Summer

Aug

2016

Berlin, DE

Waldbuhne

Sting live in Berlin: Beau with a worn-out bass...

Sting struggles to reconcile the different phases of his career. On a mixed concert evening at Berlin's Waldbühne.

There's perhaps nothing cooler, nothing more confident, than throwing traditional live dramaturgies out the window – and starting a concert immediately with the biggest hit. Big bands do it (the Rolling Stones with "Satisfaction"), smaller bands do it (Pavement with "Cut Your Hair"). This also goes to show: Our repertoire is so large that we can fire off the hits right from the start.

On his current tour, Sting opens the evening, as he did at Berlin's Waldbühne, with the Police hit "Every Breath You Take." The 1983 song is so popular that the singer reportedly still earns $2,000 a day from it.

The intimate "Every Breath" might seem unsuitable for the opening position on paper. But the 64-year-old's four-piece band knows how to rock through it. Especially drummer Vinnie Colauita – and that proves to be a problem. It might seem pointless to always bring up the musician from the original, Police drummer Stewart Copeland, for comparison. But there's little of the lurking, almost metronome-like quality of "Every Breath You Take" when a drummer instead just keeps pounding the cymbals.

Colauita's drum kit is simply too big, which tempts you to exploit everything. Copeland's magic was that he seemed more like a man with a single drum strapped to his head, yet he could produce a thousand notes out of thin air.

But as a rock bomb, "Every Breath" apparently works; the audience instantly has Sting under their spell with his hit offensive. Nevertheless, it's the solo pieces that his musicians interpret more convincingly. The long-unheard, palatial arabesque of "Mad About You," intricately arranged on the 1991 "Soul Cages" album, is lifted here almost entirely by Dominic Miller's guitar. "If I Ever Lose My Faith in You" is also almost 25 years old, but still carries the same momentum from tour to tour. Sting always closes his eyes, theatrically or not, at the line "Every time I close my eyes, I see your face."

During his previous tour, titled "Back To Bass," he played in small venues. His triumphant performance at Berlin's Columbiahalle was a true rehearsal-room Sting, complete with sweat, muscle-tights, and toned upper arms, strapped to his battered bass guitar, the scratches perhaps still due to arguments with his Police colleagues. Fortunately, Sting has retained this amateur power for his latest tour; he once again seems like a musician working in front of an audience. In the past, one occasionally had the impression that Sting was singing over the heads of his audience, his mind elsewhere.

Today, Sting plays his bass as deliberately as McCartney. With both, it seems as if plucking a string is like turning a page in a book that needs to be read in peace, only then does he move on to the next note. It works. The medley of "Roxanne" and Bill Withers' "Ain't No Sunshine" is also a hit; the fusion of rock and jazz would have been a great fit for Sting's live album "Bring On The Night." The long live version becomes a showcase for his band, with each musician getting their solo moment, and—something that always seems a bit silly at pop concerts—there's a standing ovation. The same goes for Sting's hard-to-sell cover of Peter Gabriel's "Shock The Monkey." He was still touring with the former Genesis singer until last week. He was still touring with the former Genesis singer until last week. However, the decision to simply incorporate this song – and one by Genesis – into his current solo repertoire seems a bit casual.

Two surprises towards the end. First, "Englishman in New York," which on the 1987 album "...Nothing Like The Sun" seems rather disturbing, sad, and passive-aggressive, but in the Waldbühne, it becomes a reggae singalong. The hip-hop passage, once integrated into the studio version out of pure cynicism, is used by the audience as a template for stomping. And then, in the encore section, "Desert Rose" from 1999. Sting's devil fiddler, who occasionally enters the stage from the back, turns the oriental-inspired song into a Russian disco. Sting lets go of his bass and plays hand theatre in front of the microphone. You just wish it would cast a shadow somewhere. And I also think it was a good decision that Sting focused primarily on his material up to, say, 1993. The impression remains that Sting can't harmoniously combine the different phases of his career.

But there was something else, wasn't there? Of course, in November, Sting will release a new studio album of rock songs, "57th & 9th," his first since 2003's "Sacred Love." Unfortunately, he didn't present any new material from it. Why not?

Sting lets fans reminisce at the Waldbühne...

On Monday evening, Sting played in front of 20,000 people at Berlin's Waldbühne, naturally performing classics.

The beard is gone. Freshly shaved and with a youthful lightness, British rock musician Sting opens his concert at 8:30 p.m. on Monday evening at the sold-out Waldbühne, which boasts 22,000 attendees. After his son, singer-songwriter Joe Sumner, opens the evening with the Grammy-winning Police classic "Every Breath You Take." And there will be plenty more Police hits to come.

Sting returns to what he does best: rock songs with power and passion. His many experiments of the past decade, from medieval lute music to rambling winter songs to the less successful musical "The Last Ship," are a thing of the past. Sting has once again strapped on his aged, battered electric bass and is offering a best-of program at the Waldbühne that will have the fans cheering.

After "If I Ever Lose My Faith In You" and "Mad About You" from his solo albums from the early 90s, there's another Police hit with "Driven To Tears." And, of course, "Message In A Bottle," "So Lonely," and, at the very end, "Roxanne" follow later. A new Sting album, "57th & 9th," is actually due out at the end of November. And it's supposed to be really rockin' again, we hear.

Sting warms up in concert. With everything we've come to expect from him, including "Englishman in New York," his 1987 hit. He's relaxed, charming, and even dabbles in German. And surprises with cover versions like Peter Gabriel's "Shock The Monkey."

He's supported by a first-class band featuring talents like guitarist Dominic Miller, keyboardist David Sancious, drummer Vinnie Colaiuta, violinist Peter Tickell, percussionist Rhani Krija, and backing vocalist Jo Lawry. The Waldbühne crowd waves smartphones and revels in memories.

Sting: Even at 64, he still captivates everyone...

On Monday evening, The Police star Sting wowed the sold-out Waldbühne in Berlin. With two hours of hits, he got over 20,000 people dancing.

For 40 years, Sting (64) has been keeping audiences on their toes. His jazzy reggae and rock have made music history. But first, his eldest son is allowed to take to the massive stage: "My name is Joe Sumner, I come from England. Sorry, I don't speak German," the gray-haired man opens his acoustic set in German with a truly likable air. He sings lines like "I wanna make it better" and "I do my best" in the shadow of his oversized father, earning thunderous applause. "You are very nice," Joe thanks him politely. The first people start clapping along. Unfortunately, the conversation quickly drowns out the singer, who is too quiet. Things get sweet when Sumner plays the song "Jellybean," which he wrote especially for his little daughter, and the little redhead toddles onto the stage.

When their grandpa Sting marches onto the stage and stands half-slanted in front of the microphone, there's no stopping him. His massive hit "Every Breath You Take" from The Police days resounds from thousands of mouths. From the very beginning, the confident man has his audience under control. "Guten Abend, meine Damen Herren. Ich bin froh, hier bei euch sein," he greets in German like his son and sticks to his guns during the introductions. Damn sexy, the way this daring guy stands half-slanted in front of the microphone during "Mad About You," fiddling with his eyebrows. It's hard to believe that this fit man is 64 years old. Hot belly dancers appear in the audience, and some couples are cuddling.

Sting rose to fame almost 40 years ago with his old new wave/reggae band, The Police. Their "Invisible Sun" follows, with images of children of all cultures flickering across the screens. In the lyrics to the song, Sting rebels against violent governments. That the Genesis cover of "Dancing With The Moonlight Knight" follows can't be a coincidence. "Selling England by the pound," sings Sting, then abruptly switches to the Police hit "Message In A Bottle." The stands jump, clapping louder than the band. Tens of thousands of voices chant "sending out an S.O.S." England and a distress signal? He doesn't comment on whether the Brit is making a reference to Brexit.

His storm of hits continues seamlessly. "Fields of Gold" invites the crowd to sway, cuddle, and smack their lips, while The Police are wildly celebrated in "So Lonely." Berliners and those from far away are jumping everywhere, completely oblivious. And Sting continues to build the drama: his emotional bombshell "Shape of My Heart" leaves you languishing, the reggae-infused "Englishman in New York" gets your hips moving. A sold-out Waldbühne is torn apart.

And then, when it finally falls dark, Bill Withers' "Ain't No Sunshine" nestles so beautifully into the finale, "Roxanne." The bassist receives tremendous cheers for a roar of "ah!" à la James Brown. It's so loud, Sting can only shake his head and kiss his hand goodbye. A brief respite before Sting's fantastic band shuffles back onto the stage. Their tight sound and incredibly harmonious interplay are unbeatable. They prove this in the haunting "Desert Rose," which will sweep you off your feet with its musical diversity and oriental charm. For the second encore, "Next To You" by The Police, Sting's son Joe comes on stage with his electric guitar and his little daughter and rocks like crazy.

For the final encore, "Fragile," the multi-instrumentalist switches to his instruments for the first time. He plays a powerfully emotional Spanish acoustic guitar, sending the dreamers off into the night with a blissful grin. But the way Sting humbly bows again after a large group bow to thunderous applause demonstrates unparalleled modesty.

Sting delights thousands of fans at the Waldbühne...

The beard from last winter is gone, but otherwise not much has changed for Sting – actually, nothing at all. For his concert on Monday evening at the sold-out Berlin Waldbühne, the 64-year-old bassist and singer had put together a nearly two-hour program entirely according to the audience's wishes.

The approximately 22,000 spectators began with one of his biggest hits: "Every Breath You Take," from his time with his band The Police.

The musician played his way through 40 years of his career, from the Police classics "So Lonely" and "Roxanne" to his solo hits like "Englishman in New York." In between, Sting performed "Shock The Monkey" by Peter Gabriel, with whom he toured the US. The crowning finale of the concert was the song "Fragile."

Sting brought along his 39-year-old son, Joe Sumner, to get the audience pumped up beforehand. Sting's granddaughter also made a brief appearance in Berlin and was on stage for the encore.

Sting wants it wild and loud...

In a recent interview, Sting doubted he'd ever have another big hit. "My mine's been exploited," said the pop star. So what? He already has enough good songs – as one could hear on Monday evening at Berlin's Waldbühne.

It's packed, the Waldbühne steaming into the cool evening. Joe Sumner, Sting's son, also 39, sings nice little songs to get everyone in the mood. He sounds just like his father and is politely applauded while the crowds still jostle for the sausage stands. A quick glance around: Yes, Sting really is one of those pop stars who inspires almost all generations. 22,000 people are there, even though, or perhaps because, nothing new is expected from him. A whopping 13 years have passed since his last real album, "Sacred Love," and his new one isn't due until November.

Sting takes the stage promptly at 8:30 a.m., his hipster beard thankfully gone, and his Michael Stipe-esque bald head has grown back in. Now Sting looks like he did in the Dune movie and launches into a raucous performance: "Every Breath You Take," "If I Ever Lose My Faith In You." True to the good old motto: Start with the biggest hit and build from there.

Time to ditch the leather jacket and let people marvel at his toned body in a skin-tight T-shirt. Sting is 64, but still a poser. Even when he's throwing his wonderfully battered bass back and forth and duelling with his old buddies David Sancious on keyboards and Dominic Miller on guitar. Vinnie Colaiuta on drums now looks as leathery as Maschine from the Puhdys, but still plays like a young god. A Police classic like "So Lonely" or the incredibly powerful "When The World Is Running Down" almost blows you off your seat.

When Sting then starts singing Genesis' "Dancing With The Moonlit Knight" with his indestructible, eternally youthful voice, only to immediately move on to "Message In A Bottle," the Waldbühne roars – and I realize I simply grew up in the wrong decade. So good!

Sting, too, seems to be desperately seeking a return to the 70s and 80s – away from the gentle, thoughtful rainforest saviour and health apostle, away from John Dowland's lute music, winter ballads, and the Symphonic Tour, which is probably obligatory at his age. The gentle, slow songs seem rather routine; Sting prefers it wild and loud.

For an hour and a quarter, he strings together mega-hit after mega-hit and sends the crowd grinning blissfully into the night with "Fragile." "Every Little Thing She Does Is Magic" still echoes in my head. I guess I'm more of a Police type, too.

Sting at the Waldbühne - Father and son give a musical lesson in their own right...

Anyone who arrives at the concert at the Waldbühne on Monday evening around 8:00 a.m. will experience a singer who sounds like Sting, moves like Sting, and, with his two instrumentalists, plays music just as effortlessly as Sting. It's not Sting, though, but his eldest son, Joe Sumner. He turns 40 this year, once had his own band, and is supporting his father here. I don't know what family psychologists would say, but the boy has nerve—to measure himself against the man. Perhaps he should have become something sensible. When Gordon Matthew Sumner, aka Sting, was the same age as his son is today, the whole world belonged to him. Or at least, the whole world heard him. Back then, Sting was pop.

Today, Sting is pop history. Every now and then, he comes to Berlin to give a lesson in his own right. Recently, the themes have varied between northern English lute music, orchestral arrangements, and his return to the bass itself. This time, for the first time in a long time, it was time for the usual Sting to be on the program, or rather on stage. The open-air concert offered the full audience a retrospective of his almost forty years of work. It began with "Every Breath You Take" by The Police. The fact that Sting played his band's biggest hit as the opening track demonstrates his confidence.

However, he wouldn't be the nerd some people think he is if he simply played through the song as they know it. So instead of starting with the pulsating bass that inevitably marks the piece, he lets his guitarist Dominic Miller deliver an intro that reduces the pressure before it can even properly build up. The oomph is missing – and then the violin comes in, too. Violinist Peter Tickell seems to embody the latest of Sting's musical quirks. Whenever the saxophone used to jazz in, handled in his best days by the great Bradford Marsalis, now the devil's violinist sounds.

Sting himself still makes an enviably defined impression. Last winter's full beard has given way to a smooth chin. His hair seems a little fuller than it has recently. I don't know if you can achieve that with yoga. When he takes off his leather jacket after three songs, he stands in the bitterly chilly Berlin air wearing a muscle shirt. But it's worth it. He looks great and has no reason to worry about his 65th birthday this fall. The audience also reacts a little coolly at first; at times, Sting even has to encourage the crowd to clap along, which is quite unusual for a song selection featuring the best of the past.

The concert's content is a bit of a back-and-forth. In the end, there will have been a total of eight Police songs, interspersed with songs from almost all of his solo albums. Before the fine "Mad About You," Sting greets his audience in German: "Guten Abend meine Damen und Herren." So he's polite, too. During "Invisible Sun," portraits of refugees are shown on the two video screens. And once again, the question arises as to what the point of displaying images of misery at a pop concert actually is. To demonstrate stance? To stir up emotions? Or isn't it rather the case that a well-intentioned gesture in this context degenerates into an obscene slide show?

In recent weeks, Sting has been touring North America with Peter Gabriel, where they swapped repertoire for a change. Ideas like that come to you when you've tried everything else. Sting still remembers "Shock The Monkey" from this project, but he interprets it no differently than what we'd expect from Peter Gabriel. More interesting is the prelude to "Dancing With The Moonlit Knight," originally from the Genesis LP "Selling England By The Pound." It's a beautiful melody, and the violin really fits. Sting sings the first verse with soul and a powerful voice (thanks for the excellent sound).

We would have liked to hear that in more detail, but then this art-rock classic segued into the pop classic "Message in a Bottle." Not bad either. Like a message in a bottle from the 1980s, the evening washes up memories on the shore of our consciousness that we hadn't even realized had been lingering somewhere, corked, all this time. With "So Lonely" by The Police, driven by drummer Vinnie Colaiuta, the missing pressure finally builds up; for once, the band doesn't play broadly, but rather deeply. The mental pleated trousers fit perfectly, wonderfully.

The audience honoured the hit "Englishman in New York," and "Roxanne," originally a simple piece of reggae plus a punk-pop chorus, also went down well. Sting, as is his way, lays it out according to plan, has David Sancious play jazz rock on the electric piano, segues into a Bill Withers cover of "Ain't No Sunshine," and finally returns to the girlfriend in the red light. It could all have been so easy.

For me, the two most successful interpretations of the evening are "Shape of My Heart" and "Fragile." In their simple beauty, these songs are beyond perfection, not even by Sting. Joe Sumner returns to the stage for the encore, accompanied by his little daughter. She should be in bed, but here she's dancing around to "Next to You." Grandpa allowed it.

Sting celebrates a peaceful celebration in Berlin...

After the attacks in Germany, the promoter of Sting's concert at Berlin's Waldbühne had upgraded its schedule. Increased security measures, strict bag checks. Those who waited in line were rewarded with many hits and a peaceful family celebration.

Sting has always been a man of kindness. At the sold-out concert on Monday evening at Berlin's Waldbühne, his generosity consisted of giving the fans plenty of what they wanted: many Police hits and, if possible, the most danceable numbers from his solo work. The British superstar – youthful, fit, and wiry as ever – delivered exactly what was ordered.

He starts with "Every Breath You Take," and later "So Lonely," "Message In A Bottle," and "Every Little Thing She Does Is Magic" complete the conglomerate of superhits by The Police, who married reggae, new wave, and pop, but parted ways in frustration after five fabulously successful albums (four of which reached number 1 in the UK charts). There were even reports of tour bus fights.

These days, fights are as unthinkable for Sting as a beer belly. This time, the beardless supporter of human rights, climate protection, rainforest protection, and children in Africa is celebrating a peaceful family celebration. And that despite the ever-present threat of terrorist attacks in our time.

Those who have passed through the heightened security measures, including double bag checks, will experience Sting's son Joe Sumner, who will be performing melodic elevator folk as his father's opening act. The subsequent two-hour tour through the hit repertoire, burned into our brains by decades of radio exposure, ends thoughtfully with the encores of "Desert Rose" and "Fragile." These songs speak of the fragility of humankind.

How true, how true – and just as fragile is peace. But on this evening, it remains. The 22,000 fans applaud loudly, a happy ending.