The Joshua Tree

Background

Prior to The Joshua Tree, U2 had released four studio albums and were an internationally successful band, particularly as a live act having toured every year in the 1980s. The group's stature and the public's anticipation for a new album grew following their 1984 record The Unforgettable Fire, their subsequent tour, and their participation in Live Aid in 1985. U2 began writing new material in mid-1985 following the Unforgettable Fire Tour.

U2's manager Paul McGuinness recounted that The Joshua Tree originated from the band's "great romance" with the United States, as they had toured the country for up to five months per year in the first half of the 1980s. Leading up to the album sessions, U2's lead vocalist Bono read the works of American writers such as Norman Mailer, Flannery O'Connor, and Raymond Carver so as to understand, in the words of Hot Press editor Niall Stokes, "those on the fringes of the promised land, cut off from the American dream". Following a September–October 1985 humanitarian visit to Egypt and Ethiopia with his wife Ali, Bono said: "Spending time in Africa and seeing people in the pits of poverty, I still saw a very strong spirit in the people, a richness of spirit I didn't see when I came home... I saw the spoiled child of the Western world. I started thinking, 'They may have a physical desert, but we've got other kinds of deserts.' And that's what attracted me to the desert as a symbol of some sort."

After recording vocals for Steven Van Zandt's anti-apartheid project Sun City in August 1985, Bono made an additional contribution to the album in October that was inspired by his burgeoning interest in roots music. While in New York, he spent time with musicians Keith Richards and Mick Jagger, who played him blues and country music. Bono was embarrassed by his lack of familiarity with the genres, as most of U2's musical knowledge began with punk rock in their youth in the mid-1970s. He realised that U2 "had no tradition" and felt as if they "were from outer space". This inspired him to write the blues-influenced song "Silver and Gold", which he recorded with Richards and Ronnie Wood and convinced Van Zandt to add to Sun City. Until that time, U2 had been apathetic towards roots music, but after spending time with the Waterboys and fellow Irish band Hothouse Flowers, they felt a sense of indigenous Irish music blending with American folk music. Nascent friendships with Bob Dylan, Van Morrison, and Richards encouraged Bono to look back to rock's roots and to focus on building his skills as a songwriter and lyricist. He explained: "I used to think that writing words was old-fashioned, so I sketched. I wrote words on the microphone. For The Joshua Tree, I felt the time had come to write words that meant something, out of my experience." Dylan told Bono about his own debt to Irish music, while Bono further demonstrated his interest in music traditions in his duet with Irish Celtic and folk group Clannad on the 1986 track "In a Lifetime".

Recording and production

Based on their success with producers Brian Eno and Daniel Lanois on The Unforgettable Fire, U2 wanted the duo to produce their new album. Mullen was excited about working with them again, as he felt the pair, Lanois in particular, were the band's first producers who "really [took] an interest in the rhythm section". Mark "Flood" Ellis was selected to be the recording engineer for the sessions, marking the first time he worked with U2. The band were impressed by his work with Nick Cave, and Bono's friend Gavin Friday recommended Flood based on their work experiences together when Friday was a member of the Virgin Prunes. U2 asked Flood for a sound that was "very open... ambient... with a real sense of space of the environment you were in", which he thought was a very unusual request at that time.

Intending to release an album in late 1986, U2 set up a studio in February of that year in Danesmoate House, a Georgian house in Rathfarnham, Ireland, in the foothills of the Wicklow Mountains. The Edge had viewed the residence months prior while househunting with his wife and convinced the owner to rent it to the band. Their plan was to find inspiration from the converted recording space and use it to musically create atmosphere, much like they did with Slane Castle for The Unforgettable Fire sessions in 1984.

A makeshift control room with tape machines, a mixing console, and other outboard equipment was set up in Danesmoate's dining room, with the adjacent drawing room used for recording and performing. The large doors separating the rooms were replaced with a glass screen, and to maintain a relaxed "non-studio" atmosphere for the sessions, the control room was dubbed the "lyric room" and the recording space was called the "band room". Lanois' strategy was to encourage the band members to have their parts worked out in advance and to capture as much of the essence of a live band take as possible, without overdubbing as a fallback option; the group first adopted this approach while making The Unforgettable Fire. To support the setup of all band members recording in a room together, Lanois eschewed having them wear headphones in favour of using monitor speakers due to their power; Mullen and U2's bassist Adam Clayton used two each. To aid in sound isolation, gobos were built in the drawing room, although the production staff still faced issues with audio spill from the monitor speakers. Lanois said that due to the setup, "you have to make a commitment to what you put down and either use it or throw it all away." This recording setup was duplicated at subsequent locations during the album sessions. However, two songs − "I Still Haven't Found What I'm Looking For" and "Mothers Of The Disappeared" − were exceptions to the live take method, being constructed via overdubs around drum tracks from Mullen that were kept from previous recordings.

Composition

Music

U2 is credited with composing all of The Joshua Tree's music. The album's sound draws from American and Irish roots music more than the group's previous albums, following the counsel and influence of Bob Dylan, Van Morrison, and Keith Richards. "I Still Haven't Found What I'm Looking For" has strong gospel influences, with Bono singing of spiritual doubt in an upper register and Eno, Lanois, and the Edge providing choir-like backing vocals. The slow piano-based ballad "Running to Stand Still" exhibits traits of folk music and acoustic blues in the track's slide acoustic guitar and harmonica. "Trip Through Your Wires", another song on which Bono plays harmonica, was described by Niall Stokes as a "bluesy romp". Summarising the stylistic direction, Chicago Tribune journalist Joshua Klein said that the album "showed how U2's obsession with American roots flavored its art-rock". Writing for AllMusic, Stephen Thomas Erlewine said that "U2 have also tempered their textural post-punk with American influences."

The Edge's guitar playing on The Joshua Tree is characteristic of what came to be his trademark sound. His minimalist style sharply contrasted with the emphasis placed on virtuosity and speed by heavy metal in the 1980s. The Edge views musical notes as "expensive", preferring to play as few of them as possible and to instead focus on simpler parts that serve the moods of the songs. Much of this was achieved with a delay effect, contributing to a chiming, echo-laden sound. For example, the riff in the introduction of the opening track "Where the Streets Have No Name" is a repeated six-note arpeggio, with delay used to repeat notes. The riffs to "I Still Haven't Found What I'm Looking For" and "With or Without You" also prominently use delay, with Bono likening the guitar hook from the former track to "chrome bells".

The Edge continued to employ the ambient techniques of guitar playing that he used on The Unforgettable Fire; for "With or Without You", he used a prototype of the Infinite Guitar to add layers of sustained notes, an approach he first took on his 1986 solo album, the Captive soundtrack. On other songs, his guitar playing is more aggressive; "Exit" was described by Colin Hogg as a "decidedly scary... guitar-driven barrage", while Andrew Mueller said the guitar sounds from "Bullet the Blue Sky" evoke images of fighter planes. The Edge developed the harsh, feedback-charged guitar part for the latter song at Bono's instruction to "put El Salvador through an amplifier", after Bono returned angry from a visit to the war-torn country. Bono also contributed to songwriting on guitar; the Spanish guitar melody in "Mothers of the Disappeared" originated from a song that he wrote in Ethiopia to teach children about basic hygiene.

Lyrics

Bono is credited as the album's sole lyricist. Thematically, the album juxtaposes antipathy towards the United States against the band's deep fascination with the country, its open spaces, freedoms, and ideals. Anger is directed particularly at the perceived greed of the Ronald Reagan administration and its foreign policy in Central America. Bono said, "I started to see two Americas, the mythic America and the real America", hence the album's working title, The Two Americas. Having toured the US extensively in the past, the group were inspired by the country's geography. As such, the desert, rain, dust, and water appear as lyrical motifs throughout the record. In many cases, the desert is used as a metaphor for "spiritual drought". One track that chiefly represents these themes is "In God's Country", which critic Barbara Jaeger interpreted as addressing America's role as the "promised land". Clayton explained the impact of the desert imagery: "The desert was immensely inspirational to us as a mental image for this record. Most people would take the desert on face value and think it's some kind of barren place, which of course is true. But in the right frame of mind, it's also a very positive image, because you can actually do something with blank canvas, which is effectively what the desert is."

Political and social concerns were the basis for several tracks. Bono wrote the lyrics for "Bullet the Blue Sky" after visiting El Salvador during the Salvadoran Civil War and witnessing how the conflict between rebels and the US-backed government affected local civilians. During the mid-song spoken passage, he talks of a man with a "face red like a rose on a thorn bush", a reference to Reagan. Bono's trip also inspired "Mothers of the Disappeared", after he met members of COMADRES—the Mothers of the Disappeared—a group of women whose children were killed or "disappeared" during the civil war at the hands of the local government. The 1984 UK mining strike inspired the lyrics for "Red Hill Mining Town", which Bono wrote from the perspective of a couple affected by the strike. The story of a heroin-addicted couple was the basis for "Running to Stand Still", which Bono set in the Ballymun Flats residential towers in Dublin near which he was raised. The buildings are referenced in the lyric "I see seven towers / But I only see one way out". For "Where the Streets Have No Name", he wrote the lyrics in response to the idea that, in Belfast, a person's religion and income can be deduced based on the street they live on. "Exit" portrays the thoughts of a psychotic killer, although Clayton suggested that the line "He saw the hands that build could also pull down" is also a jab at the US government's conflicting roles in international relations.

Packaging and title

The album sleeve was designed by Steve Averill, based on U2's request to depict the record's "imagery, and cinematic location" in the desert. Since the album's provisional titles were The Desert Songs and The Two Americas, the initial concept for the sleeve was to represent where the desert met civilisation. The group decided early in the creative process to photograph in the US, contrasting with all of their previous albums, which had been shot in Ireland. They asked their photographer Anton Corbijn to search for locations in the US that would capture their ideas. A week prior to the photo shoot, he travelled to the US to compile a list of locations.

Over several days in December 1986, U2 travelled with Corbijn and Averill on a bus around the Mojave Desert for a photo shoot. The group stayed in small hotels and shot in the desert landscape, beginning at Reno, Nevada, before moving to locations in California such as the ghost town of Bodie, the Harmony Motel in Twentynine Palms, Zabriskie Point, Death Valley Junction, and other sites in Death Valley. Corbijn rented a panoramic camera to capture more of the desert landscapes, but having no prior experience with the camera, he was unfamiliar with how to focus it. This led to him focusing on the background and leaving the band slightly out of focus. Corbijn said, "Fortunately there was a lot of light." Averill filmed portions of the trip with an 8 mm film camera. The photo shoots took place in the mornings and evenings, with mid-days spent travelling and on preparation. Corbijn later recounted that the main idea of the shoot was to juxtapose "man and environment, the Irish in America". Averill said of their photographic approach, "What I was trying to do with the way we shot the pictures and framed the cover was to suggest the landscape vision and cinematic approach that was taken to the recording" of the album.

On the evening after the first day's shooting, Corbijn told the band about Joshua trees (Yucca brevifolia), hardy and twisted plants in the deserts of the American Southwest, and he suggested their use on the sleeve. Bono was pleased to discover the religious significance of the plant's etymology; according to Mormon legend, early settlers named the plant after the Old Testament prophet Joshua, as the tree's stretching branches reminded them of Joshua raising his hands in prayer. The following day, Bono declared that the album should be titled The Joshua Tree. That morning, while driving on Route 190 near Darwin, they spotted a lone-standing tree in the desert. Corbijn had been hoping to find a single tree, as he thought it would result in better photographs than if he shot the band amongst a group of trees. They stopped the bus and photographed with the lone plant for about 20 minutes, something the Edge called "fairly spontaneous". Despite shooting in the desert, the group dealt with cold weather during parts of the trip. Bono explained, "it was freezing and we had to take our coats off so it would at least look like a desert. That's one of the reasons we look so grim." Regarding the serious tone of the images, Corbijn said, "I guess people felt they took themselves too seriously. It was definitely the most serious, I think, that you can photograph a band. You couldn't go any further down that line unless you start photographing graves."

Release

Just prior to the release of The Joshua Tree, Bono was stricken with a sudden panic about the quality of the completed album. He said that he contemplated calling the production plants to order a halt of the record's pressing, but he ultimately held off. Island Records spent over $100,000 on store displays advertising the album; president Lou Maglia called it "the most complete merchandising effort ever assembled". The Joshua Tree was released on 9 March 1987, with an initial shipment of 300,000 copies in the US. It was the first new release to be made available on the compact disc, vinyl record, and cassette tape formats on the same date. Record stores in Britain and Ireland opened at midnight to accommodate the large number of fans who had queued outside to buy the album.

"With or Without You" was released as the lead single on 21 March 1987, with the B-sides "Luminous Times (Hold on to Love)" and "Walk to the Water". The single quickly topped the Billboard Hot 100, becoming the band's first number-one hit in America. The song topped the singles chart in Canada, while reaching number four in the UK and number two in the Netherlands. The group originally planned to use "Red Hill Mining Town" as the second single. However, the group were unhappy with the music video filmed by Neil Jordan, and Bono had difficulty singing the song. Ultimately, the group canceled the single. Instead, "I Still Haven't Found What I'm Looking For" was chosen as the second single, and it was released in May 1987 with the tracks "Spanish Eyes" and "Deep in the Heart" as B-sides. Like its predecessor, it topped the Hot 100, giving U2 consecutive number-one singles in the US. The single peaked at number six in the UK, Canada, and the Netherlands.

"Where the Streets Have No Name" was released in August 1987 as the third single, with "Sweetest Thing", "Silver and Gold", and "Race Against Time" as B-sides. The single reached number seven in the Netherlands, number four on the UK Singles Chart, and number 13 in the US. The album's first three singles all topped the Irish Singles Charts, while charting within the top 20 of the singles charts in the UK, the US, Canada, New Zealand, and the Netherlands. "In God's Country" was released as a fourth single exclusively in North America in November 1987, peaking at number 44 on the Hot 100 and number 48 as an import single in the UK. "One Tree Hill" was released as a fourth single in Australia and New Zealand in March 1988, and having been written for the New Zealand-native Carroll, it reached number one in his home country.

Reception

Critical reaction

The Joshua Tree received widespread critical acclaim, and the best reviews of U2's career to that point. Steve Pond of Rolling Stone wrote, "For a band that's always specialized in inspirational, larger-than-life gestures—a band utterly determined to be Important—The Joshua Tree could be the big one, and that's precisely what it sounds like." The review described the album's sound as "wed[ding] the diverse textures of The Unforgettable Fire to fully formed songs, many of them as aggressive as the hits on War". Steve Morse of The Boston Globe echoed these sentiments in his review, stating, "It's another spiritual progress report, enwrapped in music that strikes a healthy balance between the lushness of their last album, 1984's The Unforgettable Fire, and the more volcanic rock of their early years." Morse called it "their most challenging work to date" and the "most rewarding rock record of the new year". John McCready of NME praised the album as "a better and braver record than anything else that's likely to appear in 1987... It's the sound of people still trying, still looking..."

Thom Duffy of the Orlando Sentinel said the songs have "exultant power" that, "like the Joshua Tree's branches, stretch upward in stark contrast to their barren musical surroundings on rock radio". He praised the musicianship of the group members, calling Bono's vocals "wrenching", the rhythm section of Mullen and Clayton "razor-sharp", and the Edge's guitar playing "never... better". Colin Hogg of The New Zealand Herald called The Joshua Tree "the most compelling collection of music yet from a band that has cut its career with passionate, exciting slashes". It judged that the record's "power lies in its restraint" and that there is an "urgency underlying virtually all of the 11 songs". Robin Denselow of The Guardian called the album "epic", saying "what U2 have achieved is an exhilarating and varied blend of controlled power and subtelty". The review praised U2 for maturing and expanding their musical range, yet "retain[ing] their sense of power" and the "brave passion and emotion" of Bono's vocals.

Q's Paul Du Noyer said that the source of The Joshua Tree's "potency lies in a kind of spiritual frustration – a sense of hunger and tension which roams its every track in search of some climactic moment of release, of fulfilment, that never arrives." He concluded his review by writing that the music "has the one thing vital to worthwhile rock, a thing so often absent: the urge to exist". Spin hailed the record as U2's "first wholly successful album because it finally breaks free from the seductive but limiting chant-and-drone approach of earlier material". The review stated, "There isn't a bad song on the record" and that "every one has a hook". The magazine praised U2 for eschewing ambient experimentation in favour of uncomplicated but layered arrangements. Robert Hilburn of the Los Angeles Times said the album "confirms on record what this band has been slowly asserting for three years now on stage: U2 is what the Rolling Stones ceased being years ago—the greatest rock and roll band in the world". Hilburn noted that the band showed "sometimes breathtaking signs of growth" and played more "tailored and assured" music. Hot Press editor and longtime U2 supporter Bill Graham said that "The Joshua Tree rescues rock from its decay, bravely and unashamedly basing itself in the mainstream before very cleverly lifting off into several higher dimensions," and that U2 "must be taken very seriously indeed after this revaluation of rock". John Rockwell of The New York Times was complimentary of the band for expanding its musical range but said Bono's vocals were "marred throughout by sobbing affectation" and sounded too much like other singers, resulting in a "curious loss of individuality". The Houston Chronicle's Marty Racine felt it has "music that both soothes and inspires, music that is anthemic, music with style". Racine, however, believed the group took itself too seriously, resulting in a record that is "not a whole lot of fun, bordering on the pretentious", which caused him to lose interest by the second side. Robert Christgau from The Village Voice found the lyrics tasteful and the music "mournful and passionate, stately and involved", but lamented what he felt was pompous singing by Bono, calling it "one of the worst cases of significance ever to afflict a deserving candidate for superstardom".

Awards and accolades

In voting for Rolling Stone's 1987 end-of-year readers' polls, U2 won in the categories Best Album, Artist of the Year, Best Band, Best Single ("With or Without You"), and Best Male Singer (Bono). The album placed fourth on the "Best Albums" list from The Village Voice's 1987 Pazz & Jop critics' poll, and sixth on NME's end-of-year albums list.

At the Juno Awards of 1987, The Joshua Tree was nominated for International Album of the Year. In 1988, U2 received four Grammy Award nominations for the album and its songs, winning honours for Album of the Year (to beat artists such as Michael Jackson, Prince, and Whitney Houston) and Best Rock Performance By a Duo or Group With Vocal for The Joshua Tree. "I Still Haven't Found What I'm Looking For" was nominated for Song of the Year and Record of the Year, but lost in both categories. U2 were the only act that year to be nominated in each of the "Big Three" categories (Record of the Year, Song of the Year, and Album of the Year). U2 won the Brit Award for International Group during the 1988 ceremony. At the American Music Awards of 1988, The Joshua Tree was nominated for Favorite Pop/Rock Album and the band for Favorite Pop/Rock Band/Duo/Group.

Commercial performance

The Joshua Tree debuted on the UK Albums Chart on 21 March 1987 at number one with 235,000 copies sold in its opening week, making it the fastest-selling album in UK history to that point. It received a platinum certification in the UK within 48 hours of being released. The album spent two weeks atop the UK Albums Chart and spent its first 28 weeks within the top ten. In total, it charted in the UK for 201 weeks, ranking it among the longest-charting albums in the nation's history. On the US Billboard Top Pop Albums chart, the album debuted on 4 April 1987 at number seven, the highest debut for a studio album in the US in almost seven years. Three weeks later, it reached number one, becoming the group's first album to top the charts in the US. It remained at that position for nine consecutive weeks, the band's longest number-one reign on the chart and the second-longest reign in the US that year. The album spent a total of 120 weeks on the Billboard Top Pop Albums, 35 of them in the top ten. On 13 May 1987, the Recording Industry Association of America (RIAA) certified the album double-platinum. All of the group's previous albums re-entered the Billboard Top Pop Albums chart in 1987.

In Canada, the album debuted at number 51 on the RPM Top 100 Albums chart on 21 March 1987, and climbed to number one just two weeks later. Within 14 days of release, it sold 300,000 units in Canada and was certified triple-platinum. The Joshua Tree also topped the charts in Austria, Switzerland, New Zealand, and Sweden. In total, the album reached number one in over 20 countries.

By May 1987, sales of the album surpassed 7 million copies worldwide. Rolling Stone said that the album increased the band's stature "from heroes to superstars". It was the first album by any artist to sell one million copies on CD in the US. U2 were featured on the cover of the 27 April 1987 issue of Time, which declared them "Rock's Hottest Ticket"; they were just the fourth rock band to appear on the magazine's cover, following the Beatles, the Band, and the Who. By the end of 1988, The Joshua Tree had sold more than 14 million copies worldwide. It was the ninth-best-selling album in the UK during the 1980s.

The Joshua Tree is the band's highest-selling album, and with 25 million copies sold worldwide, it is among the highest-selling albums of all time. It ranks as one of the best-selling albums in the US; in 1995, the RIAA certified it 10× platinum for shipping 10 million units. Similarly, the Canadian Recording Industry Association certified the album diamond in Canada. In the UK, The Joshua Tree ranked among the 40 highest-selling records as of October 2018, with 2.88 million copies sold, and in 2023 it was certified 10× platinum by the British Phonographic Industry. In the Pacific, it is certified 5× platinum in Australia and 14× platinum in New Zealand.

The Joshua Tree Tour

Following the album's release, U2 embarked on a worldwide concert tour, the Joshua Tree Tour. Lasting from April to December 1987, it comprised 109 shows over three legs. The first and third legs visited the US, while the second leg toured Europe. The Joshua Tree elevated the group to a new level of popularity; the tour sold out arenas and stadiums around the world—the first time they consistently performed at venues of that size. Songs from the album became staples of the tour's set lists, as the group regularly performed eight of the record's eleven tracks, and the only song not to be played was "Red Hill Mining Town".

Like their previous tours, the Joshua Tree Tour was a minimalistic, austere production, and U2 used this outlet for addressing political and social concerns. One such issue was Arizona Governor Evan Mecham's canceling the state's observance of Martin Luther King Jr. Day. Throughout the tour, the group continued to explore American roots music: they collaborated with folk artist Bob Dylan, blues musician B. B. King, and Harlem's New Voices of Freedom gospel choir; U2 also visited Graceland and Sun Studio in Memphis, where they recorded new material. These new songs and the band's experiences on tour were documented for the 1988 Rattle and Hum album and Phil Joanou-directed motion picture.

The Joshua Tree Tour was the highest-grossing North American tour of 1987, grossing $35.1 million from 2.04 million tickets sold to 79 shows. Overall, the tour grossed US$56 million and sold 3.17 million tickets, but despite its commercial success and positive reviews, U2 were dissatisfied creatively, and Bono believed they were musically unprepared for their success. Mullen said, "We were the biggest, but we weren't the best", and for Bono the tour was "one of the worst times of [their] musical life". On the road, the group dealt with death threats, along with injuries that Bono sustained from performing. The band hinted that the stresses of touring led them to enjoy the "rock and roll lifestyle" they previously avoided.

Legacy

In a retrospective review of The Joshua Tree, Stephen Thomas Erlewine of AllMusic said "their focus has never been clearer, nor has their music been catchier". His review concluded, "Never before have U2's big messages sounded so direct and personal." Entertainment Weekly's Bill Wyman wrote that the album combined "easy-to-grasp themes – alienation and an outsider’s ambivalent view of America – with an extremely focused musical attack". A 2008 retrospective by Q said "their reinvention of stadium rock sounds as impassioned as ever" and that the album strikes "a finely balanced mix of intimacy and power".

The Joshua Tree has been acclaimed by writers and music critics as one of the greatest albums of all time. In 1997, The Guardian collated worldwide data from a range of renowned critics, artists, and radio DJs, who placed the record at number 57 on the list of the "100 Best Albums Ever". It was ranked 25th in Colin Larkin's 2000 book All Time Top 1000 Albums. In a poll of VH1 viewers the following year, The Joshua Tree was voted the greatest pop album of all time, based on responses from over 250,000 people. Rolling Stone ranked the album at number 26 on their 2003 list of "The 500 Greatest Albums of All Time". Subsequent updates to the list re-ranked the album; the 2012 version ranked it 27th, writing that the album "turn[ed] spiritual quests and political struggles into uplifting stadium singalongs", and the 2020 version of the list ranked it 135th. In 2006, Time named The Joshua Tree one of the magazine's 100 best albums, while Hot Press ranked it 11th on a similar list. Q named it the best record of the 1980s, while Entertainment Weekly included the album on its list of the 100 best records released between 1983 and 2008.

In 2010, the album appeared at number 62 on Spin's list of the 125 most influential albums in the 25 years since the magazine launched. The publication said, "The band's fifth album spit out hits like crazy, and they were unusually searching hits, each with a pointed political edge." The same year, Consequence of Sound ranked The Joshua Tree 34th on its list of "The 100 Greatest Albums of All Time", calling it "Arguably the biggest album of the 1980s" and "proof that lightning can be captured in a bottle". In 2012, Slant Magazine ranked it 24th on its list of the "Best Albums of the 1980s", saying that The Joshua Tree's opening trio of songs helped "the band became lords and emperors of anthemic '80s rock" and that "U2 no longer belonged to Dublin, but the world." In 2018, Pitchfork ranked the record 47th on its list of "The 200 Best Albums of the 1980s", writing that the album's "brilliant tension" and continued resonance was the result of Eno and Lanois "steer[ing] U2 toward a moody impressionism where slide guitars and three chord progressions sound cavernous, even ominous". In 2024, Apple Music ranked The Joshua Tree 49th on its 100 Best Albums list.

20th anniversary remastered edition

On 20 November 2007, a 20th anniversary edition of The Joshua Tree was released. The album was remastered from the original analogue recordings under the direction of the Edge, with the original vinyl album artwork restored. The release was made available in four formats: a single CD; a two-disc deluxe edition with a bonus audio CD of B-sides, rarities, and demos; a three-disc box set with the bonus audio CD and DVD, photograph prints, and hardcover book; and a double vinyl edition. All editions included liner notes by author Bill Flanagan and previously unseen photographs by Anton Corbijn. Manager Paul McGuinness explained, "There has been continuous demand from U2 fans to have The Joshua Tree properly re-mastered. As always, the band had to make sure it was right, and now it is." Some formats include expanded liner notes from the band members, the production team, and Anton Corbijn. In an otherwise favourable review of the remastered album, Andrew Mueller of Uncut said that "any casual listener who can perceive a meaningful difference between this and the original has i) ears like a bat and/or ii) needs to get out more".

The bonus audio CD contains 14 additional tracks, including the B-sides "Luminous Times (Hold on to Love)", "Walk to the Water", "Spanish Eyes", "Deep in the Heart", "Silver and Gold", "Sweetest Thing", and "Race Against Time". Two versions of "Silver and Gold" are included—U2's version, and the original recording from the Sun City album by Bono, Keith Richards, and others. The edited single version of "Where the Streets Have No Name" appears on the bonus CD. "Beautiful Ghost/Introduction to Songs of Experience" contains lyrics from the introduction to William Blake's Songs of Experience, while "Drunk Chicken/America" contains an excerpt of Allen Ginsberg's recitation of his poem, "America". "Wave of Sorrow (Birdland)", "Desert of Our Love", "Rise Up", and "Drunk Chicken/America" are all previously unreleased recordings from The Joshua Tree sessions.

The bonus DVD includes live concert footage, a documentary, and two music videos. The disc includes Live from Paris, an 85-minute concert from 4 July 1987 that was originally broadcast on British television in celebration of the 25th anniversary of Island Records. The documentary, titled Outside It's America, was a 1987 MTV production about The Joshua Tree Tour. The two music videos are an alternate version "With or Without You" and the previously unreleased video for "Red Hill Mining Town". Footage of U2's alter ego country band, the Dalton Brothers, is included on the disc as an Easter egg.

30th anniversary tour and reissue

For the 30th anniversary of The Joshua Tree, U2 staged a 2017 concert tour in North America, Europe, and Latin America, on which they played the album in its entirety at each show. It was the first time the group toured in promotion of an album from their back catalogue, rather than a new release. As part of the tour, U2 headlined the Bonnaroo Music Festival in Manchester, Tennessee, in June. In rationalising the tour, the Edge cited the 2016 US presidential election and other world events for what he judged to be renewed resonance of The Joshua Tree's subject matter: "That record was written in the mid-Eighties, during the Reagan–Thatcher era of British and U.S. politics. It was a period when there was a lot of unrest. Thatcher was in the throes of trying to put down the miners' strike; there was all kinds of shenanigans going on in Central America. It feels like we're right back there in a way... It just felt like, 'Wow, these songs have a new meaning and a new resonance today that they didn't have three years ago, four years ago.'" The 2017 tour grossed more than $316 million from over 2.7 million tickets sold, making it the highest-grossing tour of the year. Additional tour dates were added for Oceania and Asia in 2019, which included the band's first ever performances in South Korea, Singapore, India, and the Philippines. The 2019 shows grossed $73.8 million and sold 567,000 tickets, bringing the cumulative totals for the group's Joshua Tree anniversary tours to $390.8 million grossed and 3.3 million tickets sold.

On 2 June 2017, the album was reissued in several formats in commemoration of its 30th anniversary. Standard editions of the album were released on CD, vinyl record, and via digital download. Deluxe editions, available on CD and digitally, include a concert recording of a 1987 show at Madison Square Garden from the Joshua Tree Tour. In addition to the concert, the super deluxe editions, available on CD, vinyl record, and digitally, include: B-sides and rarities; and remixes of the album's songs made in 2017 by Daniel Lanois, St Francis Hotel, Jacknife Lee, Steve Lillywhite, and Flood. The physical copies of the super deluxe edition include eight folio prints and an 84-page book of photography shot by the Edge during the album cover's 1986 photoshoot in the Mojave Desert. The 2017 remix of "Red Hill Mining Town" was released as a single on vinyl picture disc for Record Store Day in April 2017.

Personnel

Personnel taken from The Joshua Tree liner notes, except where noted.

U2

Bono – vocals, harmonica

The Edge – guitars, backing vocals, piano ("Running to Stand Still")

Adam Clayton – bass guitar

Larry Mullen Jr. – drums

Additional performers

Brian Eno – keyboards, DX7 programming, backing vocals

Daniel Lanois – tambourine, Omnichord, additional guitar, backing vocals

The Armin Family – ("One Tree Hill")

Dick Armin – RAAD electric cello

Paul Armin – RAAD electric viola

Adele Armin – RAAD electric violin

The Arklow Silver Band – brass ("Red Hill Mining Town")

Paul Barrett – brass arrangement and conducting

Technical