During performances, the stage's 360° retractable video screen would expand its full length, and U2 would perform behind the screen as it took over the stage. The Edmonton Journal commented that by hiding themselves from the fans during the performance, the combination of advertising slogans and flickering lights "help portray this Blade Runner-type world that U2 wants us to escape." A live recording of "Zooropa" from the U2 360° Tour was featured on the U2.com member-exclusive album, U22, taken from the performance in Baltimore on 22 June 2011. The song was not performed during the first leg of the Innocence + Experience Tour, but at the first show of the European leg in September 2015, a stripped-down version was performed during the second half of the concert. This interpretation of the song lacks the piano intro and first verses, serving as a segue from "Bullet the Blue Sky" into "Where the Streets Have No Name". Reception Critical reception David Sinclair of The Times and Anthony DeCurtis of Rolling Stone both felt that "Zooropa" set the album's tone from the start. DeCurtis described Bono's singing and lyrics as a "Mephistophelean seducer". Allmusic compared "Zooropa" to the anthems of U2's The Joshua Tree album, and Entertainment Weeklys David Browne described the song as Where the Streets Have No Name' transported into the land of cyberpunk", comparing parts of the song to the techno and metallic music genres. The Independent felt "Zooropa" was "a sprawling multi-sectioned piece that drifts from two minutes of gentle radio babble into a more familiar reverb-rock structure". Jon Pareles from The New York Times said that the track was reminiscent of old U2 songs, but added new elements such as distorted vocals and repeating guitar squealing. Daily Variety praised the title track over the rest of the songs on the album, stating how it was the only song that "explores the sort of melodic range usually associated with U2". Interpretations Robert Vagacs, author of the book Religious Nuts, Political Fanatics: U2 in the Theological Perspective, describes the song as the antimatter of "Where the Streets Have No Name", in both musical and thematic aspects. Vagacs discusses the concept of Zooropa in detail throughout the book, and refers to Zooropa as a "wasteland" and a "dystopia", due to its lack of fulfilment and certainty. He also states how the Babylonian-like location uses its demigods to control its people through