Elevation Tour
The Elevation Tour was a worldwide concert tour by Irish rock band U2. Staged in support of the group's 2000 album All That You Can't Leave Behind, the tour visited arenas across North America and Europe in 2001. Contrasting with the extravagant, outdoor productions of the band's previous two live ventures, the Zoo TV Tour (1992–1993) and the PopMart Tour (1997–1998), the Elevation Tour saw them return to indoor arenas with a much more stripped-down, intimate stage design. The stage featured a heart-shaped catwalk that encircled many audience members, and festival seating was offered in the United States for the first time in the group's history.[2]
| Tour by U2 | |
 | |
| Location | North America, Europe |
|---|---|
| Associated album | All That You Can't Leave Behind |
| Start date | 24 March 2001 |
| End date | 2 December 2001 |
| Legs | 3 |
| No. of shows | 113 |
| Attendance | 2,179,642 |
| Box office | US$143.5 million ($207.2 in 2019 dollars)[1] |
| U2 concert chronology | |
The Elevation Tour comprised 113 shows over three legs. It opened on 24 March 2001 with the first leg in North America, the second leg in Europe that summer, and the third leg returning to North America that autumn, ending on 2 December 2001. It was both the highest-grossing concert tour in North America (US$109.7 million) and globally (US$143.5 million) that year. Its success was capped off by the band's performance at the Super Bowl XXXVI halftime show in 2002. The tour was depicted in two concert films, Elevation 2001: Live from Boston and U2 Go Home: Live from Slane Castle, Ireland.
Stage design and show production
The Elevation Tour show was designed by Willie Williams, with Mark Fisher serving as the architect. The stage, built by Tait Towers, measured 80 feet (24 m) wide and 100 feet (30 m) deep.[3] Extending from the wings of the main stage were ramps shaped like the bottom of a heart, which joined together at the center of the venue floor.[4] The heart shape was inspired by the video graphics being produced for the tour, and it was chosen by the creative team early in the design process. At the suggestion of bassist Adam Clayton, the stage was given an open center that could be filled with fans;[3] the first 300 general admission ticketholders to queue before a concert were given wristbands and allowed access to the center of the heart.[4] Williams was amused that the catwalks were the same shape as the vertical golden arch from the PopMart Tour stage when laid horizontally. The Elevation Tour stage was placed at one end of the venues, with seating offered "in the round". Due to this configuration, the stage designers focused on ensuring sightlines were not obstructed for anyone. Fisher said, "With a show done in the round, you can't really have any scenery because what is background scenery for one person is a sightline obstruction to another." To facilitate this, the stage height was kept low to the venue floor,[3] with the main stage built 5 feet (1.5 m) high and the wings 7 feet (2.1 m) high.[4]
A video wall constructed by Brilliant Stages was located at the rear of the stage, measuring 8 feet (2.4 m) high by 64 feet (20 m) wide. It comprised 13 sections that could independently rise out of the stage or lower below it. The video wall featured Barco DLite LED panels and was provided by XL Video; it featured more LEDs than the video screen from the PopMart Tour, which was 55 feet (17 m) high by 170 feet (52 m) wide. The idea for the video wall was suggested by lead vocalist Bono, who preferred it over the video options that Fisher showed him. Williams called the amount of backlight produced by the video wall "ridiculous".[3][5]
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In lieu of traditional image magnification (IMAG), four video screens were hung above the stage, each of them displaying a black-and-white camera feed dedicated to a specific member of U2. Four long-lens cameras followed the band members and presented a "raw" video feed of each, without the intervention of a video director. The setup was Williams' response to what he saw as a growing trend with rock shows having "big video screens on either side running something that looks like an HBO special". He believed such a trend instilled a mindset into the audience that the most interesting thing happening at a given moment was what the video screens were displaying, thus diverting attention away from the actual live performance. Williams was inspired by his experience over the years "standing behind video directors and engineers, seeing what they were seeing" on the video monitors. Rather than present a director's vision of what shots to show an audience, Williams wanted to "take that person out of the equation" and present an unmediated look at the band members. U2's management and concert promoters were sceptical at first, but Williams said that after it was seen in action, it was a "complete no-brainer". He expected it to be one most of the most influential aspects of the tour. According to him, the easiest solution would have been to eliminate IMAG altogether, but it was "deemed necessary" because of the size of some indoor venues and the high cost of tickets.[3]
Projection factored heavily into the shows' visuals. The tour used four PIGI projectors from E\T\C Audiovisuel placed in the corners of each venue. The projectors used a 7K bulb with a 7-inch (180 mm), square aperture, producing an "enormous amount of light", according to Williams. Instead of projecting the imagery onto a screen, Williams had the idea to project it across the entire interior space of the venues. He enlisted visual artist Catherine Owens to create the artwork used for the video wall and the projectors. Most of the projection imagery was hand-drawn, though some of it was computer-generated. Owens worked with a team of four artists to create the artwork. The projection graphics were generally abstract and textural. For the concluding song "Walk On", Owens handwrote the lyrics from the song's closing refrain onto the projector film and reversed it, allowing the words to "scroll over the audience and run like closing credits".[3]
Equipment for the sound system was provided by Clair Brothers Audio, which had a long-standing relationship with the band. The speaker arrays consisted of Clair Brothers' i4 cabinets and i4B bass units. Sound engineer Joe O'Herlihy mixed the sound on a Midas XL4 automated console, while using a Yamaha O2R console for overflow inputs. For the stage monitor system, the band members utilized a combination of in-ear monitors by Future Sonics and Clair Brothers AM and Series II monitor wedges. The monitors were mixed by engineers Don Garber and Dave Skaff on two ATI Paragon consoles.[3]
Williams served as the lighting designer with Bruce Ramus as lighting director.[6] The lighting system was configured in a manner that followed the tour's "forward to basics" theme.[3] Ramus said that the lighting truss design was simplified, as the team wanted to move away from clever designs. Four straight trusses were suspended above the main stage, two measuring 48 feet (15 m) long and two measuring 54 feet (16 m) long. Vario-Lift motors by ChainMaster could raise and lower the trusses to trim heights varying from 50 feet (15 m) to 12 feet (3.7 m) high. A 20-foot (6.1 m) diameter circular truss was suspended above the general admission "pit".[7] The lighting system used 54 Vari-Lite VL2416 wash luminaires; they were the only automated light fixtures used on tour, and marked U2's first time using Vari-Lite products. Williams chose the fixture for its zoom control and brightness, allowing him to achieve a 55-foot (17 m) throw distance.[6] The system originally featured Fresnel fixtures, but Williams deemed them ill-fitting for the show and replaced them with eight custom fixtures containing DWE lamps that he designed on a napkin. The lighting package was completed by a custom ripple drum by Light & Sound Design,[3] 12 Omni fixtures and 70 Tota fixtures by Lowel-Light,[7] and a variety of strobe lamps.[3] Williams controlled lights with an Avolites Pearl console, while Ramus operated a Jands Hog 1000 console.[7]
Tour overview
Lead singer Bono would reiterate during shows the promotional theme of both the tour and the new album, that after the relatively poor sales of Pop and sometimes poor reception of PopMart, "We're back, re-applying for the job ... And the job is best band in the world."[8][9]
The European leg of the Elevation Tour was also presented in arenas. However, several outdoor shows were played due to logistics and facility requirements. These included both of the Slane Castle shows, which were part of Ireland's annual Slane Concert. For these two performances, the "heart" was extended and widened in order to accommodate the larger attendance. The Turin show was played in a football stadium, with a black U-shaped semicircle extending out into the crowd instead of the heart. The Berlin show was performed in a natural outdoor arena with a tent-like structure supporting all the band's flown gear such as speaker stacks and lighting rigs. Due to the limited amount of space available for production, the top of the heart was placed at the front of the stage. During this leg, Bono regularly flew back to Dublin after each show to be with his dying father.[10]
The third leg of the tour began in the U.S. only a month after the September 11, 2001 attacks and in the midst of the 2001 anthrax attacks. This nearly led U2 to cancel the leg, but they decided to continue, starting it at the University of Notre Dame in Notre Dame, Indiana, home of the "Fighting Irish". While some fans shied away from coming to an ordinarily celebratory occasion or to a large, enclosed public gathering, many other fans did not let these events stop them. The tenor of the times dramatically affected the temperament of the shows, with Marvin Gaye's "What's Going On" appearing frequently in the setlist and the band's "Walk On" taking on added emotional weight.
Setlists
Shows would traditionally open under the venue house lights with the Influx mix of "Elevation" playing as the band's intro music. "Elevation", the tour's title track, would then kick off the show, and would then be normally followed up by "Beautiful Day", "Until the End of the World" and "New Year's Day". Occasionally, "Discothèque" or "Mysterious Ways" followed "Until the End of the World" instead of "New Year's Day".
For the first two legs, most shows would then use "Kite", "Gone" and "New York" early in the setlist. Sometimes "Discothèque" or "Even Better Than the Real Thing" was played between "Gone" and "New York". All tour shows would see "Stuck in a Moment You Can't Get Out Of" and "Sunday Bloody Sunday" Normally, one out of "I Will Follow", "Out of Control" and "11 O'Clock Tick Tock" would be played before "Sunday Bloody Sunday". "In a Little While" would then normally be played (sometimes "Sweetest Thing" or "Wake up Dead Man" would be played), and that would be followed by a full band acoustic rendition of "Desire" and then an acoustic song, normally "Stay (Faraway, So Close!)". Sometimes "The Ground Beneath Her Feet", "Staring at the Sun" or a cover of "I Remember You" by The Ramones would be played instead.
The acoustic song would then normally be followed by the live favourite "Bad", which had appeared few times on the previous PopMart Tour. On occasions, "All I Want Is You" would be played instead. "Where the Streets Have No Name" followed, which was played at every concert. Normally, the band would then play "Mysterious Ways" with snippets of "Sexual Healing" at the end of the song and a new version of "The Fly" with the Edge playing guitar and Bono performing at the end of the heart catwalk. On occasions, "The Fly" would be replaced by "Pride (In the Name of Love)". After playing either "The Fly" or "Pride", the main set would end and the band would leave the stage.
U2 would then open the encore with "Bullet the Blue Sky", usually accompanied by Bono protesting against gun crime and giving a speech against handgun crime, while using a smaller version of the spotlight he used on The Joshua Tree Tour. "Bullet" would then be followed by "With or Without You". The band would then normally play "One", which was played at every concert. On occasions in the first leg, the band played "Pride" or "The Fly" between "With or Without You" and "One" with the other one of those two songs played after "Mysterious Ways" at the end of the main set. "Wake up Dead Man" was sometimes played after "One", if not after "Sunday Bloody Sunday". "Walk On" would then be played as the outright show closer.
The third leg saw some alterations to the setlist to reflect the much more emotionally poignant times that existed within America in the wake of the September 11th attacks. After opening with the same trio that they opened the first two legs with, the band would then most commonly play "New Year's Day", "I Will Follow" or "Out of Control", "Sunday Bloody Sunday", "Stuck in a Moment You Can't Get Out Of" and "Kite". "Angel of Harlem" also made appearances either before or after "Kite".
The band's acoustic slot was moved forward, with "In a Little While" dropped altogether and the acoustic slot taking place after "Kite". Normally, "Wild Honey" and "Please" were played. "Please" also made one appearance in its electric form, in a similar style to its PopMart performance when it segued into "Where the Streets Have No Name". "I Still Haven't Found What I'm Looking For", played only once during the first two legs, was given a regular slot between "Where the Streets Have No Name" and "Pride (In the Name of Love)" during the third leg, taking the place of "Mysterious Ways".
The encore once again contained "Bullet the Blue Sky", "One" and "Walk On". Instead of playing "With or Without You" between "Bullet" and "One" as they did on the first two legs, the band instead played a cover of Marvin Gaye's "What's Going On" and "New York". A few times, the band played "Peace on Earth" between "One" and "Walk On".
Overall, 53 different songs were played by U2 during the tour, with six songs ("Elevation", "Beautiful Day", "Stuck in a Moment You Can't Get Out Of", "Sunday Bloody Sunday", "Where the Streets Have No Name" and "One") played at all 113 concerts. Three tracks ("Bullet the Blue Sky", "Until the End of the World", and "Walk On") were played at all but one show apiece on the tour.
Super Bowl performance
On 3 February 2002, the band performed a three-song set during the halftime show of Super Bowl XXXVI. The heart-shaped stage from the Elevation Tour was recreated for the band's halftime performance.[11] The show began with "Beautiful Day", as Bono walked to the stage through the on-field crowd. For the final two songs, "MLK" and "Where the Streets Have No Name", the names of the victims from the September 11 attacks were projected onto a vertical scrim behind the stage as well as across the interior of the Louisiana Superdome. At the end of the performance, Bono opened his jacket, which he had worn throughout the Elevation Tour, to reveal an American flag in the lining, an image that was widely reproduced in the media.[12] Sports Illustrated ranked it as the best halftime show in Super Bowl history.[13]
Concert broadcasts and releases
Two concert videos of the Elevation Tour were released on DVD. The first, Elevation 2001: Live from Boston, was released in November 2001, and included material from three different shows filmed in June 2001 in Boston at the FleetCenter. One of the concerts, the 6 June show, was partially broadcast on NBC during halftime of Game 1 of the 2001 NBA Finals; the network aired a live performance of "Where the Streets Have No Name", followed by a pre-recorded performance of "Elevation" from earlier.[14] The Elevation 2001 video was broadcast on VH1 on 24 November and on DirecTV on 2 December.[15]
The second concert video, U2 Go Home: Live from Slane Castle, was released in November 2003. Filmed on 1 September 2001, it captured the outdoor variant of the Elevation Tour at the band's Slane Concert. It was directed by Hamish Hamilton.
Reception
The band's two concerts at Slane Castle sold 157,418 tickets and grossed $6.7 million.[16] The Elevation Tour was 2001's top-earning North American tour with a gross of US$109.7 million, the second-highest ever at the time for a North American tour.[17] Globally, it grossed US$143,472,379 from 2,179,642 tickets sold,[18] making it the year's highest-grossing tour overall.[19] Spin named U2 the "Band of the Year" for 2001, saying they had "schooled bands half their age about what a rock show could really accomplish".[20]
At the 13th annual Pollstar Concert Industry Awards, U2 was honored with awards for Major Tour of the Year and Most Creative Stage Production for the Elevation Tour, while Paul McGuinness was recognized as Personal Manager of the Year.[21] Willie Williams won a 2001 EDDY Award from Entertainment Design magazine for his work as the Elevation Tour show director;[22][23] the magazine said, "While U2's current Elevation tour is striking in its simplicity, Williams created an almost complete amalgamation of lighting and video by using the entire space of each arena as a projection surface."[5] At the 2002 TEC Awards, the Elevation Tour crew won for Outstanding Creative Achievement in Tour Production; among those recognised were Clair Brothers as the tour company, Joe O'Herlihy as the front of house engineer, and Don Garber, Raza Sufi, Niall Slevin, and Dave Skaff as monitor engineers.[24]
Tour dates
| Date (2001) |
City | Country | Venue | Opening act | Attendance (tickets sold / total available) |
Revenue |
|---|---|---|---|---|---|---|
| 24 March | Sunrise | United States | National Car Rental Center | The Corrs | 37,969 / 37,969 | $3,032,028 |
| 26 March | ||||||
| 29 March | Charlotte | Charlotte Coliseum | Nelly Furtado | 19,054 / 19,054 | $1,447,355 | |
| 30 March | Atlanta | Philips Arena | 20,596 / 20,596 | $1,500,277 | ||
| 2 April | Houston | Compaq Center | PJ Harvey | 14,859 / 14,859 | $1,198,589 | |
| 3 April | Dallas | Reunion Arena | 18,166 / 18,166 | $1,450,655 | ||
| 6 April | Denver | Pepsi Center | 18,462 / 18,462 | $1,509,290 | ||
| 9 April | Calgary | Canada | Pengrowth Saddledome | 35,778 / 35,778 | $1,824,131 | |
| 10 April | ||||||
| 12 April | Tacoma | United States | Tacoma Dome | 21,807 / 21,807 | $1,671,880 | |
| 13 April | Vancouver | Canada | General Motors Place | 18,520 / 18,520 | $960,419 | |
| 15 April | Portland | United States | Rose Garden Arena | 16,653 / 16,653 | $1,276,120 | |
| 17 April | San Diego | San Diego Sports Arena | 14,850 / 14,850 | $1,237,115 | ||
| 19 April | San Jose | San Jose Arena | 35,550 / 35,550 | $2,878,940 | ||
| 20 April | ||||||
| 23 April | Anaheim | Arrowhead Pond | 49,377 / 49,377 | $4,152,640 | ||
| 24 April | ||||||
| 26 April | ||||||
| 28 April | Phoenix | America West Arena | 17,575 / 17,575 | $1,424,390 | ||
| 1 May | Minneapolis | Target Center | 18,691 / 18,691 | $1,465,425 | ||
| 3 May | Cleveland | Gund Arena | 18,763 / 18,763 | $1,492,460 | ||
| 4 May | Lexington | Rupp Arena | 16,642 / 16,642 | $1,143,878 | ||
| 6 May | Pittsburgh | Mellon Arena | 14,863 / 14,863 | $1,225,160 | ||
| 7 May | Columbus | Nationwide Arena | 15,495 / 15,495 | $1,284,930 | ||
| 9 May | Milwaukee | Bradley Center | 18,622 / 18,622 | $1,433,435 | ||
| 10 May | Indianapolis | Conseco Fieldhouse | 15,088 / 15,088 | $1,210,988 | ||
| 12 May | Chicago | United Center | 78,275 / 78,275 | $6,393,525 | ||
| 13 May | ||||||
| 15 May | ||||||
| 16 May | ||||||
| 24 May | Toronto | Canada | Air Canada Centre | 39,048 / 39,048 | $2,096,034 | |
| 25 May | ||||||
| 27 May | Montreal | Molson Centre | 42,198 / 42,198 | $2,090,423 | ||
| 28 May | ||||||
| 30 May | Auburn Hills | United States | The Palace of Auburn Hills | 21,173 / 21,173 | $1,638,325 | |
| 31 May | Buffalo | HSBC Arena | 18,434 / 18,434 | $1,422,510 | ||
| 2 June | Albany | Pepsi Arena | 15,515 / 15,515 | $1,215,470 | ||
| 3 June | Hartford | Civic Center | 15,717 / 15,717 | $1,244,825 | ||
| 5 June | Boston | Fleet Center | 68,139 / 68,139 | $5,620,260 | ||
| 6 June | ||||||
| 8 June | ||||||
| 9 June | ||||||
| 11 June | Philadelphia | First Union Center | 38,536 / 38,536 | $3,076,345 | ||
| 12 June | ||||||
| 14 June | Washington, D.C. | MCI Center | 37,971 / 37,917 | $3,172,418 | ||
| 15 June | ||||||
| 17 June | New York City | Madison Square Garden | 36,632 / 36,632 | $3,141,260 | ||
| 19 June | ||||||
| 21 June | East Rutherford | Continental Airlines Arena | 39,282 / 39,282 | $3,205,680 | ||
| 22 June | ||||||
| Date (2001) |
City | Country | Venue | Opening act | Attendance (tickets sold / total available) |
Revenue |
|---|---|---|---|---|---|---|
| 6 July | Copenhagen | Denmark | Forum Copenhagen | Stereophonics | 20,000 / 20,000 | $1,107,040 |
| 7 July | JJ72 | |||||
| 9 July | Stockholm | Sweden | The Globe | Stereophonics | 31,511 / 31,511 | $1,269,775 |
| 10 July | ||||||
| 12 July | Cologne | Germany | Kölnarena | Söhne Mannheims | 36,915 / 36,915 | $1,701,438 |
| 13 July | ||||||
| 15 July | Munich | Olympiahalle | 13,543 / 13,543 | $602,819 | ||
| 17 July | Paris | France | Palais Omnisports de Paris-Bercy | Stereophonics | 34,000 / 34,000 | $1,737,977 |
| 18 July | ||||||
| 21 July | Turin | Italy | Stadio delle Alpi | Timoria Verdena Fun Lovin' Criminals |
73,061 / 73,061 | $2,616,225 |
| 23 July | Zürich | Switzerland | Hallenstadion | Kelis | 26,000 / 26,000 | $1,107,246 |
| 24 July | ||||||
| 26 July | Vienna | Austria | Stadthalle | 32,148 / 32,148 | $1,213,120 | |
| 27 July | ||||||
| 29 July | Berlin | Germany | Waldbühne | Michael Mittermeier | 20,030 / 20,030 | $856,742 |
| 31 July | Arnhem | Netherlands | GelreDome | Kelis | 107,812 / 107,812 | $4,015,276 |
| 1 August | ||||||
| 3 August | ||||||
| 5 August | Antwerp | Belgium | Sportpaleis | Stereophonics | 32,878 / 32,878 | $1,092,552 |
| 6 August | ||||||
| 8 August | Barcelona | Spain | Palau Sant Jordi | 18,000 / 18,000 | $748,498 | |
| 11 August | Manchester | England | Manchester Evening News Arena | Kelis | 38,742 / 38,742 | $2,073,724 |
| 12 August | ||||||
| 14 August | Birmingham | LG Arena | 23,022 / 23,022 | $1,255,635 | ||
| 15 August | ||||||
| 18 August | London | Earls Court Exhibition Centre | 73,742 / 73,742 | $4,475,265 | ||
| 19 August | PJ Harvey | |||||
| 21 August | Nelly Furtado | |||||
| 22 August | JJ72 | |||||
| 25 August | Slane | Ireland | Slane Castle | Relish JJ72 Kelis Coldplay Red Hot Chili Peppers |
157,418 / 157,418[lower-alpha 1] | $6,683,996[lower-alpha 1] |
| 27 August | Glasgow | Scotland | Scottish Exhibition and Conference Centre | Cosmic Rough Riders | 19,231 / 19,231 | $1,029,914 |
| 28 August | ||||||
| 1 September | Slane | Ireland | Slane Castle | Ash Moby Nelly Furtado The Walls Dara |
—[lower-alpha 1] | —[lower-alpha 1] |
| Date (2001) |
City | Country | Venue | Opening act | Attendance (tickets sold / total available) |
Revenue |
|---|---|---|---|---|---|---|
| 10 October | Notre Dame | United States | Edmund P. Joyce Center | Garbage | 11,441 / 11,441 | $774,685 |
| 12 October | Montreal | Canada | Molson Centre | 21,063 / 21,063 | $1,028,673 | |
| 13 October | Hamilton | Copps Coliseum | 18,486 / 18,486 | $984,912 | ||
| 15 October | Chicago | United States | United Center | 39,368 / 39,368 | $3,206,600 | |
| 16 October | ||||||
| 19 October | Baltimore | Baltimore Arena | Graham Parker | 13,510 / 13,510 | $1,131,610 | |
| 24 October | New York City | Madison Square Garden | Garbage No Doubt Stereophonics |
55,155 / 55,155 | $4,706,370 | |
| 25 October | ||||||
| 27 October | ||||||
| 28 October | East Rutherford | Continental Airlines Arena | Stereophonics | 19,589 / 19,589 | $1,596,735 | |
| 30 October | Providence | Dunkin' Donuts Center | 26,575 / 26,575 | $2,269,218 | ||
| 31 October | ||||||
| 2 November | Philadelphia | First Union Center | 19,320 / 19,320 | $1,541,360 | ||
| 5 November | Austin | Frank Erwin Center | No Doubt | 16,585 / 16,585 | $1,083,525 | |
| 7 November | Denver | Pepsi Center | 18,432 / 18,432 | $1,505,225 | ||
| 9 November | Salt Lake City | Delta Center | 17,197 / 17,197 | $1,347,245 | ||
| 12 November | Los Angeles | Staples Center | 33,448 / 33,448 | $2,987,433 | ||
| 13 November | ||||||
| 15 November | Oakland | Oakland Arena | 35,546 / 35,546 | $2,920,335 | ||
| 16 November | ||||||
| 18 November | Las Vegas | Thomas & Mack Center | 17,999 / 17,999 | $1,497,148 | ||
| 19 November | Los Angeles | Staples Center | 16,724 / 16,724 | $1,493,716 | ||
| 20 November | Sacramento | ARCO Arena | 13,789 / 13,789 | $1,139,145 | ||
| 23 November | Phoenix | America West Arena | 17,106 / 17,106 | $1,385,805 | ||
| 25 November | Dallas | Reunion Arena | 17,489 / 17,489 | $1,417,350 | ||
| 27 November | Kansas City | Kemper Arena | Garbage | 13,456 / 13,456 | $1,106,456 | |
| 28 November | St. Louis | Savvis Center | 16,051 / 16,051 | $1,269,365 | ||
| 30 November | Atlanta | Philips Arena | 18,535 / 18,535 | $1,504,925 | ||
| 1 December | Tampa | Ice Palace | 16,494 / 16,494 | $1,339,865 | ||
| 2 December | Miami | American Airlines Arena | 16,197 / 16,197 | $1,350,595 | ||
| Totals for entire tour | 2,179,642 | $143,472,379 | ||||
Notes
- The score data is representative of the both shows at the Slane Castle on August 25 and September 1 respectively.
References
- Footnotes
- Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved January 1, 2020.
- Skanse, Richard (3 February 2001). "General Admission a Go for U2". Rolling Stone.
- Stancavage, Sharon (August 2001). "In the name of simplicity: U2 tones down its past excesses for the Elevation tour". Entertainment Design. Vol. 35 no. 8. pp. 22–27.
- Frink, Mark (June 2001). "Tour Profile". Mix. Retrieved 18 January 2021.
- McHugh, Catherine (December 2001). "EDDY Awards 2001: Willie Williams". Entertainment Design. Vol. 35 no. 12. p. 13. Archived from the original on 29 December 2007. Retrieved 13 December 2007.
- "Vari-Lite's Automated Lighting Technology Shines on U2 Elevation Tour; VL2416 Wash Luminaire Chosen for U2's First Indoor Arena Tour in 8 Years" (Press release). Business Wire. 17 April 2001.
- Stancavage, Sharon (3 August 2001). "The Elevation of U2". Live Design. Retrieved 14 January 2021.
- David Cheal (2001-02-09). "U2 make their bid to be best band in the world – further candidates need not apply". The Daily Telegraph. Retrieved 2006-08-20.
- Matt Dentler (2001-04-05). "beaU2ful days". The Daily Texan. Archived from the original on 2007-09-30. Retrieved 2006-08-20.
- "Bono Flies Back to Dying Father After Each U2 Gig". Reuters. 2001-08-21. Retrieved 2006-08-20.
- "A Heartfelt Halftime Show". Entertainment Design. Vol. 36 no. 4. April 2002. p. 4.
- de la Parra (2003), p. 268
- "Top 10 Super Bowl Halftime shows". SI.com. 3 February 2013. Retrieved 23 March 2016.
- Hoffarth, Tom (7 June 2001). "NBC pumps some life into halftime show". The Desert Sun. p. C2.
- Christman, Ed (24 November 2001). "Best Buy Coup On U2 DVD Leaves Indies Angry And Fearful". Billboard. Vol. 113 no. 47. p. 67.
- Waddell, Ray. "The Year In Boxscores: One-Offs, Multiples Draw High Grosses. (The Year in Touring 2001)". Billboard. Vol. 113 no. 52. pp. YT-8, YT-18–YT-20.
-
- Grossberg, Josh (27 December 2001). "Elevation! U2 Tops 2001 Tours". E! News. Retrieved 12 January 2017.
- Goodman, Dean (31 December 2001). "By scaling down, U2 rises to the top of 2001 concert circuit". The Philadelphia Inquirer. p. D6.
- Waddell, Ray (14 March 2009). "Kissing the Future". Billboard. Vol. 121 no. 10. p. 19.
- Hyden, Steven (27 December 2001). "U2 elevates itself to top-grossing tour of the year". The Post-Crescent. sec. Encore, p. 2.
- Light, Alan (January 2002). "Rock's Unbreakable Heart". Spin. Vol. 18 no. 1. pp. 56–62.
- McGee (2008), p. 245
- "The EDDY Awards". Live Design. 7 December 2006. Retrieved 18 January 2021.
- Ellen Lampert-Gréaux (2001-11-21). "10th Anniversary EDDY Awards Presenters Announced". Live Design. Archived from the original on 2007-12-29. Retrieved 2007-12-13.
- "2002 TEC Awards Nominees and Winners". TEC Awards. Retrieved 18 January 2021.
- de la Parra (2003), pp. 228–244
- North American box score:
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (17): 20. 28 April 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (19): 21. 12 May 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (20): 12. 19 May 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (22): 21. 2 June 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (23): 18. 9 June 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (25): 19. 23 June 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (26): 15. 30 June 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (28): 18. 14 July 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- de la Parra (2003), p. 245-258
- Europe box score:
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (35): 18. 1 September 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (16): 38. 22 September 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- North America box score:
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (47): 18. 24 November 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- "Billboard Boxscore — Concert Grosses". Billboard. 113 (14): 38. 15 December 2001. ISSN 0006-2510. Retrieved November 29, 2014.
- Bibliography
- de la Parra, Pimm Jal (2003). U2 Live: A Concert Documentary (second ed.). New York: Omnibus Press. ISBN 978-0-7119-9198-9.
- McGee, Matt (2008). U2: A Diary. London: Omnibus Press. ISBN 978-1-84772-108-2.
External links
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