Every decade has its one musical act that, while perhaps not completely defining the decade in question, certainly left an indelible stamp on society as a whole. In the ‘50s it was Elvis. The ‘60s had The Beatles. For the ‘70s there was Led Zeppelin. The ‘80s? U2 owned them. Propelled by The Edge’s signature chime-and-sweep guitar work and Bono’s earnest vocals that were conscious of his conscience, the Irish quartet brushed aside all critics on their way to claiming the title of the biggest band in the world. However, unlike their predecessors to the throne, U2 forgot to either break up or become irrelevant. It can still fill football stadiums with ease, and on the increasingly rare occasions when it releases new material, it still creates a stir in music circles matched solely by the excitement felt by Taylor Swift fans when she puts out something fresh.
Although U2 has long since passed the point of youthful pop-culture relevance, it remains impactful on society as a whole; an integral part of the equation spelled out by the late, great Andrew Breitbart, who noted that politics is downstream from culture. So, yes, it does matter that it has released a new album regardless of whether someone likes them. “Carnaval De Luz” is U2’s first full-length studio album of new songs since 2017’s “Song of Experience.” It was worth the wait.
The members of U2 now range in age from 55 (Larry Mullen Jr.) to 66 (Bono). This is an age group that most musicians who belong to same, provided they found success during their younger days, either are retirees or workers of the golden oldies circuit. U2 apparently didn’t get the message, as “Carnaval De Luz” is replete with innovation as strikingly different from today’s norm as the band’s early works were from anything else previously heard in rock ‘n’ roll.
The album is more a collection of tone poems than traditional pop songs, with ideas allowed to flow and shift inside each tune to a level that should warm the heart of every jam band and progressive rock aficionado. No one is ever going to confuse U2 with the Grateful Dead or Yes, but there is a similar “why not go there” spirit permeating the album. Tunes fit the lyrics rather than the usual other way around, and striking use is made of a cappella vocal interludes between thunderous instrumental underpinnings. The result is less a collection of sing-alongs than listen- and think-alongs.
It’s not that the album is tuneless. Far from it. “Carnaval De Luz” bristles with a superb mix of melody and rock energy, starting with the staccato pulsing vibe of the album’s opening track “Go (Carnaval De Luz).” This is U2 at its most electronically minded, and it works.
Prefer something punchier and guitar-driven? Not a problem (language warning).
Certainly, there are strands of the familiar woven throughout a good portion of the album. That duly noted, it is anything but a band recycling itself to please an audience stuck in 1987. Bono’s lyrics this time through steer clear of specific political notions, instead focusing on the spiritual, such as on “Midnight Sunshine.”
You say God no longer cares for us
I say the stars are only there for us
The album’s production by Jacknife Lee is strong in presence without becoming fatiguing, adding a punch that keeps it grounded even as the band spins in multiple directions. The most classically U2-ish song on the album, “Street of Dreams,” showcases these multiple threads well.
It is a painful reminder of time’s passage that 2026 marks U2’s 50th anniversary. But hold off on the gold watches. “Carnaval De Luz” shows that when done right, rock ‘n’ roll really can keep you young. U2 does it right, and then some.