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The Citizen
17 hours ago
- Entertainment
- The Citizen
Film extraordinary: Bono's Stories of Surrender
The narrative tracks the formation of the band, many of the songs, and what lies beneath. Stories of Surrender is personal and for everyone at the same time. Picture Supplied It's a film that ends on a high. A kind of unexpected high that's heavy and light at the same time, but biographical in its totality of moment. Bono's Stories of Surrender, now on Apple TV, ends with an incredible rendition, in full tenor armour, with Torna A Surriento or Take Me To Sorrento. It was one of his father's favourite songs. A vocal tour de force for the U2 frontman. Stories of Surrender was released at the end of May. It's a monochrome ninety-something minute epic based on Bono's one-man theatre performances after publishing his biography of the same name. If you have read the book, you will appreciate the show immensely. Even if you haven't, it's still a fantastic watch, if for nothing else than the star's showmanship. It's the theatre of the one-man show, brought to life in a style not dissimilar to Rattle and Hum of the late eighties. It's storytelling about the ghosts of life stages past, present and hints of a future. It's about how love and justice drove a man to be loud about his convictions. Father and son, mother and son. Facing the possibility of death when his heart nearly failed in 2016. It's storytelling, it's struggle, it's humble In between, Bono's struggle with God, religion, his need to banish his ego and be one of us, ordinary folk. And then, there was the band. There is the band. Where is the band? Larry Mullen Jr., Adam Clayton and The Edge are not there. His dad is not there. Mom, Iris, is a central character who shaped his adulthood in her absence. A harp and a few other strings accompany Bono's tuneful breaks between conversation with the audience. Empty chairs are arranged and rearranged to illustrate the ghosts, the souls that have and continue to impact his life. The simplicity of it all, in black and white, is engaging to the very end. It's theatre that holds a shotgun of emotion, relevant to all of us. The narrative tracks the formation of the band, many of the songs, and what lies beneath. The singer called himself a 'fucking idiot' in the early days of U2, particularly at the time of writing I Will Follow, the anthemic opening track of their debut Boy. He tells of taking The Edge's guitar and how he started making 'drill-like' sounds. The Edge responded, encouraging him despite not being sure whether he liked it. Bono handed back the guitar, and The Edge turned the riff into what we know today. It's a moment in time that defined a band that can argue, fight, and create, but always together. Bono is one of four Bono called the show a Quarterman performance because he is one of four. And nothing without his comrades. Also Read: U2's 'How to Reassemble an Atomic Bomb' is a satisfying throwback Manager Paul McGuinness, now retired, was credited as the glue that held them all together. Bono tells of their first breakup after Boy and their brushes with fundamentalist Christianity. He credits the love of his life, Alison Hewson, nee Stewart, as the woman who co-wrote his story. Later, the singer, fully shed of his Achtung Baby Macphisto persona, now only a man in reflection, confesses. He places his ego in the dock and asks himself whether his crusade to save the world was simply a child-like desire to be the centre of attention, or real? Surrender, also on the band's debut album, was the first song that Bono wrote at 18. It was the track that entrenched the somewhat angst, somewhat in love, somewhat seeking internal and external justice feel of the band's entire career. Not haunting, exactly, more like loitering in the back of his head, still muttering wisdom wrapped in sarcasm of Bobo's da' Bob Hewson. Like most sons since time began, Bono had a thing about wanting his dad to get him, to understand him and to be proud of him. And when he didn't, he turned up the volume. That need for approval, that ache, became the amplifier for the life he built, said Bono. The influence of Da' The story of Bob Hewson, inside the story, settles into the worn armchairs of Finnegan's Pub in Dublin, the Sorrento lounge to be precise. This was where father and son would share space more than conversation. He shares anecdotes from Pavarotti to his dad meeting Princess Diana and how, when Pride was released, Bob Hewson admitted to 'feeling some'. Stories of Surrender isn't just about a band, a singer, and his story. It's in a way, all our stories. And it's fantastically woven together as a work where one man exposes himself, and we can all hide behind his narrative. It's learning that other people are the giants on whose shoulders we rise and stand. And reach for the stars. It's a film where moments of surrender can resonate loudly, to the point of your own tears. ALSO READ: The Spikes and Bondage that set rock free
Irish Examiner
27-05-2025
- Entertainment
- Irish Examiner
TV review: Stories of Surrender shows Bono baldly defending his reputation
Ten minutes into Bono: Stories of Surrender (Apple TV+) and I'm thinking someone should have told Bono not to do this. And then he starts talking about his father Bob, how he never mentioned Bono's mother again after she died, riddled with grief. And then this show comes alive. Just like his memoir of almost the same name, it's gripping and surprising, showing a Bono that doesn't come across in interviews. As long as you get through that first 10 gruesome minutes, where Bono is Bono with knobs on, on-stage in a darkly lit theatre, ham-acting as a surgeon working on his wonky heart in a New York hospital, almost daring us to switch off. After that, it's smooth and engaging as Bono talks about meeting his wife the same week he joined U2. It works because U2 is a good story, four boys form a band in north Dublin and rehearse in a cottage backing onto the graveyard where Bono's mother is buried. He's just the right amount of self-aware, admitting that he drives the band to improve when he can't play himself. The sequence where he spits out the origin story of U2's early hit, I Will Follow - addressing three empty chairs on stage as Larry, Adam and the Edge – should have been awful. But the punch-line is the iconic guitar intro to that song, so you're drawn in and satisfied. He re-enacts having a weekly drink with his father in Finnegan's in Dalkey, capturing the prickly relationship beautifully. At this point, it's hard to know what you're watching. It's all still on the stage, Bono breaking off his pint with his father to talk about U2 almost splitting up over their Christian beliefs, ending that segment with a gentle version of Sunday Bloody Sunday. Whatever the show is, I like it. You don't have to be a U2 fan to enjoy Stories of Surrender, although it probably helps, particularly when the fragmentary songs go on a bit too long. Bono shows he actually can act when he performs as himself, his Dad, the four members of the band and Luciano Pavarotti, in story that ends with his father falling for Princess Diana at a concert in Italy. He baldly defends his reputation, admitting that he's a hypocrite in some regards, but who cares as long as he delivers results. In the third act, he turns inwards, talks about his family and his motivations. Is he a good person, or does he just like the attention? You can watch and decide for yourself. And you should watch. This is a brilliant bit of telly.
Reuters
20-03-2025
- Entertainment
- Reuters
U2 to get highest honour at Britain's Ivors songwriting awards
LONDON, March 20 (Reuters) - Irish rockers U2 will receive the Ivors Academy Fellowship at this year's Ivors, Britain's annual awards for songwriters and screen composers, organisers said on Thursday. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will follow in the footsteps of Paul McCartney, Elton John and Kate Bush to receive the highest honour bestowed by the UK-based association. The Reuters Daily Briefing newsletter provides all the news you need to start your day. Sign up here. Their songwriting is being recognised for its "emotional authenticity that has crafted some of the most powerful songs in the history of rock", the Ivors Academy said, citing U2 hits "I Will Follow", "Pride (In The Name of Love)", "I Still Haven't Found What I'm Looking For" and "With or Without You" among others. "U2's early songs announced a band unafraid to tackle issues of social unrest and human rights, shaping rock's engagement with political activism," the Academy said in a statement. "Their achievements as songwriters are marked by the ability to blend anthemic melodies with socially and politically charged lyrics, addressing both personal and universal issues such as love, faith, war, politics and religion." Formed in Dublin in 1976, U2 have sold more than 175 million records worldwide and picked up numerous accolades and prizes along the way, including four Ivor Novello awards. They are the first Irish songwriters to receive the fellowship, and with their inclusion the number of Ivor Academy Fellows rises to 32. Last year, U.S. rocker Bruce Springsteen became the first international songwriter to receive the honour. "We were a band before we could play, let alone write songs... In fact it was our inability to play other people's songs that kicked off our own songwriting," lead singer Bono said. "Early musical heroes like The Ramones, Patti Smith, The Clash were our inspiration. There's alchemy at play, turning base metals into gold... your shite into gold would be another way of putting it." Named after the early 20th century Welsh composer, actor and entertainer Ivor Novello, the Ivor Awards were first handed out in 1956. This year's ceremony will be held on May 22 in London.
