It promised to be an epic battle at Scotiabank Place.

The ever-evolving artist vs. the well-established back-catalogue. The symphony orchestra vs. the classic-rock-loving audience. The combination of vocalist, five-piece rock band and orchestra vs. the acoustics of a hockey arena.

Yet Sting, who two years ago coasted to a relatively-easy victory at Scotiabank Place in the company of his old Police linemates, has never shied from a challenge. And bolstered by an all-new lineup and a brand new musical bag, the man born Gordon Sumner once again played to win.

In a sense, it was another easy victory, as 7,000 devoted admirers were willing to go wherever Sting offered to take them. That was demonstrated well during the second song of the first of two sets Sunday, a mellow orchestral take on the beautiful 'Englishman in New York'. Be yourself, no matter what they say, the man urged his followers to chant. And chant they did, too engaged to ponder the irony of the moment.

In a sense, the surprising thing is that Sting has not previously toured with a full orchestra. It seemed a safe bet the adventurous songwriter would attempt such a marriage before symphonic Metallica or The Symphonic Rock Music of Styx reached our ears. And surely Sting would have attempted a project like the so-called 'Symphonicity' decades ago had otherwise-intelligent 80s musicians not considered two hands and a synthesizer to be an effective substitute for a full orchestra.

Hence, solo material such as 'Russians' and 'Fields of Gold' now sounds like it probably should have sounded all along the former further embellished Sunday by stirring flourishes from the London Philharmonic Concert Orchestra, as conducted by an animated Steven Mercurio.

Clad in black during the concerts first half though in no danger of being lost among the black-clad orchestra Sting projected a joy that was infectious and made the most of a voice that has lost none of its force. Clearly, the artist who next year will turn 60 has also asked why it has taken Sting so long to reach the point of 'Symphonicity'.

True, not every song ventured justified the presence of the orchestra. A loungey 'Roxanne' might have been better served as a solo number. 'Next to You', from The Polices 1978 debut album, benefited little from the orchestras muted attempt to play the punk rock.

Indeed, at times the full orchestra seemed redundant. On songs such as 'When We Dance' a single pair of hands arguably could have served the music as well.

On a cello, that is.

© The Ottawa Citizen by Allan Wigney

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