Innocence and Experience: songs of an U2 album artwork mess

Today is November 30th 2017. Tomorrow, December 1st, sees the official release of U2‘s 14th studio album Songs of Experience. However, this is not going to be a review about the album – at all. Rather, this story begins almost two years ago. It’s going to be a long one but hang in there.

As a U2 fan with an interest in graphic design, I have created fan art or other content that has been shared in the past. Notably, a 360° tour promo (the soundtrack was used here, but with another video after a request), a 2009 fan video of Moment of Surrender (which I have taken down but keep a copy of offline) and the 2014 infographic of quotes related to the next album release.  More recently, a picture from the 2015 Stockholm “security breach” went viral and I have created the theme song for the podcast of fansite in 2016.

Nothing of that, however, comes close to the exposure I have had anticipating the new U2 record but let’s start from the beginning, shall we?

Prologue:  A Tale of Innocence and Experience

On December 11th, 2015 I had first shared an idea on Twitter about what I thought could be an interesting approach for the artwork of U2’s anticipated follow up to Songs of Innocence, released in 2014.

I based this fan art on pictures of the four band members that had first appeared in the official 2015 iNNOCENCE+eXPERIENCE Tour programme. They can for instance be seen on the website of the Dublin-based Creative Graphic Design Agency AMP Visual. Importantly; AMP Visual (formerly Four5One) have created the vast majority of U2-related products since the late 1970’s.

Also please know that the photographs are not taken by me. I no longer recall the exact instance of where I came across the original pictures, but I suspect it might have been one of the many fan forums. As I did not purchase the tour programme myself though, I am unable to determine exactly who is the original photographer. If you have any information, please get in touch.

Briefly, the pictures represent (clockwise) Adam Clayton, The Edge, Bono, and Larry Mullen Jr, with landmarks from their hometown in Dublin, Ireland. In January 2016, the band’s official website launched their annual fanclub subscriber gift, where the band headshots appeared once more. It had the following description:


Our 2016 subscription package celebrates the striking visual iconography of the U2ie Tour.

Subscribers will receive an exclusive collection of four high quality serigraphs, commissioned by the band and developed by their longtime creative collaborators musician Gavin Friday and art-director Shaughn McGrath.

This limited edition collection is made up of four beautiful screen prints, produced on heavy paper stock, measuring 60 x 45cm. A unique visual celebration of the U2 iNNOCENCE + eXPERIENCE Tour, the set includes band, live performance and on-screen imagery.

This special collection will not be on sale online or in store.

Source pictures and text: > U2IE TOUR SERIGRAPH COLLECTION

With this, I wanted to present the creative process in creating my much circulated fan art.

Inspiration number one: After Songs of Innocence, the next album was rumoured to contrast the innocence of U2’s early Dublin years with the experience of adulthood and fame. Thus, I got inspired to create fan art for an album sleeve with the Dublin faces (which merge both ideas) as a foundation.

Inspiration number two:  U2’s 1997 album POP. It is well documented how much of an impact that era in their career has had on revising the sound, tour planning and timing of release. So, I thought an aspect of mega stardom could be learning from your “mistakes” and getting caught up in the grandiosity of the rockstar lifestyle. Note the similar arrangements of the four faces, below.


Inspiration number three: The artwork for Songs of Innocence, with Larry embracing his grown up son, in many ways reflected early U2 records with debut album Boy (1980) as the primary influence. If Songs of Innocence in content and style was a throwback to U2 in the 1980’s, perhaps the follow-up could take inspiration from the colourful 1990’s artwork?


With these as my inspiration, I began assembling the fan art. The colouring and order of the band members were adjusted to reflect the appearance of the aforementioned cover for POP. I then added the text to indicate the supposed album title.

Please note: Twitter remain the only platform, where I have shared this fan art. The original tweet has, to date, had a rather modest reception of 1 retweet (circulating the tweet with others) and 5 likes. With that, I didn’t think much about the artwork, until around two weeks ago: on November 12th.

Part 1: Even Better Than The Real Thing?

As part of the promotional campaign leading up to the release of Songs of Experience, U2 appeared on Music Television’s European Music Awards (MTV EMA) show in London. In addition to a live debut performance of the latest single Get Out Of Your Own Way, the band was to be presented with the annual “MTV Global Icon” award by fellow artist Jared Leto.

Just before their entrance to accept the award on stage, a video montage was televised – and presumably also shown on location in London. One section of the video is dedicated to displaying U2’s album covers in chronological order. The original video can be viewed in its entirety via the official website, or the MTV International YouTube channel.

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Excerpt from “Jared Leto Presents The ‘Global Icon’ Award To U2 | MTV EMAs 2017 

Around the three minute mark, the album slideshow displays artwork for Songs of Experience. There’s only one issue: my 2015 fan art is presented here, along with otherwise official album sleeves created by Four5One/AMP Visual in collaboration with U2.

To reiterate: I have never, ever shared this image outside the original tweet on December 11th, 2015. I had not, and I have not, been approached by anyone at MTV or the EMA staff before, during, or after the event in London. Thus, it was a mixed bag of emotion to see my fan art being so prominently displayed without prior consent or even credit.

Even more puzzling is that the actual album cover had been announced on November 1st, roughly a week and a half before the MTV EMAs. Moreover, the cover is available in high resolution via the section RMP Photo on with the following information:

“Limited license solely for reproduction for print and online news and editorial purposes only. No commercial use without prior approval. No single subject use. All other rights expressly reserved. ©2017 U2 Limited.”

Part 2: They Don’t Know What You’re Doing – Babe It Must Be Art!

At this point, I’m feeling sorry for the poor person that made the mix-up. I briefly enjoy my uncredited seconds of fame thinking “these things happen”, but it would not end there.

Curious, I started to track down the potential source of this mess so I googled. I was surprised to see my fan art up among the top results when perfoming a Google Image Search for “U2 Songs of Experience”. It does not however, link to my Twitter post but a message board thread. (Note also the replicated idea, with other faces of the band, on the bottom left).

I cannot verify that this is the source of the mix-up, but in September 2017 a fellow U2  fan (i.e. not me!) posted a thread to the U2 Interference message boards entitled: “Songs of Experience Album Cover?“. For context, Interference is one of the largest international (but unofficial) forums for U2 fans online. The artwork was quickly, and correctly, identified as “a fan’s creation” so it should’ve stopped there. It did not.

Incredibly, a Google Search for the same query returns a summary post with my fan art presented as the official album cover in the upper right corner! Note how the other information is entirely correct. In defense of Google, it is understandable that the thread title would cause the search algorithm to return my image as the top result.

More perplexing though, is that Google’s own music store, Play Music displays the correct, official album cover. One would have thought their services were better synchronised for something as simple as this, surely?


Since the MTV EMAs on the 12th of November where I made this discovery, it appears my fan art has appeared in other places, presented as the official album cover with no credit or reference to the original. Radio Station 99.9 WWCT FM have used it and last night I saw it in the major news outlet The New York Times as well, together with their  review of the album.

Simultaneously, I have been engaged on Twitter with other fans still asking if it is the official album art.

Epilogue: In the Darkness Where You Learn To See

Before anything else, let’s now set the record straight. The official, correct, artwork – for the new album Songs of Experience that comes out tomorrow – was announced on November 1st 2017. The official information from states:

The official cover and sleeve artwork for U2’s 14th studio album, “Songs of Experience”. Photo by Anton Corbijn and designed by AMP Visual, Dublin.

“Today the band also revealed the artwork for Songs of Experience, shot by Dutch photographer, film director and longtime collaborator Anton Corbijn, of band-members’ teenage children Eli Hewson and Sian Evans.”


Moreover, Anton Corbijn himself provided the following information from his official Instagram account:


What can we learn from all this mess?

  1. Watermark your content. 
    If you want to dissuade unathourised use of your content, watermark it. Nevermind the people who moan about it ruining the impression of your video, illustration, or photograph. One needn’t make it intrusive. If people want to use it, make them jump through a few hoops to reach out to you for a clean copy.

I am not the first U2 fan who have had their content used or right up stolen. I know fansites such as and have seen usage of their live videoclips. The eminent fan site, which has reported many of the rumours surrounding the new album, too. Watermarking does not always prevent “theft” but it retains the presence of the original source in case it ends up elsewhere.

  • Stay informed: Give credit where it is due.
    The media appear reluctant to either use the correct official sources, or finding out the original creator of the content they are about to use. This is incredibly dangerous. Once more: this is incredibly dan-ger-ous!


We live in a time and climate where claims of “fake news” gain attention to help denounce major news outlets, like the New York Times. People of the free press: please, do your work! The pen is mightier than the sword. Keep us informed, not misinformed. We must be able to trust you.

  • A Marketing mess
    U2’s marketing team are likely pissed off that fan art is presented as the official artwork. It breaks my heart thinking AMP Visual may not get recognition for their stunning work.


Songs of Experience has got the most mesmerising collection of U2 art that I have ever seen for an album. This way also, the master photographer and long-time U2-collaborator Anton Corbijn does not get proper credit and exposure for the amazing album sleeve. So in a worst-case scenario, this is going to hurt U2’s promotional campaign and sales for Songs of Experience. It might even endanger their professional relationships.

  • Mass confusion?
    Related to point number 3, I imagine there will be casual fans intrigued to pick up the new album tomorrow. How on earth are they supposed to know what to look for when even The New York Times advertises my fan art as the official artwork! I never intended this to happen. It makes me angry, more than anything else.
  • Give credit where credit is due
    Perhaps, most importantly, learn to be critical of your sources. Think. Find and give references to the original creator. Passing it off as something it is not, is not cool. Here’s an example of why this is so vital.


As for where I stand now, I am not sure how to proceed. I deny any responsibility for that this mess could be with me. I created the fan art two years ago, never even once trying to pass it off as the real thing. I could never have forseen these events to be taking place now in 2017, just before its release.

In any event, my biggest wish is that this album, Songs of Experience, is a stellar success. I wish the most possible people will experience and enjoy the electric blue beauty created by U2 together with AMP Visual and Anton Corbijn.

I hope the media will stop using fan creations and pass them off uncredited or even as if they are the real thing. I thought knowing your sources was an integral but basic lesson in journalism but apparently it is a forgotten one.  Same goes for you Google: get your search algorithms in order!

All I know is that what happened is not cool in my book, and it should not have to happen again. I ultimately wish that with this entry, I have contributed to shedding some light on how this mess unfolded, and thereby right was has been horribly wrong. In any interaction, I try my best to point people in the right direction.

Lastly, I have not heard from MTV, Google, the New York Times, U2, Maverick Management, their marketing team, AMP Visual, Anton Corbijn or any journalist or other people associated with the band regarding this mix up of the Songs of Experience artwork. I welcome a dialogue with any of you regarding this and how we can put things right together.

Best regards,
Simon Peyda Moore
November 30th 2017 in Stockholm, Sweden

Edit December 4th 2017: It appears that The New York Times revised their online version of the review on November 30th – presumably only after I published this entry.


It is now correctly displaying the official album cover. I appreciate this effort. Note however, that there is still no information about where the original artwork came from. I also do not know if the fan art appeared in the printed paper, or if a correction has also been issued in print. The correction reads as follows:


How To Dismantle A Siren’s Song: The making of a podcast theme

American fansite was founded in 1995 and has become a substantial force in the U2 fan community. One of its more recent ventures was to relaunch a podcast hosted by Chris over at, who is regularly joined by atu2 staffers such as founder Matt and news writer Sherry to discuss the latest U2 news.

In late 2015, the group shared wishes for the upcoming year related to the website and the podcast. One was a request for a podcast theme song. It wasn’t until episode #25 in March this year that the question was back on the agenda.

The theme song that was used for that episode, composed by Sherry, sparked a conversation on Twitter and I decided to join in. At first I offered to make an original theme song for the podcast but I soon had second thoughts. I didn’t actually have anything ready so I discarded the tweet. To my surprise, this came back when I refreshed my “Mentions” the next morning:

I explained the situation to Chris and said not to expect anything just yet. I had some stuff cooking, but they were ideas for my Calypte project. I felt it would be better to start fresh.

Step 1: “Maybe you could educate my mind”

I had never worked on anything as specific as a podcast theme before. How do you capture U2’s soundscapes from so many decades into a single minute? I needed to find something that reflected U2’s sonic identity.

I recalled an interview with producer Daniel Lanois where he explained that the embryo of a U2 song often comes from “electro-beginnings”. These are snippets composed by himself and co-producer Brian Eno.

“Hmm, that’s interesting”, I thought. More research. As the atu2 podcast concerns news, I listened to some television news themes. They often seem to have a pulsating beeps or steady ticking noise going on, which I liked. It was time to go hands-on and grab my instruments!

Step 2: “Things to Make and Do”

At this point, I had a rough outline: electro-beginning, showcase the bandmembers’ styles and no longer than one minute. I didn’t want it to be too demanding on the listener yet something that would tolerate a few runs on repeat.

Thinking of an “electro-beginning” the opening kickdrum/piano-loop from Beautiful Day came to mind. I set up a basic 4/4 drum track at 135 BPM to keep time. I grabbed a bass guitar and reworked the bassline from the David Holmes Remix of the song into a reversed With Or Without You-groove. “That’s uplifting” I thought, “but not very original“. Back to square one.

Next, I started playing around with the bassline from New Year’s Day that is so distinctly Adam Clayton. As I swapped the order of the notes and simplified the riff, that bass part mutated and ultimately became the key to moving forward with the rest of the theme.

Then I remembered an idea I had toyed with: what if Beautiful Day had been written in the 1980s?  Maybe a mix of old and new would take the theme in a new direction.

Step 3: “Boy meets Man”

First though, I needed a new intro. The ticking of the news themes guided me towards the coffee mug noises on Zoo Station. That song also has a droning synthesizer-loop when played live. Continuing on the Achtung Baby path, I supplemented that monotone synth sound with accentuations resembling an alarm, i.e. Even Better Than The Real Thing.

Now the drums. Some of Boy and War seemed to begin with just a kickdrum beat (Out of Control, Twilight, Like A Song) which would mimic that steady pace from the news themes. I also noticed a drum pattern that Larry seemed to do back then: a combination of tom-toms and kickdrum, e.g. I Will Follow,  11 o’ Clock Tick Tock and Gloria. For the main section, I let it transition into a Vertigo-like drum part.

Staying with the 1980’s era U2, it was time to add the guitars. Back then, Edge used short echoes on his delay unit e.g. I Will Follow, The Electric Co., and An Cat Dubh/Into The Heart. As I don’t own an Explorer guitar, I brought out my Fender Stratocaster for this one. Although guitar is my main instrument, and Edge’s sound is familiar territory, I was struggling to find what the theme needed.

Step 4: “Good is the Enemy of Great”

From the uplifting Beautiful Day idea, the song had morphed into something darker and more serious. I revisited Edge’s instrumental piece for the animated TV show “The Batman” (2004). I realised a theme doesn’t need to be joyful to be captivating and I liked how it was built up into a crescendo. Besides, U2’s early sound was dark, reflecting the lyrical themes about loss, teenage anxiety and anger.

The incredible bit about the chords used in the podcast theme (D minor, G major) is that it fits a variety of U2 songs. If you listen close, you can imagine the chimes of Spanish Eyes, Heartland or the icy piano riff from  The Unforgettable Fire or even Raised By Wolves on top of the backbone for the theme. Like my heroes, I had go beyond “That’ll do”, however.

I had settled on the slap-back delay to mimic Edge’s early signature sound, but then what? It occured to me that Edge was using the so called “palm muting” technique on songs like Twilight and Out of Control to create some rhythm to his playing. Bingo! That added the impression of a clockwork in the background.

To finish things off, I returned to an acoustic loop I had recorded on my phone a few weeks before. It had a Vertigo-like power riff over a slapbass thing (e.g Adam’s solo in Gloria). None of that would fit here but I had come up with a gem of a melodic guitar riff. Inspired by the hauntingly beautiful guitar solo on 11 o’ Clock Tick Tock, it turned out to be a extra-ordinary ending.

Step 5: “I am here!”

With the big picture done, I added some flavour in terms of a glockenspiel melody. This sound is noticeable on An Cat Dubh/Into The Heart but also more recent songs such as Electrical Storm and Crumbs from Your Table. To conclude, I threw in an electronic snaredrum part at the very end, reminiscent of what Larry does on Invisible. I thought this would reflect U2’s sonic journey in one minute, starting in the 1980’s and ending with 21st century sound. That’s a wrap!

I decided to call it Sirens based on the hoax name for what would become Songs of Innocence, and given the alarm in the intro. Before sending the song to Chris, I listened to it a couple more times to ensure it wasn’t boring or repetitive. Here is an excerpt of the reply that came back:

Hey Simon,
Me and a couple other @U2 podcasters took a listen and it sounds great. It’s hard to nail a U2 sounding song without just flat out copying a U2 song.”

Mission accomplished! I hope you enjoy the song and this backstory on how I wrote Sirens as the theme for @u2’s amazing podcast. If you have any questions or comments, you’re welcome to leave them below.


Edit February 1st 2018: Following requests from podcast listeners, I have decided to upload the full song for streaming only, below: