“Lunatic preachers”: The song that made Bono realise his messiah complex
The question of when Bono and U2 became some of the most divisive figures in music is a confounding one. They always had that self-assured ridiculousness, even in the early days. That was a time when they were arguably at their best and a beloved critical darling. As Roger Waters views Pink Floyd’s 1973 effort, The Dark Side of the Moon, as their absolute pinnacle and, therefore, the beginning of the end, you can extend this argument to U2 and state that their 1987 masterpiece, The Joshua Tree. It was the moment they broke off from the past, and started the evolution into the Sphere-playing caricature they are today.
There is no doubt that U2 have been one of the most hated bands around for decades, despite them still selling out stadiums and having a healthier fanbase than most. Of course, the most apparent reason for this is that bar a handful of records since 1987, their output pales compared to their early releases up to The Joshua Tree. Another critical reason is that the band became far too self-important for their own good. This self-assertion became evident in their music on records such as Zooropa and Pop, their live shows, aesthetic, and general demeanour of the members, typified by frontman Bono. Who would have thought in 1983 that Bono would become the Police-shades-and-fur-coat-donning figure he is today?
From his lyrics to his media personality, Bono hasn’t helped himself. He even recently said the following about Glastonbury 2024 headliners Coldplay: “I should mention Coldplay are not a rock band. I hope that’s obvious. There is something much more interesting going on there like the Isley Brothers or something. They should not be judged by rock rules… Rage is the river running under most rock formations. Coldplay’s music has a different source, and I think it’s best revealed in this song ‘Clocks’.”
When you add comments like this to his philanthropic efforts that detractors have denigrated as nothing more than hollow virtue signalling and other publicity stunts such as U2 albums popping up in iTunes supposedly as a token of goodwill from the band, you start to understand why their often preachy nature ruffles so many feathers.
Considering just how many people hate Bono and his band because of their long-running tendency to provide unwanted sermons, you’d think they’d change tact, particularly when noting that the frontman is fully aware of this. He’s revealed that the rootsy UK number one, ‘Desire’, the first single off Rattle and Hum – the follow-up to The Joshua Tree – and one of their catchiest songs, is underpinned by the idea that there’s a clear parallel between “lunatic fringe preachers” and world-famous musicians who have a messiah complex.
In the Rattle and Hum book, Bono concedes: “I wanted to admit to the religiosity of rock ’n’ roll concerts and the fact that you get paid for them. On one level, I’m starting to criticise these lunatic fringe preachers, ‘stealing hearts at a travelling show’ – but I’m also starting to realise that there’s a real parallel there between what I’m doing and what they are.”
Considering all of the things U2 have done following the 1988 single, it makes you wonder whether they forgot the point they made in it. Since that moment, they’ve become more messianic and overblown than practically every act out there, which takes some doing. Everybody has their place.
