The past few years have been a dodgy time for those who enjoy Sting‘s music. Artistic curiosity is one thing, but some questionable choices have certainly been made. Beginning with the disappointment of 2003’s Sacred Love, then continuing with folk-inspired odes to winter and orchestral explorations, it seemed as though the iconic pop star had lost his edge. And we totally understand anyone who refuses to forgive Sting for the whole renaissance lute thing.
Maybe that should have been expected. After all, the man is no longer a spikey-haired wannabe punk in his 20s. By the time Sting reached middle-age, he owned a castle in England, a penthouse in New York and a palazzo in Italy — not to mention a song catalog that is probably worth a kabillion dollars. So when I settled into my seat inside DAR Constitutional Hall on Saturday night for the latest stop on Sting’s Back To Bass tour, which supports a compilation of his first 25 years as a solo artist, I was fully expecting a show that would be very well-executed (even those who hate Sting’s work cannot deny the craftsmanship that goes into his songwriting), and with little surprise.
But I was surprised. The taut two-hour setlist included not only the unexpected, but also left out some beloved classics. Sting, who celebrated his 60th birthday earlier this month, proved that he’s still got game.
The show’s presentation, with no fireworks, bells or whistles, put the focus squarely on the songs. Even the singer himself wore a simple look, sporting a shaved head, jeans and a tight gray t-shirt showing off a physique that would raise envy in men half his age. Opening with the lyrical irony of “All This Time” from 1991’s The Soul Cages, Sting’s most underrated and perhaps best album, the program included material from nearly all of his solo releases as well every album of The Police. The only exception was Nothing Like the Sun (1987), which includes concert staples like “Englishman in New York” and “Fragile”. On the other hand, Sacred Love got an unexpected nod. The title track, “Inside” and “Never Coming Home” were mercifully stripped of their sequencer-driven sheen and reworked over driving, headbobbing grooves, as was “Desert Rose”, the hit single off of 1999’s Brand New Day.
During one of several amusing anecdotes giving the backstory to his songs, Sting said that in the past decade, he has taken to writing the music first and then waiting for the muse to tell him what the lyrics should be. The result is often words written from a character’s point of view. Subjects in Saturday’s show included a murderous cowboy (“I Hung My Head”), a car thief (“Stolen Car”) and a pair of foxes in “End of the Game”. The latter was inexplicably omitted from the American release of Brand New Day, but has been performed on several tours and shows Sting’s mastery as an arranger. While stepping into other people’s (or animals’) shoes expands the lyrical palette, it does not establish the personal connection of his more introspective material. For example, “Ghost Story”, written as a conversation with his late father’s spirit, was an emotional high point.
Of course, The Police made a showing, but there were unanticipated calls here as well. “Roxanne” didn’t get a chance to put on the red light, and was not particularly missed. Instead, Sting dusted off “Driven to Tears”, a song whose continued relevance is unfortunate, as well as “Next to You”, the first track off The Police’s 1978 debut. “Every Breath You Take” drew cheers, but at this point is pretty much obligatory, while “Every Little Thing She Does Is Magic” exudes as much joy today as it did 30 years ago.
Always known for surrounding himself with some of the best and most versatile musicians in the world, Sting made this tour no exception. He called Vinnie Colaiuta a “drummer’s drummer,” and Colaiuta’s slick and nimble playing on the odd-metered “Seven Days” showed why he is considered among the all-time greats. Having spent 20 years with Sting, guitarist Dominic Miller has become the songwriter’s right hand on stage. Miller’s son, Rufus, provided able rhythm guitar and backing vocals. “Hounds of Winter” featured a wailing solo from singer Jo Lawry, who also doubled on violin. Peter Tickell joined her on the fiddle and took a crushing turn on “Love Is Stronger Than Justice” that brought the crowd to its feet. Then there is Sting himself, who not only laid down thick bass lines all night, but also delivered pitch-perfect vocals. His solo rendition of “Message in a Bottle” brought the evening to an appropriately haunting close.
Sting will return to DAR Constitution Hall on Thursday, November 10, 2011 at 8 p.m. $59-$145.
