Back to Bass Tour: 2011/12

Sting in Poland: a showpiece venue...

Seeing Sting, who has accustomed us to stadium performances, in such a small venue as the Congress Hall is an almost surreal experience. Fortunately, it's one hundred percent real. Although the word "magic" fits the bill perfectly.

Sting arrived in Poland with two concerts from his 'Back to Bass Tour,' where he presents solo songs and songs from The Police's repertoire – though he does so in a rather minimalist format, considering his recent endeavours. He replaced the several-dozen-piece orchestra and impressive stadium ambiance with a quintet of supporting musicians (two guitars, drums, two pairs of violins) and a setting so modest that it wouldn't even make an impression in a small-town community centre. But fortunately, that wasn't the impression he was aiming for.

Unlike during 'Symphonicity,' this time the stage was ruled solely by music, presented in its pure, almost primal form. The concert reminded us of a fundamental truth about rock 'n' roll in its broadest sense. A good, heartfelt rock song is best expressed in a simple arrangement, even if enriched by the sound of violins. And it's then that it's most captivating – this was evident in the enthusiastic reactions of the people who packed the Congress Hall to capacity. It's clear that such events attract more than just fans, but it was truly difficult to spot anyone in the audience who was indifferent to what was happening on stage. So much so that security initially struggled to cope with people getting up from their chairs and blocking the view of others. This wasn't achieved until the third song.

The evening was supposed to be filled with the greatest hits, although that wasn't entirely obvious. Sting, clearly tired of playing some of his hits, allowed himself a few rather bold omissions. It even took away one representative from the incredibly important and popular album '...Nothing Like the Sun,' with 'Englishman in New York' at the forefront. There were a few less obvious tracks, like the country-tinged 'Love Is Stronger Than Justice' and 'I'm So Happy I Can't Stop Crying.' Nevertheless, the big hits dominated, including the ballad 'Fields of Gold' and The Police's "Every Little Thing She Does Is Magic" and "Every Breath You Take" were the highlights. The diversity of the songs performed was impressive – from rock and even punk rock, through blues, pop, and country, to world music. But Sting's strength also lies in this openness.

It's worth noting that most of the twenty-two songs performed gained additional power compared to their studio versions. Peter Tickell deserves special praise here, performing truly extraordinary feats on his electric violin – his performances on The Police's "Driven to Tears" and "Love Is Stronger Than Justice" were particularly impressive, receiving a standing ovation. Violinist Jo Lawry also captivated vocally, especially on "Stolen Car (Take Me Dancing)," in which she performed an intricate duet with Sting. The guitarists Dominic Miller, who has collaborated with Sting for 20 years, and his 26-year-old son Rufus Miller were outstanding, as was drummer Vinnie Colaiuta, who duly replaced Stewart Copeland on The Police tracks. In short, pure professionalism!

It would have been useless, however, if the star of the evening had somehow let down or performed half-heartedly. Nothing of the sort – Sting, who turned 60 last year, was impressive in his form. Despite the two-hour concert, there was not a hint of breathlessness, he played bass with computer-like precision, and his voice sounded as powerful as it did twenty years ago – especially in the final, fourth encore, "Message in a Bottle," when he took the stage alone, accompanying himself on acoustic guitar. He also proved to be a superb frontman, easily connecting with the audience. He prefaced some of the songs with humorous and heart-warming stories from his life. Before "The End of the Game," he spoke about a fox eating chickens, and "Stolen Car (Take Me Dancing)" about a car thief with telepathic abilities. 'Ghost Story' was preceded by a touching dedication to his father, who died of cancer…

And since there's no 'Roxanne,' 'Fragile,' or the aforementioned 'Englishman in New York,' they'll probably be back some other time. Sting has a repertoire of songs that allow him to unleash a new one each time, and his live performances will still pack a powerful punch.

This wasn't just another great concert by a great star. It was a true display of artistry, professionalism, and the joy of playing. It's heartening to see that despite the passage of time, the rock sound of Żądło hasn't dulled at all.

(c) Onet.pl by Paweł Piotrowicz

Sting: a master of magic and perfection...

The bassist's first performance at the Congress Hall on Wednesday was his best in the capital to date. A second concert follows on Thursday.

Warsaw audiences were lucky enough to hear Sting just ten days after the "Back to Bass" tour kicked off in his hometown of Newcastle. The tour marks the 25th anniversary of his solo career; yet, although he opened the show with "All This Time," he did not give equal weight to every era of his work in the evening's setlist.

Perhaps the biggest surprise was the omission of "Roxanne" and "Fragile." Only one or two songs - and not even the most famous ones - came from his celebrated solo albums *The Dream of the Blue Turtles* and *...Nothing Like the Sun*. Overall, he focused on material from albums released in the 1990s and *Brand New Day* from the early 2000s. And it seems no one was disappointed.

He delighted fans by appearing in a more intimate setting for an audience of two thousand, a welcome change after his stadium tours with The Police and a symphony orchestra. Those who rushed to the front of the stage at the start of the concert could see Sting up close: dressed in jeans and a T-shirt, with short-cropped hair - looking just as he did when he first started out. The 60-year-old is in fantastic shape; his physique - honed by yoga and featuring lean muscle and a spring-like agility - allowed him to command the bass brilliantly, his fluid body movements mirroring the pulsating rhythm. To paraphrase the chorus of one of his songs: everything he did was magic. The only thing that didn't quite work was his attempt to rouse the audience, who were slumped in their velvet seats. He paced the stage twice and arched his back like a cat, teasing the possibility of closer contact. Yet, realising nothing would come of it, he poured all his energy into his performance and vocals.

The band was a major asset. Their sound was reminiscent of top-quality vinyl recordings. Guitarist Dominic Miller has been accompanying Sting for 22 years. The frontman tried to liven him up - much like one might a slightly bored spouse - playfully stomping on his foot, though they high-fived at the end. They played around with the music, slowing down and speeding up rhythms as if they were masters of time itself. The musical machine - driven by the brilliant drummer Vinnie Colaiuta, who began his career with Frank Zappa - felt like an improvising metronome: wild, yet perfect in every bar.

A sensational new addition is the very young Peter Tickell on electric violin, who excels in both jazz and folk styles. It was after his extended solo in "Love Is Stronger Than Justice" that the audience first leapt to their feet in applause. Equally young vocalist Jo Lawry brilliantly sang - and acted out - the female part in the musical mini-dialogue of "Stolen Car (Take Me Dancing)," a song about a driver imagining the lives of the wealthy owners of the stolen vehicle. The slender blonde thanked Sting for the duet opportunity with a humble Buddhist gesture. Then, with an air of command and coquetry, she swayed her hips like a runway queen. She was brilliant in "Next To You" - fierce and punk-rock. It was The Police songs that really drove the tempo - including the expressive "Demolition Man."

Sting interspersed the songs with colorful monologues - some funny, others reflective. He shared anecdotes about the origins of his compositions as well as personal revelations - speaking of his father, with whom he was only able to truly connect after his death ("Ghost Story"), and his wife, Trudie. They have been together for 32 years; she soothes his pain but also pushes him to the point of a personality breakdown. That was precisely the theme of "Inside."

He also added stylistic variety to the concert, playing the folk-tinged "I'm So Happy I Can't Stop Crying," the bluesy "Mercury Falling," and the funky "Heavy Cloud, No Rain."

For the encore, he performed tracks such as the Eastern-influenced "Desert Rose," "Every Breath You Take," and - as the grand finale - "Message in a Bottle," played solo on guitar. The audience sang along to more than just the chorus, and it was clear the Englishman felt more at home in Warsaw than... in New York.

He left the stage after two hours, calling out, "Warsaw, love you!" He returns on Thursday at 7:30 PM. Tickets are scarce; scalpers stood dejectedly outside the Congress Hall, complaining that "everything is sold out and no one wants to resell." I’m not surprised!

(c) Rzeczpospolita by Piotr Wittman

Sting in Warsaw: Sex and religion don't mix...

If anyone was hoping for a show in the style of Rammstein or Kiss, this concert wasn't for them. There were no colourful lights, musicians jumping around, or pyrotechnic explosions. But then again, why would there be? Sting’s charisma and massive hits would have overshadowed everything else anyway.

This time, the British star performed at Warsaw’s Congress Hall not with a symphony orchestra, but with his beloved bass guitar. The setlist ensured there wasn't a dull moment throughout the concert.

The audience welcomed Gordon Sumner by remaining on their feet for the entire opening song, "All This Time." In return, Sting greeted the crowd in Polish, adding how happy he was to be back in the country - after all, this was his fourth performance here in just a year and a half. He then apologised for speaking English, noting that his Polish wasn't quite perfect yet.

Sting built the atmosphere, moving from the laid-back "Fortress" - highlighted by his bass playing - to fast, melodic violin solos.

"I have a house in the country... well, a small manor, really... with windows overlooking the fields. I imagined what it would be like if they were fields of gold. And that’s how the song came to be," a relaxed Sting recounted before performing "Fields of Gold." Another anecdote concerned the song "Sacred Love" - the musician admitted that he likes both sex and religion, even though they don't exactly go hand in hand. He dedicated "Ghost Story" to his father, who had passed away 25 years earlier.

As the atmosphere in the Congress Hall heated up, the audience joined in, singing "No Rain" after every line of Sting's "Heavy Cloud." "Love is Stronger" was performed with such passion - featuring remarkable guitar and violin solos - that the audience gave the musicians a standing ovation.

Although the setlist did not include songs like "Roxanne" or "Englishman in New York," the concert repertoire was sure to satisfy any Sting fan. Another round of superb performances of well-known hits will be heard again today (February 16) at the Congress Hall.

(c) Interia