Inasmuch as I feel any amount of confidence in my theology as a Christian, I feel confident that if the Christian Gospel contains truth, or at least a truth structure that maps onto reality in ways that may be true (theopoetics), even when not literally true, then the doctrine of universal reconciliation, rooted in the epistles of St. Paul, and patristic thinkers like Origen of Alexandria and Gregory of Nyssa, is something I feel confident confessing (even if it’s debated whether those saints were committed to universal reconciliation themselves). I know it’s a minority position within the church, historically and presently. But if the logic of the Gospel is rooted in reality, i.e., we are reconciled to our Creator who prevented death from being the final word for created things by entering into our material reality in the person of Jesus of Nazareth, including the reality of dying, in order that even the dead may be alive in the Creator, then any created thing (or at least any sentient, created thing) over which death maintains a permanent claim would mean that the Creator has lost something of the creation to the finality of death, meaning that if the Creator is good, then this goodness has been proven limited in that the Creator didn’t redeem all that was brought into existence without consent because the Creator willed that we be brought into existence. If the Creator intends to bring all created things to a point of perfection (never finally reached, but always available to experience = theosis), or to encounter ongoing perfection, then I can live with the theodicy questions raised by Christian doctrine. If not, then I feel that Christian doctrine fails to adequately recognize the problem of theodicy.
I say all that to say that while I have no idea what soteriology is embraced by my favorite alternative rock band of all time, U2, I do find many lines that make my universalist heart happy, and I would like to discuss them through this lens.
Moment of Surrender
There’s a line in the song “Moment of Surrender” from the album No Line on the Horizon that has given me a phrase that encapsulates the message of Christian universalism: “It’s not if I believe in love/But if love believes in me”. This isn’t to deny the place of “belief” or “faith” or maybe more importantly “fidelity” to Christianity, but it is to say that there may be something to what I’ve heard others say about the soteriology of the Reformed theologian, Karl Barth, when he talks about how God has elected humanity in Christ. It seems from what I’ve read that Barth never made an explicit, undeniable claim to universalism (correct me if I’m wrong), but that his doctrine of election implied it. If Christ has united divinity and humanity so that God chooses us through Jesus’ humanity, then humanity will be redeemed, even ours. In this sense, what ultimately matters (and here the Reformed tradition may be on to something) is that God elects us, we don’t elect God. It’s not “if I believe in LOVE” (God is LOVE, 1 John 4:8, 16), “but if LOVE believes in me.” If we equate “belief” with “fidelity,” then it’s more important that God shows fidelity to humanity than that we show fidelity to God. God’s fidelity overcomes our infidelity.
Songs of Innocence
There are several locations in the album Songs of Innocence where I hear themes of universal reconciliation. In “The Miracle (of Joey Ramone)”, we hear of the bands divine encounter with the music of the Ramones. There’s St. Paul’s conversion-like imagery “I woke up at the moment when the miracle occurred/Heard a song that made some sense out of the world” followed by the first line in which I hear hints of universal reconciliation: “Everything I ever lost, now has been returned/In the most beautiful sound I’d ever heard”. The idea of everything that has been lost being returned gets amplified toward the end of the song: “I woke up at the moment when the miracle occurred/I get so many things I don’t deserve/All the stolen voices will someday be returned/The most beautiful sound I’d ever heard”. Again, we have St. Paul’s conversion in the background, followed by a line about grace (“I get so many things I don’t deserve”) that spans out to include more people than Bono when he sings, “All the stolen voices will someday be returned”. The language of “stolen voices” captures beautifully the human condition, where most people who have ever lived have been silenced by forces greater than themselves.
The third song on that album has words that, for me, explain the logic of the doctrine of universal reconciliation. In “California (There Is No End to Love)”, U2 sings “I’ve seen for myself/There’s no end to grief/That’s how I know/That’s how I know/And why I need to know/That there is no/Yeah, there is no end to love/All I know and all I need to know/Is there is no/Yeah, there is no end to love”. The problem of theodicy, put simply, is that if God is Love, and good, and powerful, and has foreknowledge, then it’s legitimate to ask why there’s so much suffering, or as this song says, grief. It seems endless. The logic of universal reconciliation is that if there’s so much grief, then there must be “no end to Love”. Love (God) must out extend the grief/suffering we see, if we are to talk about Love (God) as good, powerful, etc.

Until the End of the World
The song “Until the End of the World” from the album Achtung Baby has been one where I’ve heard hints of universal reconciliation. If my memory is correct, when Bono and the Edge used to perform this song live, they’d look as if they were clashing with each other. The Edge pushes Bono back as Bono makes his fingers into horns above his head. I’ve tried to find a clip, but I’ve been unsuccessful. If this memory is correct, and others online share this memory + interpretation, then the song has Jesus and Satan facing off. But the lyrics of the song are clearly about Jesus and Judas, his betrayer:
Haven’t seen you in quite a while/
I was down the hold just passing time/
Last time we met was a low-lit room/
We were as close together as a bride and groom/
We ate the food, we drank the wine/
Everybody having a good time/
Except you/
You were talking about the end of the world
I took the money/
I spiked your drink/
You miss too much these days if you stop to think/
You lead me on with those innocent eyes/
You know I love the element of surprise/
In the garden I was playing the tart/
I kissed your lips and broke your heart/
You/
You were acting like it was the end of the world
That being said, the Gospel of Luke claims that Satan “entered into” Judas before the betrayal (22:3), and the Gospel of John repeats this claim (13:27). So, a song about Jesus and Judas can be easily interpreted as one between Jesus and Satan, as I did many years ago in a post on my old blog: “Satan according to Bono and Mick Jagger”. Where it’s about Judas, Satan, or Satan/Judas, the end of the song is where I find an interesting hint of universalism: “Waves of regret and waves of joy/I reached out for the one I tried to destroy/You, you said you’d wait/’Til the end of the world”. The idea of Judas/Satan reaching out to Jesus is depicted in those Bono/Edge clashes, but as one commenter on my old blog observed: “in the concert I attended and others I have seen videos of their hands just about meet but then don’t meet. Bono is suddenly pulled away and the song climaxes with the Edges’ guitar and Bono sinking to the floor,” hinting at failed reconciliation. But I think they missed something key: the lyrics say “You, you said you’d wait, ’til the end of the world”. The reconciliation couldn’t happen now, but it would happen later. I know there’s much debate over this topic, so I would say that Origen suggested the ultimate salvation of even the devil, but it does seem apparent that some people thought Origen’s teachings might imply this.
I’ll stop here for now. If I think of more songs that carry this theme, maybe I’ll add another post! I think this gets across what I wanted to say though: U2 has some beautiful imagery for pondering the doctrine of universal reconciliation.




