Four decades ago this month, U2 unveiled an album that would prove a pivotal moment for their sound and creative direction. Compared to the post-punk style of their first three records (Boy, October, and War), The Unforgettable Fire was a departure in almost every way.
This ambitious record saw U2 collaborating with producers Brian Eno and Daniel Lanois, recording in an 18th-century Irish castle, experimenting musically like never before, and racing to complete the album at the last minute – all while being filmed by a documentary crew.
The story starts in late 1983, just after the War tour wrapped up, when the band gathered at Bono’s seaside home, a converted Martello tower on the Irish coast, to begin writing new material and brainstorming how to evolve their sound. Bono later reflected, “We could have carried on doing what we were doing and become the biggest band since Led Zeppelin, but something didn’t feel right.” Bassist Adam Clayton added, "We were looking for something more serious, more artistic."
Having recorded their first three albums at Windmill Lane Studios in Dublin with producer Steve Lillywhite, the band realised they needed a dramatic change to shake off their creative block. Possibly inspired by the tower where they had been writing, and by Led Zeppelin’s use of unusual recording locations, they began thinking about recording in a more unconventional, inspiring space. But first, they needed a new producer.
Searching for the Right Producer
Early on, U2 considered working with producers like Conny Plank (Kraftwerk, Can), Rhett Davies (Roxy Music), and Jimmy Iovine, who had produced their live album Under a Blood Red Sky. None of these meetings bore fruit, however. That’s when Bono and guitarist The Edge suggested experimental musician and art-rock icon Brian Eno. Bono admired Eno’s work with Talking Heads, while The Edge was captivated by his innovative ambient compositions.
At first, Eno wasn’t convinced he was the right fit for such a high-profile rock band. According to The Edge, “He was a bit wary of our lack of irony.” Eno himself worried that the band might fear his softer, more avant-garde approach. Nonetheless, Bono’s determination and the band’s desire to explore new sonic territory led to a meeting with Eno and his Canadian engineer, Daniel Lanois.
U2’s record label, Island Records, was initially against hiring Eno. Island’s founder, Chris Blackwell, felt the band was on the brink of becoming the biggest rock group in the world and feared Eno’s avant-garde style would derail their success. Eventually, however, Bono convinced Blackwell to allow them to move forward with the project.
Eno finally agreed to join on the condition that Lanois co-produce the album, in case his own methods didn’t mesh with the band. In the end, this combination of personalities worked perfectly. As Bono later remarked, “Brian is very cerebral, while Daniel is one of the most naturally musical people I’ve ever met. You just play better when he’s in the room.”
A Castle Fit for Rock Legends
Having made all their previous albums at Windmill Lane, where they found the studio too cramped for the whole band to play together, U2 longed for a more inspiring space. Rather than recording in a typical dry-sounding studio and adding effects later, they wanted to experiment by working in a live-sounding environment, as The Edge put it, “taming a wild sound rather than trying to liven up a dead one.”
After some searching, U2’s management secured Slane Castle, a majestic 18th-century estate north of Dublin, as the location for the recording. With its grand ballroom, soaring dome ceiling, and stunning views of the River Boyne, it seemed the perfect place for the band to settle in and create an album that would push their music in bold new directions. The castle’s owner, Lord Henry Mountcharles, offered a favourable deal that included accommodation and catering for the band and crew.
On 7 May 1984, U2 arrived at Slane Castle with their team and a TV crew in tow to start recording. Eno and Lanois transformed the castle into a makeshift studio, setting up their control room in one of the drawing rooms and running cables into the ballroom where the band played.
Although the ballroom’s acoustics were fantastic for slow songs, they proved too lively for more straightforward rock tracks. The team hung drapes to soften the sound, but most of the recording ended up taking place in the castle’s library, which created a denser, more powerful sound.
As producer Daniel Lanois explained years later, the band set up two distinct recording spaces: a live room where they could hammer out songs as a group, and a more intimate area for vocal work, harmonies, and other fine details.
Hard Work and Long Hours
During their time at Slane Castle, U2 and their team worked long hours, often from 10 am until 1 am. Eno kept a more relaxed schedule, focusing on broader creative ideas, while Lanois remained hands-on with the engineering and songwriting.
Eno encouraged the band to embrace their more unconventional ideas, even composing a set of atmospheric synth pieces to inspire their work. As The Edge later noted, "We were eager to try new things and completely open to a different way of working."
While Bono and The Edge explored their more experimental sides with Eno, bassist Adam Clayton and drummer Larry Mullen Jr found a strong creative connection with Lanois. As U2 biographer Niall Stokes put it, "Under Lanois’ direction, Mullen’s drumming became looser and funkier, and Clayton’s bass more subliminal, allowing the rhythm section to support the songs without dominating them."
A Creative Push to the Finish
After a month of intense writing and recording sessions, U2 moved back to Dublin’s Windmill Lane Studios to finish the album. They had initially intended to complete most of the recording at Slane, but in the end, they re-recorded a substantial amount of material back in the studio, including major changes to the album’s lead single, Pride (In the Name of Love).
With only two weeks left to finish the record, tensions rose as the band rushed to complete the final details before their tour began. Bono worried that he wouldn’t be able to finish the lyrics in time, while drummer Larry Mullen grew frustrated with the increasingly frantic pace. Meanwhile, Eno advocated for keeping the raw, spontaneous quality of the early sessions.
In a final push, the band worked around the clock, often for 20 hours at a time. The album was finally completed after an all-night session, just in time for the master tapes to be flown to London.
The Final Product
Despite the pressure and last-minute rush, The Unforgettable Fire was a bold leap forward for U2, marking a new chapter in their career. With its mix of atmospheric soundscapes, social themes, and artistic experimentation, the album demonstrated the band’s willingness to take risks and push their creative limits.
Although The Unforgettable Fire may not have as many commercial hits as War or The Joshua Tree, it remains a key milestone in U2’s evolution, embodying their commitment to exploring new musical territories while staying true to their core sound.
As Bono himself said, “It’s best to let what’s inside you come out.”
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