The precision required for Super Bowl halftime shows often meant the
big stars had to prerecord their singing.

But for Super Bowl XXXVI, getting U2 to perform meant only
constructing the band’s heart-shaped stage in the space of a
commercial break.

The success of the Irish band’s 2001 tour was based on an anything-
can-happen anticipation, and its halftime performance began with
frontman Bono breaking tackles from fans as he made his way to the
stage singing “Beautiful Day.”

With his seasoned band churning behind him, this was a group clearly
used to big events, big crowds and big statements.

Part of the reason U2 was asked to play was the way its songs fit the
mood of mourning, healing and resolve that followed Sept. 11.

In concerts last fall, its approach to the tragedy was overpowering
yet understated: The projections of thousands of victims’ names as U2
played its solemn “One.” For the Super Bowl, the effect took on the
epic proportions of the Louisiana Superdome, with names stretching up
a banner hung from the 10-story ceiling and even then spilling into
the seats.

But Sunday, instead of “One,” U2 chose a bigger hit with more
uplift, “Where The Streets Have No Name.” Its verses of searching, as
well as its triumphant vow of “still building then burning down
love,” challenged an audience imbued with daylong segments on
patriotism to find a source of love.

Only then did Bono reveal, with admirable subtlety, the American flag
lining of his coat, as if to demonstrate beneath his rock star
exterior, he’s with his U.S. fans on this most American of days.

The unbridled patriotism - and a more traditional approach to Super
Bowl performances - was left to the lengthy pregame show which, after
some live glimpses at No Doubt and Barenaked Ladies early on, was
left largely to a “Salute to America.” It began with a curiously
balanced song by Barry Manilow, “Let Freedom Ring,” with Yolanda
Adams, James Ingram, Patti LaBelle and Wynonna adding heft and soul
to the choruses.

Paul McCartney was introduced with a clip of his work with the
Beatles and Wings. He ran to the midfield stage accompanied by scores
of cheerleaders to sing his “Freedom,” as a Keith Haring-like banner
of the Statue of Liberty unfurled behind him.

The work of the Boston Pops was mostly heard and not seen, replaced
by a filmed tribute to Lincoln involving a series of ex-presidents.

The Pops also played behind Marc Anthony and Mary J. Blige as they
sang “America the Beautiful,” an easy task for him, but something she
rose to accomplish.

Likewise, the national anthem was a breeze for Mariah Carey, who
fairly glowed with the know- ledge she could do no wrong, since her
vocals were prerecorded.

-Roger Catlin

Copyright 2002, Hartford Courant

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