Live Performances
"New Year's Day" is U2's fifth most frequently performed live song, with The Edge switching back and forth between piano and guitar during the song. It has been a standard on every U2 tour since its debut on 1 December 1982 at the first show of the War Tour's Pre-Tour. During the 1980s, The Edge used a Fender Stratocaster to perform this song, along with a keyboard. During the 1990s and 2000s (decade), he has alternated between a Gibson Les Paul Custom and Les Paul Standard. The Les Paul the Edge used to write this song was sold for charity. Up until the Elevation Tour, Clayton normally used a chorus effect on his bass guitar for this song live. In the Top of the Pops performance, Bono is seen playing guitar.
"New Year's Day" has appeared on many of U2's concert video releases including 1983's U2 Live at Red Rocks: Under a Blood Red Sky, Zoo TV: Live from Sydney, PopMart: Live from Mexico City, U2 Go Home: Live from Slane Castle, Vertigo 2005: Live from Chicago, Live from Paris, and U2 3D.
The B-side of "New Year's Day", "Treasure (Whatever Happened to Pete the Chop?)", was never performed live. However, an early version known simply as "Pete the Chop" was played at some concerts in 1980.
During the Vertigo Tour at Silesian Stadium in Poland a quite remarkable example of fan action occurred. During New Year's Day, the lower sections of the crowd waved red coloured items while other sections waved white, creating the Polish flag and stunning the band. This was repeated during the U2 360° Tour at the same venue.
Read more about this topic: New Year's Day (song)
Famous quotes containing the words live and/or performances:
“I like trees because they seem more resigned to the way they have to live than other things do.”
—Willa Cather (1876–1947)
“At one of the later performances you asked why they called it a “miracle,”
Since nothing ever happened. That, of course, was the miracle
But you wanted to know why so much action took on so much life
And still managed to remain itself, aloof, smiling and courteous.”
—John Ashbery (b. 1927)