Sting 3.0

Sting, the bard of tormented love - The legendary frontman of The Police revisits his prolific career in a two-hour concert before a packed bullring...

Gordon Sumner was the frontman of a three-piece band, The Police. Last night, he appeared with British punctuality - that is, five minutes ahead of schedule - at the Granada bullring with that very same instrumental lineup. His bass and vocals, a guitarist (Dominic Miller), and a drummer (Chris Maas) filled the stage. The tour is aptly named "Sting 3.0." The singer, who occasionally dabbled in Spanish, has reinvented himself not just three times, but at least a dozen, without ever losing his essence since the band that made him famous dissolved in 1986 - in the absence of a formal divorce decree - and later reunited only for a paycheck-driven tour nearly 20 years ago. At this stage of his life - he is nearing three-quarters of a century - there are several noteworthy aspects to his musical approach. The first is that he astonishingly retains the vocal power and timbre of someone much younger. The second is that he does not pander to the crowd when selecting his setlist. Last night featured many of his greatest hits - both those crafted as a solo artist and those produced alongside his eventual nemesis Stewart Copeland and Andy Summers - but also songs that aren't hummed quite as often. The third and final aspect is the fact that he is a restless musician, willing to take risks and venture into uncharted territory whenever he deemed it appropriate. 

Sting got off to a strong start, winning the crowd over immediately with "Message in a Bottle" - a performance that also demonstrated his fingers are just as agile as his voice. This "3.0" version has a rock-and-roll sound that differs from the arrangements found on the compilations, remasters, and even orchestral versions released in recent years. Following in that same vein was the recent track "I Wrote Your Name (Upon My Heart)," which struck us as musically akin to U2. Next came another classic, "If I Ever Lose My Faith in You" - a true statement of purpose from the "Ten Summoner's Tales" album, reflecting on the immovable pillars that give life meaning beyond the constant stream of daily stimuli. The song is nearly 35 years old, yet it feels strangely prophetic. "Englishman in New York" is already 40. While we understand the constraints of the tour's format, on this track - and a few others - we missed Branford Marsalis (or, failing that, any skilled soloist) playing the saxophone part that gives the original version its goosebump-inducing quality.

There were also moments that brought a smile to the face. The playful "Every Little Thing She Does Is Magic" preceded "Fields of Gold," one of the greatest pastoral romantic songs of all time. After the rhythmic "Never Coming Home" came one of the night's highlights: back-to-back performances of "Mad About You" and "Wrapped Around Your Finger." The Englishman shines brightest when singing of tormented love - the kind that is dreamed about just as much as, if not more than, it is lived. And it is impossible not to relate to him when he sings of heartbreak or the world's injustices, as in "Driven to Tears" - the song that marked the midpoint of the concert.

The concert skilfully blended adrenaline with serenity. Against this backdrop, "A Thousand Years" - written for the decidedly soft *Twilight* vampire saga - felt like a particularly fitting choice; it is a ballad that, in other hands, might sound cloying, but in Sumner’s, is pure silk. The singer then shifted gears into a reggae-rock rhythm with "Can't Stand Losing You," before easing off the gas for the cinematic, acoustic "Shape of My Heart" - a song revisiting the theme of complex love, this time using playing-card metaphors. Following that same vein came the cheerful, inspiring "Brand New Day," a track about the importance of getting back up even with a broken heart.

The bull was now perfectly positioned for the final act. And what a display of artistry followed. First, a return to Jamaican influences and rhythms with The Police’s "So Lonely," followed by the unique "Desert Rose" - backed by pre-recorded rhythm tracks - and the song featuring one of pop’s most famous riffs: "Every Breath You Take." (In a different context today, the star might end up doused in pepper spray - how times have changed.) After the customary false exit, the show closed with two massive hits: "Roxanne" and "Fragile," a song that reminds us we are dust and to dust we shall return.

(c) Ideal by José Antonio Muñoz

Sting, a classic that remains in vogue 15 years later...

The British artist returns to the trio format with STING 3.0, turning the bullring into a collective chorus singing his classics and anthems.

Exactly 15 years have passed - since July 15, 2011 - since Sting’s first visit to Granada. "Same site, different place" - as one of our most important national bands might say - he returned to the bullring venue, which hosted the opening of the "1001 Músicas-Caixabank" concert series.

Back then, he shared the stage with the City of Granada Orchestra (OCG) for a symphonic reimagining of classics from his catalogue - the premise of the "Symphonicity" tour and the "Symphonicities" album (UMG Recording, Inc., 2010). This time, he arrived with the STING 3.0 tour in a trio format, revisiting his catalogue from a fresh perspective.

It is impossible not to recognise a song by Sting or The Police - the British rock band founded in 1977 featuring Sting (vocals and bass), Stewart Copeland (drums and percussion), and Andy Summers (guitar). This became clear from the very first minute. On a sweltering summer night marked by a heatwave, the British musician was accompanied by Dominic Miller on guitar and Chris Maas on drums.

The high temperatures faded into the background when Sting burst onto the stage with his unmistakable voice and the powerful "Message in a Bottle" - the first of many Police classics played throughout the night.

The eagerness to see the former frontman of The Police again was palpable. This was evident during the performance of "Englishman in New York" - from his second solo album, "...Nothing Like the Sun" (A&M Records Inc., 1987) - which segued into "Every Little Thing She Does Is Magic."

Thanks to impeccable sound quality, the audience was able to fully experience the raw power of the "power trio" format. This was especially true during "Mad About You," where the bass took centre stage, allowing the nuances of every note to be fully appreciated from the arena floor.

The same applied to the guitar and drum performances, which delighted the audience. Far from missing a larger line-up, the format highlighted the precision of each musician - unadorned and focused on the songs and the connection between the performers.

After a brief pause for romance and introspection, the energy surged back with "Wrapped Around Your Finger" and a surprise track; speaking in more-than-competent Spanish, the artist joked that only he and Chris knew the song.

"Shape of My Heart" ushered in another of the evening's most moving moments. The intensity remained high right up to what seemed to be the concert's finale, featuring the Eastern-inspired sounds of "Desert Rose" and the elegant "Every Breath You Take."

Yet, there was still room for two final gifts. Amidst cheers and a crowd at the bullring that was completely won over, Sting returned to the stage to cap off the night with "Roxanne" and "Fragile."

Fifteen years bring many changes. Sting performed at the same venue, but before a different city and an audience that had also evolved. Nearly 9,000 people - almost double the 2011 attendance - turned out for the British artist's second concert at the meticulously organised 1001 Músicas-Caixabank festival.

The crowd included those who had been there fifteen years ago alongside fans who were too young to attend a concert when he first visited. All shared the same setlist and the same emotion. Some artists transcend trends and generations, and today proved that Sting belongs to that class of classics whose music never ages; instead, it renews itself, winning over new audiences.

(c) Granada Digital by Bego García 

Sting’s "1001 Músicas"...

The British artist returns to the essence of the trio format with "STING 3.0", turning the Granada Bullring into a collective chorus that blends The Police classics with a solo career packed with anthems.

Sting triumphed this Wednesday at the Granada Bullring, kicking off the "1001 Músicas – CaixaBank 2026" concert series with his *STING 3.0* tour - a show that recaptures the essence of the trio format alongside guitarist Dominic Miller and drummer Chris Maas.

On the very day marking fifteen years since Sting’s previous visit to Granada - an unforgettable performance with the OCG on this same stage during his acclaimed "Symphonicities Tour" - the singer demonstrated that, whether accompanied by an orchestra of fifty musicians or by two of his most loyal musical partners, his music continues to connect with the audience's emotions.

In this stripped-down format, Dominic Miller - Sting’s inseparable collaborator for over thirty years - showcased precise, elegant guitar work that always served the song, as demonstrated in "Never Coming Home." Beside him, Chris Maas provided dynamic, expansive drumming; avoiding excess, he allowed each composition to breathe. The music was built not through accumulation, but through interaction, resulting in a sound that was crisp, vibrant, and full of nuance.

At 74 years old, Sting moved effortlessly between the different eras of his career, proving once again why he remains a definitive musical icon.

At the count of "one, two, three," the night kicked off with "Message in a Bottle" - an immediate statement of intent that brought the Granada crowd to its feet from the very first chords. The audience turned the chorus into a collective sing-along, foreshadowing an evening defined by the connection between the stage, the stands, and the arena floor.

"I Wrote Your Name (Upon My Heart)," one of the artist's most recent compositions, perfectly encapsulates the blend of his two musical worlds: the rhythmic drive of his early years and the melodic elegance that has defined his solo career.

"Englishman in New York" marked one of the highlights of the night's connection with the Granada audience, who lent their voices and hands to the trio.

"If I Ever Lose My Faith in You" demonstrated the breadth of a career that extends far beyond The Police, while "Englishman in New York" provided another moment of shared connection with the Granada crowd, who joined in with the trio.

The concert drew on more than just The Police classics. Songs such as "Fields of Gold," "Mad About You," "A Thousand Years" (or "Mil años," as he translated it himself), and "Shape of My Heart" revealed the songwriter's more intimate side.

The setlist also included "Wrapped Around Your Finger," "Driven to Tears," and "Can’t Stand Losing You" - which Miller introduced as a "surprise" track, even for Sting himself. Sting then unleashed euphoria in the bullring with a shout of "Granadaaa!" At this point, the evening recaptured the rhythmic tension and distinct character of the band that changed the course of British rock in the late seventies.

The final segment of the concert saw the intensity build progressively with "Brand New Day," "So Lonely," and "Desert Rose" - the latter sparking one of the night's most celebrated moments across the arena floor and stands - before a monumental rendition of "Every Breath You Take" triggered the biggest crowd response of the evening.

After the ovation, Sting returned for the encore with a "¡Viva España!" and "Roxanne" - one of those songs that makes for a perfect finale. Closing with "Fragile" completely shifted the evening's mood: a restrained performance - seemingly suspended in mid-air - that served as a reminder of how few songs require so little to convey so much.

Prior to the main act, the Irish duo Dea Matrona - comprising Orláith Forsythe and Mollie McGinn - set the stage with a powerful alternative rock set; their stage energy and personality underscored the international potential of a band that has already shared the stage with artists such as The Corrs, Bryan Adams, and The Darkness.

The "1001 Músicas – CaixaBank" concert series continues today, Thursday, with Zenet and on Friday with Revólver; next week, it will be Johnny Marr’s turn to close out the month of July. September will kick off with Ariel Rot, Las Migas, Maika Makovski, Valeria Castro, and Víctor Manuel. Finally, October will feature Teenage Fanclub, Ryan Adams, and Loquillo.

(c) El Independiente de Granada

Sting returns to Marenostrum Fuengirola after nine years, bringing the essence of his greatest classics...

The British artist presented his "Sting 3.0" format alongside Dominic Miller and Chris Maas this past Monday night, marking a reunion with the Fuengirola venue.

Nine years after his debut performance at Marenostrum Fuengirola, Sting returned to the venue this past Monday night to present "Sting 3.0." His return holds special significance for the history of the concert series; Sting was the first major international artist to mark a turning point in the venue's trajectory, ushering in a new era and helping to solidify its standing.

Almost a decade later, the British musician returned to the same location with a concept that strips the line-up down to three musicians, placing the focus squarely on what has defined much of his career: the songs, the performance, and the onstage chemistry.

The Irish duo Dea Matrona opened the evening with their guitar-driven classic rock, delivering a performance that got the entire audience moving to the rhythm of their songs - undoubtedly the perfect prelude to Sting's set.

From the very first minutes, Sting’s arrival confirmed the philosophy behind this new phase. Joined by guitarist Dominic Miller - a key collaborator throughout his decades-long career - and drummer Chris Maas, the British artist delivered an unparalleled live show. The songs took on a special power on stage, with an audience that responded from the opening tracks, remaining captivated throughout the entire performance.

Over the course of the concert, the artist drew from different eras of his repertoire, blending the energy of songs from his time leading The Police with some of the most recognisable compositions of his solo career.

(c) El Noticiero

Sting delivers a knockout performance for nine thousand fans in Granada...

On July 15, Sting kicked off the sixth edition of the "1001 Músicas CaixaBank" festival with his "Sting 3.0" tour, accompanied in a power-trio format by his longtime guitarist Dominic Miller and drummer Chris Maas. The former Police frontman unleashed a 21-song setlist - a night of classics - that set Granada’s bullring ablaze.

The explosive opening of "Message in a Bottle" launched without ceremony, packing enough punch to dispel any notion that this was merely a nostalgia tour. The sound was balanced yet striking, accompanied by a clear statement of intent: "I’m 74 years old, I’m tough as nails, and I’m here to make sure you never forget tonight." Next came "I Wrote Your Name (Upon My Heart)" - the only new track and the only song in the set less than twenty years old - followed by "If I Ever Lose My Faith in You" and "Englishman in New York."

Sting’s bass - a vintage 1950s Fender Precision that has seen more action than a Ukrainian army rifle - dominated the arena from the start. It was an incisive instrument rather than a merely decorative one, playing lines that did more than just provide accompaniment; they simultaneously sketched out melody, percussion, and counterpoint.

The first surprise wasn't on stage, but in the crowd. The average age of the audience was significantly lower than one might expect for an artist whose public career dates back to the late seventies. The age mix included people recalling their 1980s adolescence, middle-aged fans with fortunately inherited musical tastes, and younger converts drawn in by algorithms. Regardless, there they were: multiple generations singing the same choruses, each from their own distinct vantage point. "Every Little Thing She Does Is Magic" once again roused the crowd, who sang along to the opening "oh-oh-ohs" of its climactic finale - a song that served as the inspiration for major tracks like Fito & Fitipaldis' "El ojo que me mira." A deep calm returned with "Fields of Gold," confirming that the formula required no further embellishment. The trio format strips away layers but gains sharpness and precision; Chris Maas anchored the setlist with restrained power, avoiding the urge to fill every silence as if silence owed him money. Wielding a vintage 1961 Stratocaster, Dominic Miller - the "ex-Police" member's longtime collaborator of over thirty years - did what he does best: exquisite delays, suspended chords, and that unique ability to let the guitar suggest more than it explicitly states. These were two relics of aged wood with no intention of becoming museum pieces; they were well-worn and battle-scarred, yet still focused on the road ahead.

During "Never Coming Home," bass and guitar created one of the night's most vibrant moments with a subtle duel of solos that enveloped the plaza in introspective delays. "Mad About You," "Wrapped Around Your Finger," and "Driven to Tears" struck a balance between solo elegance and the raw energy of The Police. Notably, the Police tracks were transposed down a full step from their original recordings - a logical adjustment for the passing years that, in this instance, helped create an extraordinary warmth and depth in the vocals. Lyrics penned by young British teenagers took on a far more mature resonance when delivered by seasoned vocal cords, lending the songs interpretations vastly different from those of the past.

As "A Thousand Years" played, a section of the audience celebrated an Argentina goal. The World Cup was making its way into the concert via mobile phones, exchanged glances, and discreet celebrations. "Can't Stand Losing You" brought back the rhythmic tension, while "Shape of My Heart" lowered the pulse without turning the moment into a coffee-shop interlude. "Brand New Day" - the perfect track to kick off a Friday - arrived with its bulletproof, optimistic songwriting, while "So Lonely" once again brought a large portion of the crowd to its feet. Occasionally, a few off-key notes or less-than-clean entries could be heard. Minor slip-ups, to be sure, but noticeable ones: a tiny crack in a world tour so meticulously calibrated that, at times, the flaws of mechanical routine peek through.

The trio handled this dynamic with ease - shifting between power and softness, turning gritty when the moment called for it and light when necessary. And they did so without political manifestos or displays of narcissistic moralising. Just music, a few comments in surprisingly good Spanish, some shouts of "Gracias Granada" and "¡Viva España!", and a setlist that needed no instruction manual. Thank you.

"Desert Rose" - backed by a subtle, hidden sample - launched the final stretch, a sequence that was as soaring as it was spectacular. "Every Breath You Take" followed as a massive collective ritual: nine thousand people embracing a song about obsession and control as if it were a wedding anthem. "Roxanne" unleashed the stadium-filling "oe, oe, oe" chant everyone was waiting for. It was unavoidable, and there was no need to avoid it: when a song...

(c) dod magazine by Antonio Caballero