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Over the last decade, U2 lead singer Bono has continually debunked the myths of rock stardom. From Songs of Innocence to Songs of Experience, the “With or “Without You” singer now stars in Bono: Stories of Surrender, a concert film that depicts his solo tour of the same name.
Stories of Surrender is a grand achievement for a singer who has little left to accomplish or prove. If you have followed the arc of U2 over the last decade or read Bono's memoir, you are probably familiar with the bones of Stories of Surrender. However, the film is more immersive than even sitting 10 or so rows back in the orchestra at the Beacon.
Directed by Blonde filmmaker Andrew Dominik, Stories of Surrender is a new interpretation of the “quarter-man show,” as he puts it. Drenched in black and white, Stories of Surrender strips back the glitz and glamour of U2's usual shows, and Bono is mainly illuminated by a string of LED lights that lit him up like in the band's “Invisible” music video.
Stories of Surrender is an immersive watch. It gets so up and close and personal that you can see right through Bono’s John Lennon-like glasses, which have become synonymous with the U2 singer and are in many ways the last thing protecting the Showman’s facade from his audience.
The importance of opera in Bono: Stories of Surrender
Musically, I don't know that Bono has ever sounded better. He sings U2 songs backed by the great Jacknife Lee, Gemma Doherty, and Kate Ellis in arrangements similar to those found on Songs of Surrender.
Every rock singer has to evolve as they age — Bob Dylan is the perfect example of this — and Bono has allowed his voice to age like a fine wine, which he displays in Stories of Surrender. He sings parts of “Sunday Bloody Sunday” in a full falsetto not heard since “Lemon.”
Then, there's the all-important opera. Bono has a complex relationship with the opera, thanks to his father. He previously sang, “When I was all messed up and I heard opera in my head,” on “Ultra Violet (Light My Way)” and “You're the reason why the opera is in meâ,” on “Sometimes You Can't Make It On Your Own,” which was written about his father.
The usage of the opera also explains the reason they filmed a show at the Teatro di San Carlo in Italy. Of course, it’s a beautiful venue. But, usually, when you want to record an extra show in case of any mishaps, you’d think they’d do it at the same venue.
The usage of the venue allows Bono to connect to his father and the opera. At one point in Stories of Surrender, he re-enacts his father conducting the classical music. The camera shows the grand opera house with the glimmer of the stage lights, creating a dream-like effect. The venue is only shown a couple of times after that, but they got their money's worth.
Finding catharsis with his dad
Stories of Surrender is not just about surrendering; it's about forgiveness. When you see the show live, you can hear Bono's emotion, but being this close allows you to see him act out his father's mannerisms.
He had to have found some catharsis doing these shows. He also talks about rediscovering his mother, Iris, which he has been doing for the last decade, dating back to Songs of Innocence's “Iris (Hold Me Close).”
While doing something like Stories of Surrender may seem self-indulgent — even Bono acknowledges it's “a whole other level of naval-gazing” — I'd wager it was important for him. Now, Bono and U2 can look ahead to the future with their next album.
There will also be Bono detractors, but Stories of Surrender should prove his honesty. I think there's a certain level of self-awareness needed to do a show like this.
Stories of Surrender isn't Springsteen on Broadway. Bono and Bruce Springsteen are two of rock's best storytellers, but the former's show features more gravitas. It's certainly not a 1:1 comparison, but U2's music lends itself better to this type of format.
Plus, Bono is a natural showman. Acting out these scenes seems like second nature. If he weren't the world's biggest rock star, he'd make a great actor.
Slimming down the narrative
As a film, Stories of Surrender is a concise narrative. The film only runs about 86 minutes, which has to be shorter than the actual show. All of the hits are packed in, plus all of the important scenes between Bono and his father.
Some of the show is noticeably rearranged. I remember “With or Without You” being earlier in the show, but it finds itself towards the end. It works better in this spot, as it ties into Bono's stories about his wife, Ali.
Dominik and Co. also briskly move the show along with the transitions. The black-and-white aesthetic makes it easier to advance in time without you realizing it.
They could have easily phoned it in and just presented the show as is. Instead, I think the aesthetic and narrative changes retain the original stage production's identity while also making it work as a film.
U2 previously shot most of Rattle and Hum in black and white as well. The difference is how crisp Dominik's film is, and Stories of Surrender succeeds in this area.
Should you stream Bono: Stories of Surrender?
No one should scoff at something as ambitious as Bono: Stories of Surrender. Even as a U2 fan, it brings something new to the table. I've seen the show in person, and I found myself gripped by it.
The only thing I could ask for is a full soundtrack release. Bono's voice sounds better than ever, and his take on these U2 songs still captures the epic scope of the originals while also giving fans something new.
On some level, Stories of Surrender feels like a goodbye to the “Songs of” era of U2. Bono has spent most of the last decade looking back, conquering his past.
Like an opera, Stories of Surrender builds to an appropriate crescendo for Bono's current arc. Despite its stripped-back manner, Stories of Surrender is grandiose and something only Bono could pull off.
He has surrendered to his fans, and many have done the same to U2's music. It's a beautiful full-circle moment that fans and non-fans alike will enjoy.
Grade: A
Bono: Stories of Surrender will be available to stream on May 30 on Apple TV+.
