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U2 in Concert at NRG

Everything old is new again at powerful U2 concert, with an ending surprise

Eric Sandler
May 25, 2017 | 6:34 am

“How long must we sing this song?”

Bono and the members of U2 have been asking that question for a long time — since 1983 when “Sunday Bloody Sunday” debuted as the first song of the band’s third album, War.

In the wake of the terrorist attack at the Ariana Grande concert in Manchester and a correspondingly beefed up security presence around NRG Stadium, the question seemed more relevant than ever. “We’re so sick of it,” Bono shouted over Larry Mullen, Jr’s propulsive drumming and The Edge’s soaring guitar.

But then, everything old is new again for the famous Irish foursome. Bono once said, “There’s no reverse gear on this tank,” but the band’s new tour celebrates the 30th anniversary of their iconic album The Joshua Tree. "New Year’s Day" and "Pride (In the Name of Love)" quickly followed Sunday. Then the band began to play the album in sequence: every song from "Where the Streets Have No Name" to "Mothers of the Disappeared."

Highlights included The Edge’s thundering solos on “Bullet the Blue Sky” and “In God’s Country,” Bono’s self-described “shite harmonica play” on “I Trip Through Your Wires,” and Adam Clayton’s classic bass line on “With Or Without You.”

Just as "Sunday Bloody Sunday" feels more relevant than ever, so too do the songs written when conservative leaders in both America (Reagan then, Trump now) and the U.K. (Thatcher then, May now) have reignited debates about whether we should commit to “Carry each other / Carry each other” (yeah, I just album hopped).

While the days of the band dressing up like the Village People and emerging from a gigantic, lemon-shaped mirror ball are long behind — so are the songs from Boy, October, Rattle & Hum, Zooropa, Pop, How to Dismantle an Atomic Bomb, No Line on the Horizon and their most recent work, Songs of Innocence — the stage setup still impresses with both its scale and its simplicity. No pyro, no fancy light shows: just a massive screen, 200 feet long and 45 feet tall, that displayed the band’s performance and a series of short films created by frequent U2 collaborator Anton Corbijn using new footage from places like Death Valley and Zabriskie Point.

The ultra-widescreen and 8k visuals provided a stunning backdrop for the band, at times displaying a dusty road for “Where the Streets Have No Name” or women holding candles during “Mothers of the Disappeared.” The screen also served as a backing band for “Red Hill Mining Town,” courtesy of a Salvation Army brass ensemble that played along with the song.

After U2 reached the end of The Joshua Tree, two songs from the '90s received fresh interpretations. “Miss Sarajevo” from the Passengers album has been renamed “Miss Syria (Sarajevo)” and featured footage filmed at the Zaatari Refugee Camp in Jordan, where some 80,000 Syrian refugees currently live, according to information provided by the band. "Ultra Violet (Light My Way)", an Achtung Baby deep cut about the redemptive power of love, has been reinterpreted as a tribute to great feminists throughout history, including Texas icons Laura Bush and Ann Richards.

Speaking of the former first lady, Bono made sure to acknowledge both her and former President George W. Bush’s efforts to support the ONE campaign that made it possible for 18 million HIV/AIDS patients in Africa to receive life-saving medicine.

While it’s strange not to hear hits like “Mysterious Ways” and “Desire,” to say nothing of personal favorites like "Out of Control" and "Stay," the band played enough familiar tunes during the encore — "Bad," "Beautiful Day," "Elevation," and "One" — to ensure that no one left unsatisfied. As expected, the multi-generational crowd ranged from eight to 80 — Lynn Wyatt sat a few rows in front of me — and most people seemed to know all the words to all the songs.

But just in case anyone was feeling too nostalgic, Bono had a surprise. The band closed with a new song titled “The Little Things That Give You Away.”

Maybe they still have a few tricks up their sleeves after all.

Setlist:

Sunday Bloody Sunday
New Year’s Day
Pride (In the Name of Love)

The Joshua Tree
Where the Streets Have No Name
I Still Haven’t Found What I’m Looking For
With or Without You
Bullet the Blue Sky
Running to Stand Still
Red Hill Mining Town
In God’s Country
I Trip Through Your Wires
One Tree Hill
Exit
Mothers of the Disappeared

Encore 1:
Miss Syria (Sarajevo)
Bad

Encore 2:
Beautiful Day
Elevation
Ultra Violet (Light My Way)
One
The Little Things That Give You Away

U2 brought The Joshua Tree to NRG Stadium.

U2 The Joshua Tree 30th anniversary tour
Photo by Danny North
U2 brought The Joshua Tree to NRG Stadium.
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Movie Review

Supergirl fails to take flight in a movie weighed down by grief

Alex Bentley
Jun 26, 2026 | 3:15 pm
Milly Alcock in Supergirl
Photo courtesy of DC Studios and Warner Bros. Pictures
Milly Alcock in Supergirl.

Last year's Superman reboot brought a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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Supergirl is now playing in theaters.

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