Paul Simon and Sting: On Stage Together: 2014/2015

Simon and Sting were a magical pair...

Sting and Paul Simon combined their musical talents and gave an excellent marathon concert with 32 songs, very few of which were more than a few hits.

I have never heard Sting sing better. I have never experienced him more focused and volcanically effervescent than on this evening. Even in the 14th balcony row, his intensity burns like charismatic flames on the cheeks. The 63-year-old Briton was no slouch when he performed at Engen in 2012. On Tuesday night, he is just incomprehensibly much better.

Perhaps it is due to the presence of Paul Simon, who, with his fascination for world music and fusion rock, lit a fire in the young Sting and the band The Police. The flair and love for Middle Eastern rhythms are noticeable in several of both musicians' repertoires. Most evident on Sting's "Desert Rose", which exudes the mysticism of the East and distinctive Arabic singing.

From a purely musical historical perspective, it is dangerous to begin a comparison of Sting and Paul Simon. What should one measure by? Number of records sold? Number of concert tickets? Musicians who have been inspired by their music? There are many parameters to use, but if I cautiously conclude that Paul Simon has written more evergreens than Sting, but that Sting sings better than Paul Simon, I guess I am not being too harsh.

Vocally, Sting is in a league of his own tonight. Both on his own songs, but especially on Paul Simon's solo songs as well as Simon & Garfunkel's immortal hits.

His version of "America" is excellent, and the euphoria in the audience does not subside as he practically slides straight on to his own gem "Message in a Bottle". Without jumping too much in time and place, it is also absolutely necessary to highlight the last encore "Bridge Over Troubled Water", where every mythological and religious reference I can find can be put into the description of the hair-raising four minutes.

It is inhuman, otherworldly and completely excellently performed by Sting, who is rightly helped by Paul Simon, who sings his heart out during the almost three-hour session.

That Paul Simon is, after all, a songwriter in the Dylan and Cohen league is underlined by masterful songs like "50 Ways to Leave Your Lover", "Graceland", "Mrs. Robinson", "Still Crazy After All These Years" and the closing trio of "You Can Call Me Al", "Cecilia" and the aforementioned "Bridge Over Troubled Water".

These are not just songs. These are stories with so much substance and nerve that most of today's songwriters would be acutely short of breath if they were asked to write a single verse of the same calibre.

When it comes to handling the audience, Paul Simon is, on the contrary, a man of few words. Towards the end of the concert, a male audience member shouts down towards the stage: "Say a few words."

- Okay, Paul Simon replies.

- I'm a man of few words, but I'm trying to change, even though it's difficult at my age, he says, followed by enormous cheers.

He is exactly 10 years older than Sting and at least a head shorter, but the physically awkward pair fit together perfectly musically.

The idea of starting the concert together and then playing four sets of five or six of their own songs and breaking it up with a few more joint songs is well thought out. It works surprisingly well in practice, as there is enough variety in the tempo and style of the songs.

One moment you close your eyes to a thoughtful ballad with country roots, the next you spontaneously jump out of your chair when Sting blares out sharp shots from the bass. There is music in countless guises, and my only complaint is that it seems silly to play cover songs by Little Junior's Blue Flames and Chet Atkins when Sting and Paul Simon can easily fill the set list themselves.

With 16 musicians on stage, you almost lose focus from the start of the concert, but already from the third song, Sting's "Field of Gold", more structure comes over the instruments.

I don't think I've ever been to a rock or pop concert with so many instruments, and there are trombone, violin, accordion, clarinet and washboard solos, each of which completes the melodies in their own way. And in a way, illustrates the diversity of the band members. There is hardly a skin colour that is not represented on stage.

It is a complete evening in every way, even if my balls are almost numb from the hard wooden seats. But with Sting and Paul Simon in awe-inspiring hoopla, I would have gladly nibbled another hour in the company of Roxanne, Julio, Cecilia and Al. Their company has never been better.

(c) Fyens by Simon Staun