. The Pop album received mixed reviews upon its release, with some critics praising its innovation while others lamented its departure from the anthemic rock sound that had propelled the band to fame. 

Despite this, “Last Night on Earth” stands out as a more introspective track that contrasts with the album’s more upbeat and provocative songs, like “Discotheque” and “Staring at the Sun.”

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"Staring At The Sun" song lyrics by U2

The song was written with the lyric "Stuck together with God's glue," which was taken directly from the title of the album by the Irish band Something Happens.

This probably the most popular single from Pop, it managed to get to number 3 on the UK singles chart.

Its underlying base is a great chord structure with some typical Edge sonics playing over the top.

The song's b-sides were "North and South of the River" and "Your Blue Room" which was from the Passengers' experimental album Original Soundtracks Vol 1.

U2’s Pop album captures the chaotic spirit of the late '90s, a time marked by an overwhelming clash between hedonism and introspection. Released during an era of rampant consumerism and rapid technological change, the song's lyrics reflect a profound existential struggle. Bono’s evocative imagery of “staring at the sun” symbolizes the yearning for enlightenment amidst the blinding distractions of fame and superficiality. 

This juxtaposition embodies the contradictions of the time—seeking truth and authenticity while navigating the often disorienting landscape of modern life.

"Staring At The Sun" song lyrics meaning by U2

Summer stretching on the grass
Summer dresses pass
In the shade of a willow tree
Creeps a crawling over me
Over me and over you
Stuck together with God's glue
It's gonna get stickier too
It's been a long, hot summer
Let's get under cover
Don't try too hard to think
Don't think at all

I'm not the only one staring at the sun
Afraid of what you'd find
If you took a look inside
Not just deaf and dumb
I'm staring at the sun
Not the only one who's happy to go blind

There's an insect in your ear
If you scratch it won't disappear
It's gonna itch and burn and sting
You wanna see what the scratching brings
Waves that leave me out of reach
Breaking on your back like a beach
Will we ever live in peace
'Cause those that can't do often have to
Those that can't do often have to preach

To the ones staring at the sun
Afraid of what you'll find
If you took a look inside
Not just deaf and dumb
Staring at the sun
I'm not the only one who'd rather go blind

Intransigence is all around
Military still in town
Armour plated suits and ties
Daddy just won't say goodbye
Referee won't blow the whistle
God is good but will he listen
I'm nearly great but there's something missing
I left it in the duty free
But you never really belonged to me

You're not the only one starin' at the sun
Afraid of what you'd find
If you stepped back inside
I'm not sucking on my thumb
I'm staring at the sun
Not the only one who's happy to go blind

Check out some more of the singles released from the Pop album, If God Will Send His Angels and the quirky Discotheque.

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