SOUNDS WRITE By ANTHONY LOMAN There's been many a band that has believed playing in a huge stadium is just like any other gig but with a bigger audience present, only for them to subsequently learn the hard way, dying a death on their feet' before thousands, that it ain't just another gig.

To hold sway over a multitude in a stadium setting for a couple of hours requires a band to possess a certain grandeur about them that few in truth have. The Stones and R.E.M possess it, Queen had it and U2 most certainly have got in spades and in front man Bono, they have arguably the most captivating concert performer of modern times.

The casual manner in which U2 ambled onto the huge oval stage to a rapturous reception last Tuesday at the City of Manchester stadium for their first UK show in nearly three years gave little indication of the splendour that was about to unfold. Launching straight into the anthemic crowd pleaser Vertigo'(which incidentally is the name of the tour), it was game, set and match' to U2 within five minutes as 55,000 folk swayed and sang along in unison with the song's familiar Hello, Hello' lyrics puncturing the night air.

With little time for anyone to catch their breath, U2 gave a timely reminder of their career longevity by performing I Will Follow' from their twenty-five year old debut album Boy' which still sounded remarkably fresh and, throughout the course of the evening the band frequently delved right back into their awesome back catalogue.

The stage, with its two tentacle-like, snaking runways leading to two mini stages a quarter of the way out into the crowd was perfectly designed to allow for maximum contact and interaction with the audience and this is where Bono is at his best, with his uncanny ability to connect with thousands. Dressed all in black and sporting the obligatory rock star shades, the diminutive singer with the huge voice made regular forays out into the crowd and, as he sang the band's latest single, City Of Blinding Lights' he plucked a young girl from the gathered throng and leading her by the hand, walked her back to the main stage where he offered her the best seat in the house' for the duration of the song.

Driven on by the distinctive guitar sound of The Edge and the ultra tight rhythm section of drummer Larry Mullen Jr and bass player Adam Clayton, the group performed rousing versions of Elevation', New Year's Day' and Beautiful Day' with the pace only slowing for an emotional rendition of Sometimes You Can't Make It On Your Own', which Bono dedicated to his late father Bob Hewson, "a working class man from Dublin who loved the opera', who lost his battle against cancer in 2001.

Such is Bono's stature on the world stage, he has always been aware of his power of position and has customarily used his privileged platform to vocalise his political beliefs and the causes he feels most strongly about. The searing beat of U2's most political song, Sunday Bloody Sunday' signalled Bono's step onto his soapbox as he tied a white bandana around his head which used the symbols of Islam, Judaism and Christianity to spell out the word "co-exist". At the end of the song he repeatedly chanted "Mohammed is Jesus is Jew" and then during the next number, the powerful Bullet The Blue Sky', the singer pulled the bandana down over his eyes to become a blindfold, sank to his knees and with his hands held above his head, adopted the pose of a helpless POW to dramatic effect.

Running To Standstill' was dedicated to "all the British servicemen" which brought a massive cheer from the crowd and the song concluded with the projection of the Universal Declaration Of Human Rights being scrolled across a massive bank of screens which formed the backdrop of the stage. And still the potent mix of uplifting music and powerful political messages continued for at the start of Where The Streets Have No Name' from the Joshua Tree' album, conscious of the timing of this series of concerts coinciding with the upcoming G8 summit, Bono told the crowd, "This is our moment, this is Africa's moment, this is the year to make poverty history..this week finally an end to the debt burden, Drop The Debt' it was a t-shirt and a slogan, thank you Tony Blair and Gordon Brown". But Bono was quick to add that Tony Blair's work was not yet done urging the Prime Minister to "Stand up for those other leaders, stand up for Africa, this could be your moment."

The cynical folk have always been quick to deride Bono and believe his mixing of music with politics is a big ego trip and designed primarily to raise his own profile further but I feel certain that all those present at this show would regard that as a misguided and warped viewpoint. Yes, Bono has an ego and a pretty sizeable one at that but his politicising and messages seemed genuinely sincere and heartfelt and had more immediate impact than any number of TV party political broadcasts can ever muster.

It was the music though and the sheer power of it that will still be remembered most from this night. Crowd favourite One' ended the formal part of the show but Bono and co. were quick to return for the much demanded encores that included The Fly', Mysterious Ways', a stirring With or Without You' and All Because Of You' and Yahweh' both taken from the group's current album, the strangely titled How To Dismantle An Atom Bomb'. The show came full circle in the end with the song that kicked off the proceedings, Vertigo', being reprised to wrap up the set in glorious and rip-roaring fashion. As an exercise in stadium rock with an added conscious, it really doesn't get any better than this. U2 have raised the bar' once more and others will surely find it mighty difficult to reach it, never mind clear it.