The King of the Mild Frontier wasn’t always that way.
Since The Police worked their last shift in 1986, Sting’s journey from new wave colossus to MOR mainstay has provided oft-replenished ammunition for critics looking for a soft (rock) target. But last night, as the cosy confines of Vancouver’s Commodore Ballroom hosted the opening date of Sting’s 57th & 9th World Tour, Newcastle’s most celebrated son rolled back many of his 65 years to reveal a heart that still pulses with the spirit of 1977.
It’s worth stressing that artists of Sting’s magnitude don’t usually kick off tours at 1000-capacity venues. Despite the exorbitant ticket prices, this was a show that prioritized fun over finances; a point neatly illustrated as Sting strolled on stage to introduce support act (and his son) Joe Sumner, whose sweet acoustic musings and instantly recognizable vocal style delighted the crowd.
Sting and his band moved into place as Joe was still wrapping up a brief two-song set. Sumner Junior took his place with the other backing vocalists (support band The Last Bandoleros) as Dad claimed centre stage and launched into Police classics “Synchronicity II” and “Spirits in the Material World.” Sting shrugged noticeably as he delivered the line “Our so-called leaders speak,” an astute reminder of how prophetic a writer he once was. The crowd, delighted to be welcomed by old favourites, roared its approval.
Disappointingly, filler quickly balanced out killer. New tracks “One Fine Day” and “I Can’t Stop Thinking About You” provided a pair of opportunities for early bathroom breaks before the Commodore’s dance floor was reignited with a bass-heavy rendition of “Englishman in New York.”
A second trip to last year’s “57th & 9th” album portrayed Sting as an artist with little to say; “Down, Down, Down” and “Petrol Head” both competing for the crown of most workmanlike song of the night. A maudlin, Spanish guitar-driven “Fragile” did little to allay fears that this was Sting at his self-indulgent worst.
Those concerns were misplaced. “Message in a Bottle” arrived with a crash, delivering a much-needed jolt of energy into the room. Joe took centre stage for a fine acoustic rendition of David Bowie’s “Ashes to Ashes,” before Dad returned for a reggae version of “I’m So Happy I Can’t Stop Crying.”
It was old school all the way from there. “So Lonely” and “Walking on the Moon” both remained faithful to their minimalist origins. Sting’s vocals were never less than impeccable, a testament to the power of the apple cider vinegar shots he was downing throughout the show. Perhaps he dodged the highest of high notes on finale “Roxanne,” but morphing that hit into a version of Bill Withers’ “Ain’t No Sunshine” was still the move of a singer enjoying himself while oozing confidence in his abilities.
The encore of “Every Breath You Take” (still the best song written from a stalker’s point of view) was followed by a pedal-to-the-floor “Next To You,” the first song on the first Police album and the closest Sting would ever come to the punk rock that inspired them.
From the intimate choice of venue to the vintage hit-packed set list, where this rekindled fire in Sting’s soul has emerged from remained unclear. But if Show One is any indication, the fun has only just started.
