Police Reunion: 2007/08

Delusional abuse of authority!

For more than two hours, attendees of all ages enjoyed the hits of one of the icons of the eighties, The Police, like never before in their lives.

Like a bunch of madmen obstructed by the blue and red lights of a patrol car's turret.

That was how the more than 7,000 Monterrey residents who enthusiastically attended The Police's debut in Monterrey behaved.

For more than two hours, attendees of all ages, predominantly those over 30, enjoyed the hits of one of the icons of the eighties, who continues to act as if time hasn't passed in vain, like never before in their lives.

And it's no wonder that the now parents and former rebellious teenagers left the Monterrey Arena with eyes that emulated the presence of an unbalancing entity for society, such as the force of the musical law that The Police imposes.

It was 'Message in a Bottle' that, starting at 9:30 p.m., saw Sting, Andy Summers and Stewart Copeland dazzle the fervent audience, showing off their trusty instruments to give a small taste of what it means to leave the house to take the rigorous punishment of the law on the street.

'Synchronicity II', 'Walking On The Moon', 'Voices In My Head', and 'Don't Stand So Close To Me' were songs that immediately found a lasting impression on the crowd and the ever-present spirit the musicians captured from the first chords.

With each step the trio of officers took inspecting the audience morally and physically, it became more evident that they were allowed to exercise their rule at will, striking blows and subtly subduing the audience with their clubs and sonic handcuffs.

Some songs were arranged so that Copeland could, to a certain extent, make the necessary arrangements on the cymbals and xylophone, which he played in perfect synchronicity with Andy Summers.

'Hole In My Life', 'Every Little Thing She Does Is Magic', and 'Walking In Your Footsteps' are proof of this.

As new and more powerful chords emerged as the repertoire approached, the clarity of the bass and guitar playing could be clearly distinguished, making one piece easily distinguishable from another despite the rusticity of the group, always driven by these two string instruments and the drums.

The interplay of light effects, through and around a screen, contrasted with what seemed like a simple gig in which Sting used his most worn bass and Summers played most of the time with one of his most battered Fenders.

'Invisible Sun,' which featured images of homeless children, 'Do Do Do, Da Da Da,' and 'Can't Stand Losing You' were reasonably well received, though lacking the punch of others.

High vocal decibels were recorded in the steel firmament as the first chords of songs like 'Roxanne,' one of the most praised of the night, 'King of Pain,' and 'So Lonely,' which had a strong presence on the radio but were most evidently reflected in the distinctive timbre of their leader, Sting, and Summers' always light but perceptible guitar arrangement.

The highlight of the night came when, taking a brief breath and looking up at the sky, Sting announced the arrival of the evening's special guest, titled 'Every Breath You Take,' before giving way to the long, stirring chants that united the audience.

(c) El Porvenir by Héctor Treviño Camero