Point your mobile at the screen, and see a virtual Bono appear on your device.
‘Until The End Of the World’ again relies on familiar visual tricks a giant Bono spitting over the Edge – which delivered some of the most memorable shots from the earlier tour – with the screen finally dissolving into a Hokusai series of waves that wash away his Cedarwood Road memories.
We then get a new anime movie that details how the band escaped the clutches of a bored youth with help of the devil and his tunes.
He’s looking strangely familiar during ‘Desire’, which rocks along with game-show graphics and a mirror ball, and all is revealed before ‘Acrobat’.
It’s the return of Mac Phisto, brought to life with the use of a cheap i Pad face mask, bringing back “deceit and vanity", all the better to confirm that truth is – as the band’s lyric video for ‘American Soul’ has already posited – indeed dead.
You didn’t know who to believe – and you didn’t know what you were going to get.
The first thing we got was the much-heralded AR experience of the opening song, ‘Love Is All We Have Left’.
A characteristic of recent U2 albums is that all of the elements might not make complete sense at first, but once you see tracks preformed live, their charms coalesce. The screen dissolves to a night-time map of Dublin, just in case you’re still missing the message, the longing for home. HAPPY TO GO BLIND ‘Beautiful Day’, ‘All Because Of You’ and ‘I Will Follow’ are all part of the one sequence, and it’s Edge who drives it along.
His guitar goes from cathedral-sized chiming, to down on the floor crunchy, and is particularly ferocious on ‘I Will Follow’ – earlier in the day, Bono joked that the guitarist had been sound checking it for about 12 hours and you can hear why. If that weren’t enough to get us salivating, we also get snatches of Jimmy Cliff’s ‘Many Rivers To Cross’ and, of course, John Lennon’s ‘Mother’, which is followed by a segue from ‘The Ocean’ to ‘Iris’, complete with precious home movies of Bono’s mother, his "few beautiful, magical memories”.
But ‘City Of Blinding Lights is something else again, a magnificently sparkly sky-scraping hymn played in front of a video featuring the Tulsa skyline. The encore of Achtung Baby's ‘Who’s Gonna Ride Your Wild Horses’ – not their greatest song, but here it achieves a Crazy Horse-like simplicity and directness – a beautiful version of the incomparable ‘One’ (am I right in thinking that Edge got momentarily lost at the start of it?