In Phil Joanou’s 1988 documentary Rattle and Hum, U2 guitarist the Edge, né David Howell Evans, gives the backstory of “I Still Haven’t Found What I’m Looking For” before he, Bono, and a full Harlem church choir launch into a rousing live take of the song. “[It’s] a gospel song pretty much,” he says. “It doesn’t sound much like a gospel song the way we do it, but if you look at the lyric and the basic music, that’s exactly what it is.”
This is U2 one year removed from the incredible success of The Joshua Tree, freshly anointed as the biggest band in the world. The Rattle and Hum film, which accompanied a double album of the same name, was less a follow-up to The Joshua Tree than a conscious evasion of U2’s proper next step: Designed in the Exile on Main Street mold, it shuffles messily between formulaic Americana, cover songs, and live versions of tracks released just 19 months prior. It sold 14 million copies and didn’t do much to hurt U2’s brand, but further confused whether this band—once so serious and political, at times dangerous—cared most about the message, the art, or the money.