Sting 3.0

Sting Opens Five-Night Stand at LA’s Wiltern During ‘3.0 Tour’ with Impressive, Career-Spanning Concert...

Sometimes less is more.

When Sting embarked on his 2021-23 My Songs residencies at Caesars Palace in Las Vegas, he was backed by a seven-piece ensemble. But for the North American leg of his Sting 3.0 Tour, which started this past September and ends on Nov. 17 in Los Angeles (ahead of a few more dates scheduled in 2025), only the English pop/rock music superstar, his longtime guitarist/songwriting collaborator Dominic Miller and new drummer Chris Maas (Mumford & Sons) are onstage.

During a recent interview with the Los Angeles Times, the artist said of the Sting 3.0 Tour: “I think this format suits the theater more than anything else. The intimacy, the sense that the audience is part of the conundrum — you can’t do that in a larger place … The theater is more refined.”

He continued: “I’ve enjoyed stripping the songs back down to the bare bones and enjoyed that they’re still sturdy enough to withstand that kind of stripping away. It makes them tougher and also clearer. There’s air between the instruments that allows the ear to relax a little bit. But you can turn on a dime.”

A glance at previous set lists before the show invited the question about how studio tracks originally adorned with full harmonies, keyboards and other instrumentation in the studio would fare without them live. The answer? Just fine.

The power trio configuration — which immediately brought to mind Sting’s heyday with The Police — worked wonders during a tight show filled with plenty of Police and solo hits on Tuesday at The Wiltern in Los Angeles.

Clad in a T-shirt, black leather pants and looking trim and fit as ever, Sting, 73, prompted instant excitement among fans by launching the 23-song, two-hour set with the rousing signature Police tune “Message in a Bottle” and easily got some crowd participation going.

Spontaneous cheers erupted as Sting sang the lyrics “You could say I lost my belief in our politicians/They all seemed like game show hosts to me” amid the streamlined “If I Ever Lose My Faith in You” as he sheepishly shrugged. Miller’s plangent guitar work on “Englishman in New York” gave it a Police-styled sheen. A fun, racing “Every Little Thing She Does in Magic” benefitted from a more festive atmosphere.

Before the quiet, shimmering beauty of “Fields of Gold,” Sting described how the song was influenced by looking outside his home in England near Stonehenge. The singer/bassist relayed that the captivating “Mad About You” — among a few more relaxed selections performed while seated on a stool — stemmed from a story in the Bible, despite him not being a religious person.

Sting also provided an anecdote about growing up in an English shipbuilding neighborhood prior to doing a pair of songs about his late father (the poignant “Why Should I Cry for You;” a spirited “All This Time”). Both were set highlights. Proving that instantly recognizable rock voice remains elastic, Sting effortlessly did sustained wails while nimbly playing bass.

With the current war in the Middle East, “Driven to Tears” packed a timely punch while Miller played with a fierce Jimi Hendrix-styled thrust; words such as “protest” and “react” were projected on a backdrop. A spare “Wrapped Around Your Finger” was one of the guitarist’s “wild card” picks (images of candles were a cool nod to the ‘80s music video).

A moving segment of the show came when Sting brought out a Ukrainian serviceman wearing fatigues to play the oud (a Middle Eastern lute-type instrument) for the gorgeous ballad “Shape of My Heart” with lyrics that compare spades and clubs on playing cards to the “swords of a soldier” and “weapons of war.” It received a standing ovation.

The band revved up the intensity level on brawny new rocker “I Wrote Your Name (Upon My Heart),” a frantic “So Lonely” and the Arabic-tinged “Desert Rose,” where Sting figuratively put the audience into a trance.

Everyone in the venue was up on their feet and singing along loudly to a strong take on “Every Breath You Take” and first encore selection “Roxanne.” The latter downshifted in tempo to include a snippet of “Be Still My Beating Heart,” off 1987’s Nothing Like the Sun.

Finally, Sting played his delicate, traditional concert closer “Fragile,” yet another song revolving around the detrimental effects of war.

(c) Rock Cellar magazine by George A. Paul

Sting's Trio (Not That One)...

Rock icon Sting's current tour has been named 3.0, in reference to the fact that he's performing as a trio. Of course, Sting fronted one of the most famous trios in rock 'n' roll's rich history so he's no stranger to the format. Still, this trio is completed by guitarist Dominic Miller and drummer Chris Maas. These names might not be as instantly recognizable as those of the Police men, but they are supreme musicians.

At the Wiltern in Los Angeles on Tuesday, November 12--the first of five gigs at that venue--the band performed a 23-track set, stripping down Sting's greatest hits to their stunning core, while absolutely doing Police gems justice.

The set kicked off with "Message in a Bottle," a bonafide classic of the punk/new-wave era and the perfect way to start this show. That initial refrain, the hypnotic vocals, the slow-build -- wonderful.

The early part of the set brings us two songs from the brilliant Ten Summoner's Tales album--"If I Ever Lose My Faith in You" and "Fields of Gold." That latter really benefits from the trio approach. "Englishman in New York" from 1987's Nothing Like the Sun comes quickly, and a glorious version of the Police's "Every Little Thing She Does is Magic" swiftly follows.

It's noticeable that Sting himself seems to be having an absolute blast. A charming host, he appears to be revelling in this stripped back environment, performing in smaller venues than he's been used to for some time. It really is a joy to behold.

Other Police tunes that get an airing include "Wrapped Around Your Finger," a buoyant "Can't Stand Losing You," "Walking On the Moon," the ironic joy of "So Lonely," "Every Breath You Take" and of course "Roxanne."

Maybe some hardcore fans would have liked more deep cuts, but this was the perfect Sting set performed wonderfully well. What more could you want?

(c) Music Connection by Brett Callwood

Sting Sings Like He’s Going to Live Forever...

Playing at the Wiltern Theater in Los Angeles, the older-than-you-think rocker has immortality all figured out.

About fifteen minutes into Sting’s recent appearance at the Wiltern in Los Angeles, I thought to myself, “Man, for a guy who must be in his sixties, Sting looks great.” I then happened to glance to my left, where one of my fellow concert attendees had their phone out — because they clearly had been thinking along the same lines — except I could see in big bold text on their screen: 73 years old.

Age ain’t nothing but a number when it comes to the English-born musical icon, formerly of The Police and now entirely himself. And Sting didn’t need to do much to command the stage; wearing a T-shirt and jeans that fit his slim yet powerful frame perfectly, he looked as fresh and healthy and engaged as any twenty-something rocker.

The revelation of just how old he is came as a shock, but a delightful one. All the jokes about Sting’s very possible immortality are obvious, from deals with the devil to haunted portraits in the attic to the very provable benefits of eating vegetarian and exercising regularly. (You can also throw in some comments about tantra, while you’re at it.) But watching him on stage that night, it felt like that was the real secret — being a musician, playing his bass and guitar for a crowd that genuinely loves his music.

Sting 3.0 delivered all the hits you’d hope to hear at a Sting concert, including a little trip into his “cowboy phase” (as Krysta, my friend/plus-one that night, put it) with the 1996 track “I’m So Happy I Can’t Stop Crying.” He also went back in time with the first song he ever wrote — “I Burn for You,” which he first recorded with the band Last Exit in the 1970s. The track sounded as fresh and original as “Desert Rose,” released in 1999, despite the difference in decades and “Desert Rose”‘s world music influences.

Performing just over a week after Election Day 2024, Sting avoided being too political with his on-stage banter, even though the crowd was more than game to find their own meaning in the lyrics; during the second song of the night, “If I Ever Lose My Faith in You,” people had a strong reaction to the lyric “You could say I’d lost my belief in our politicians.”

Sting didn’t feed that, though — in fact, after rocking through his first four songs, he full-out told the audience that “I’m not going to talk about the election.” From the back of the theater, an audience member yelled that he should, but instead Sting went on to talk about his house — “more of a castle, really” — and how it’s surrounded by fields of wheat, which look golden in the sunlight… You can guess where things went next.

Sting sat down on a stool for “Fields of Gold” and a few songs afterward, but was quickly back on his feet, as revved up as before. Perhaps key to Sting’s energy on stage is the spontaneity baked into the show — the opportunities to flex and explore and improv. It’s not just playing the hits for him — towards the end of “If I Ever Lose My Faith in You,” the second song of the night, he and guitarist Dominic Miller gloried in deconstructing the song into a series of extended riffs, before closing out with a bang.

Additionally, there’s a portion of the Sting 3.0 show where Sting turns to Miller to pick what they’ll play next for a few songs, choices that seem designed to catch Sting by surprise: When Consequence’s own Spencer Kaufman saw Sting in Port Chester, New York last month, Miller picked the songs “Wrapped Around Your Finger” and “Can’t Stand Losing You.”

In Los Angeles a month later, Miller selected “It’s Probably Me,” which Sting originally wrote for the Lethal Weapon 3 soundtrack. (If you are not familiar with the latter song, it definitely sounds like the perfect background music for a scene in which Mel Gibson tries to seduce a suspect.)

Sting closed out the night with “Every Breath You Take,” followed by a hard-rocking encore of “Roxanne” and a much softer, introspective rendition of “Fragile.” It was the same set of songs he’s used to conclude past tour stops — by design, he told the crowd: He wanted to “end with something quiet and thoughtful so you leave here quiet and thoughtful.” It was a choice that spoke to Sting’s passion for yoga, the concert equivalent of Shavasana. Of course one of the world’s most famous yoga practitioners would choose to end his concert on a similar note.

Seeing Sting perform live feels like hardcore scientific validation of the way he’s spent the last seven decades of his life — that, through some combination of clean living and full commitment to his craft, he’s stumbled somehow across the secret to immortality. This is, of course, an exaggeration; even Sting is made of mortal flesh, kept alive by muscles and organs that all have expiration dates. Just like the rest of us. But just because science is real doesn’t mean magic isn’t, at least when it comes to Sting. And as long as he keeps breathing, I’m going to choose to believe.

(c) Consequence of Sound by Liz Shannon Miller