Sting 3.0

Sting treats himself to the pleasure of playing his greatest hits accompanied by just two musicians on a stripped-back stage...

The British artist closes out the Icónica Santalucía Sevilla Fest at the Plaza de España before a crowd of 18,000, having sold out the venue months in advance

In an era of mega-concerts choreographed down to the last detail - featuring stages packed with musicians, backing singers, and dancers who rotate with every song, and even little "houses" filled with beauties and influencers - Sting has chosen to do the exact opposite. With his "Sting 3.0" world tour, which stopped at the Icónica Santalucía Sevilla Fest at the Plaza de España this Saturday, the artist performed his greatest hits accompanied by only two musicians on a bare stage. No gimmicks, no nonsense. Nothing to distract from his musical gems.

A repertoire like Sting’s - built over a successful, decades-long career that began half a century ago - easily sustains such a stripped-back approach. Anthems from his time with The Police rang out, including "Message in a Bottle" (1979) - which opened the show - "Can't Stand Losing You" (1978), "So Lonely" (1978), "Every Breath You Take" (1983), and "Roxanne" (1978), the latter two appearing in the final stretch. To close the concert, he played "Fragile" (1987), one of the most iconic songs of his solo career. For this performance, Sting set aside the bass guitar he had played all night and picked up an acoustic guitar. The finale felt intimate, like a caress. No fireworks. None were needed.

At 74, Sting isn't exactly jumping around the stage much anymore - despite his excellent physical shape, maintained through over three decades of yoga practice. In fact, before sitting down to perform one of the songs, he admitted he was "a bit tired." His admission was immediately met with shouts of "handsome" from an audience that was clearly in high spirits. A large portion of the 18,000 spectators who packed the Plaza de España - having sold out the venue months in advance - took their seats in the stands specially erected for the show.

The evening also featured the iconic "Englishman in New York" (1987), as well as "Mad About You" (1991), "Fields of Gold" and "Shape of My Heart" (both from 1993), and "Desert Rose," "Brand New Day," and "A Thousand Years" - all three from Sting's 1999 album.

The British artist, who has lived in New York for decades, showcased the legendary US city's skyline within the minimalist visual setup of his concert. For this tour, Sting is accompanied by long-time collaborator and guitarist Dominic Miller, as well as drummer Chris Maas (Mumford & Sons, Maggie Rogers). Over the course of his career - spanning his time with The Police and his solo work - he has sold over 100 million records. He boasts countless awards and accolades, including 17 Grammy Awards, four Oscar nominations, a Golden Globe, and an Emmy. He has also appeared in over fifteen films and is actively involved in social and environmental causes.

Sting’s intimate, near-acoustic performance brought the sixth edition of the Icónica Sevilla Fest to a close. Since June 4, the festival has hosted a succession of concerts across various genres at the historic Plaza de España - designed by architect Aníbal González for the 1929 Ibero-American Exposition and a filming location for cinema classics such as "Lawrence of Arabia".

The Icónica stage has hosted acts such as Lenny Kravitz and Aitana (both of whom also sold out their shows), Robbie Williams, Moby, The Prodigy, and Jamiroquai, alongside Spanish artists like Raphael, Califato 3/4, La Plazuela, Pablo Alborán, and Hombres G, among others. Attendance has surged from the 20,000 spectators at the festival's inaugural 2021 edition to the 360,000 who attended this summer's thirty concerts. This has established the Seville-based event as the most highly attended music festival in Spain - surpassing the likes of Arenal Sound and Primavera Sound Barcelona - according to figures from the organizers. While Icónica has wrapped up, Sting’s tour continues. Next stop: France this Monday. Then Italy, Belgium, Switzerland, and Croatia, followed by the United States.

(c) El Mundo by Silvia Moreno

The world reduced to three musicians...

Sting closed out the Icónica festival with a format that laid bare the resilience of his songs and the confidence of a voice that doesn't shy away from its most demanding registers.

After weeks of stages teeming with the contemporary entertainment industry, the Icónica Santalucía Sevilla Fest bade farewell last night with just three men. Sting stepped onto the Plaza de España with his bass strapped on, Dominic Miller took his place to the side with his guitars, and Chris Maas sat behind a drum kit that had to shoulder the entire rhythmic weight on its own. It didn't seem like a modest choice, but rather almost a provocation. There was nowhere to hide a weakness, yet there was also little to distract from the songs themselves.

The tour is called "Sting 3.0" because there are three musicians, though the name implies more than just a simple arithmetic sum. Sting decided to subject a repertoire built over nearly fifty years - encompassing jazz, reggae, pop, rock, Arabic music, orchestral arrangements, keyboards, and meticulous production - to a fundamental question: how much can be stripped away from a song before it ceases to be itself? The answer wasn't simply to revert to the sound of The Police. Miller didn't try to fill Andy Summers' shoes, nor did Maas attempt to mechanically imitate Stewart Copeland. The trio adopted that band's economy of means, the tension between instruments, and, above all, the value of empty space. Sting played bass, sang, and left gaps. Miller decided which ones were worth filling. Maas kept the momentum going without drowning out the breathing room of the other two.

That is how "Message in a Bottle" began - without long introductions or manoeuvres designed to build suspense. Miller launched into a guitar riff that is part of rock's universal vocabulary; before the bass and drums even kicked in, the crowd had already recognized the song. It was a clever way to start. Instead of saving one of his biggest hits for the home stretch, he used it as an emotional soundcheck, with three instruments springing into action and 18,000 people confirming they knew the chorus by heart. The festival began to wind down with a song about messages cast into the void - only to be discovered by other castaways - an idea that, half a century later, still aptly describes the purpose of a song. The crowd responded from the very first moment, and Sting realized he could afford to play with the space, knowing that whenever a vocal line fell short, the audience would be ready to fill it in.

Cameras soon showed close-ups of Miller’s guitar and Sting’s bass. Neither looked fresh out of a display case; the wood was marked, the finish was chipped in places, and the edges showed signs of wear. These were battle-hardened instruments - tools used over years rather than objects meant merely for display. Those scars suited the spirit of the concert, which featured old songs performed with the wisdom of experience, without being restored to the point of erasing the traces of time.

"I Wrote Your Name (Upon My Heart)" kept the evening from settling into nostalgia too soon. The new song was born precisely for this format, utilizing the Bo Diddley beat as a fundamental structure upon which the trio could pound away, get gritty, and sound rougher than usual. Sting sang it with a bluesy vocal, Miller toughened up the guitar work, and Maas gave that compact rhythmic mechanism more weight than its three components might suggest. Its placement was significant. Sting didn't hide the new track among the classics or ask the audience to be patient with it. He positioned it second - right after the crowd had just recognized one of The Police’s great anthems and wasn't yet ready to extend the same familiarity to a recent piece. "I Wrote Your Name" didn't elicit the automatic response of "Message in a Bottle," but neither did it cause the drop in attention that promotional obligations often trigger. It sounded like a song that belonged in the concert, not an interruption to it.

The opening numbers - "If I Ever Lose My Faith in You" and "Englishman in New York" - marked the first major highlight of his solo career. Sting doesn't sing the way he did in 1993 - nor should anyone - but he retains control, intent, and the ability to steer a melody without watering it down to the point of unrecognizability. His voice remains clear, flexible, and surprisingly steady, even if the occasional note naturally betrayed the passage of time. He didn't shy away from demanding passages or turn the songs into "easy" versions tailored to what is simplest to sing at age 74. The point wasn't to see if time had passed - because, naturally, it has - but rather how he now manages what he has left. Sting knows when to hold a note, when to let the audience finish a phrase, and when to use a touch of vocal grit as part of the storytelling. He doesn't compete with his own recordings or try to pretend the man singing is the same one who stepped into a studio three decades ago. It is enough for him to still recognize himself within the song. He addressed the audience only a few times. He didn't need to fill the gaps with explanations, reminiscences, or rehearsed jokes. When he did speak, it was to offer greetings, express gratitude, or introduce a moment, and he did so in perfect Spanish - avoiding that collection of isolated words many international artists deem sufficient to establish a local connection. The real conversation continued to take place between the instruments.

"Englishman in New York" perfectly demonstrated the lightness of the format. Stripped of the recording's elaborate architecture, the bass and drums could shift their accents, while Miller wove guitar lines around the melody without attempting to replicate every layer. His playing was a highlight of the evening. In such a small line-up, the guitarist might have been tempted to constantly fill the space left by the absent keyboards and arrangements. Instead, he did the opposite: he was selective with notes, created subtle atmospheres, and pulled back before an idea could devolve into mere showboating. "Every Little Thing She Does Is Magic" highlighted one of the project's most apparent limitations. The original recording relies heavily on exuberant piano work and a production style where the joy stems from layering sounds. Here, there was no piano, and three musicians couldn't pretend those layers were still present. The song lost some of its sheen but gained a certain nervous energy. It didn't sound as radiant as the album version, yet it felt closer to the rhythmic tension that defined The Police. That was the premise of Sting 3.0: not every song would benefit in the same way. Some seemed to have been waiting years to be stripped down; others immediately reminded the listener of everything that had been removed. The beauty lay precisely in not trying to hide that fact.

"Fields of Gold" lowered the volume even further, compelling the audience to listen closely. Miller stayed close to the vocal line, Maas played without intruding, and Sting let the melody unfold without unnecessary embellishment. For a few minutes, the Plaza de España - a space built for grandeur - seemed considerably smaller. There was no need for elaborate staging around the song; simply letting it flow was enough. "Never Coming Home" brought one of the night’s great instrumental expansions. The track gradually shed its studio form, evolving into a musical conversation among the three. Sting led from the bass - doing far more than merely anchoring the harmonies - while Miller responded without always seeking the most predictable resolution, and Maas shifted the rhythmic drive without breaking the flow. Sting still plays with a distinctive posture: the bass neck held high and his thumb striking the strings as if trying to bring the electric instrument closer to the upright bass of his early musical training. From that position, he was more than just the singer centre-stage; he charted the course, opened up improvisational avenues, and compelled the others to react. The trio worked because the members weren't there merely to accompany him, but to engage in a musical dialogue. Three musicians capable of absolute precision can produce music that is admirable yet, at the same time, overly safe. The sequence of "Mad About You" and "Wrapped Around Your Finger" flirted with that danger at times. Everything sounded beautiful, clean, and perfectly placed; the elegance threatened to turn into mere comfort. Yet, it never quite crossed that line. "Wrapped Around Your Finger" retained its dark mood even without the marimba, synthesizers, or atmospheric textures of the original recording. Miller evoked a misty atmosphere through effects and suspended chords, while the bass moved beneath the melody and Maas avoided turning the song into a display of brute force. Where a larger production might have built a backdrop around the lyrics, the three musicians allowed the sense of menace to emerge from the spaces between the notes. But then came "Driven to Tears," shattering any sense of complacency. The song retains its undiminished outrage at inequality and political powerlessness, while the arrangement allowed the guitar to shift from merely sketching melodies to delivering sharp, incisive strokes. Miller pushed the sound toward a more abrasive edge, Maas played with greater freedom, and Sting recaptured the rhythmic tension that prevents socially conscious lyrics from devolving into a speech set to music. "A Thousand Years" was the least obvious choice in the setlist - and one of the most revealing. It lacked the automatic crowd response of The Police classics or a chorus the audience could sing along to from the very first seconds. It demanded attention, offering in return one of the concert's most atmospheric moments. In a repertoire filled with songs known by heart, these tracks act as unmarked territory; some in the audience simply pass through them waiting for the next hit, while others discover the very reason to keep listening to an artist whose body of work seemed already fully familiar.

Before "Can’t Stand Losing You," Miller spoke in Spanish to announce that the next song was a surprise he and Maas had prepared for Sting, who supposedly knew nothing about it. The ruse had the charm of those little scripted moments repeated night after night - since the track is a regular part of the tour’s setlist - yet Sting feigned surprise just as convincingly as someone discovering, for the umpteenth time, that a red light would appear at the end of "Roxanne." This staged spontaneity didn't detract from the genuine improvisation that followed. "Can’t Stand Losing You" expanded to incorporate a substantial portion of "Reggatta de Blanc," a recurring feature of these concerts. The pairing isn't arbitrary; the instrumental track originally grew out of an improvisation The Police used to perform within "Can’t Stand Losing You," so the current trio is simply returning it to its point of origin. It was one of those moments where Sting 3.0 ceased to feel like a stripped-down version of his usual tours and instead recaptured the essential dynamic of The Police: bass, guitar, and drums pushing one another, playing with reggae without strictly adhering to its rules, and using repetition to build tension. Miller and Maas might have framed the sequence as a surprise for Sting, but the exact way the three of them would navigate it remained unpredictable.

Miller returned to center stage for "Shape of My Heart." The song originated from a guitar figure he composed, over which Sting later wrote the melody and lyrics. Hearing it performed by both of them onstage preserves something of the moment before it became a classic - when it was still just a musical motif in the guitarist's hands. Cameras zoomed in on the instrument again, revealing its scuffs, dings, and a surface worn by years of hard work. Miller played cleanly, yet without treating the melody like a delicate museum piece. Every note served as a reminder that the heart of "Shape of My Heart" existed before the vocals and is still capable of carrying the song almost entirely on its own.

The final surge in momentum began with "Brand New Day." The bass regained prominence, and the evening moved away from its more introspective mood without the need for an abrupt shift. "So Lonely" found the crowd ready to shout along. The song has always held a bit of a paradox: it speaks of solitude yet demands to be sung by thousands. Last night, the intimate became communal without ever resolving that contradiction. Generally, it was The Police’s tracks that benefited most from the stripped-back format. Their original structures were built on the interplay between three musicians, so there was no need to dwell on what was missing; they could sound different without seeming incomplete.

"Desert Rose," however, presented the opposite problem. The original recording relies on percussion, North African textures, studio production, and the contrast between Sting and Cheb Mami. The trio couldn't - and didn't try to - recreate all of that. Instead, they leaned on the composition's rhythm and vocal melody, offering a more skeletal version. It retained the melody's magnetic pull, yet clearly demonstrated that some songs require more sonic colours than three musicians can provide. Miller’s pedalboard attempted to hint at a few of them.

"Every Breath You Take" closed the set, needing no introduction. The opening notes alone sparked the night's most immediate reaction. Sting has spent decades explaining that it isn't a conventional love song, but the audience decided long ago what the song means to them. Thousands of people embraced once more while singing the words of a narrator who watches every move of the person he is addressing. That clash between intent and reception has become part of the work itself. Sting may maintain a dark tone in his bass playing and vocals, but the crowd will continue to turn it into a declaration of love. The song long ago slipped out of its author's control - perhaps the ultimate form of success.

The farewell was brief. Sting, Miller, and Maas returned for "Roxanne" - the woman whose name makes it impossible for the British artist to end a concert without someone shouting it out. The song expanded further through dynamic shifts, vocal interplay, and moments where the plaza itself became a fourth band member. The trio could transition from reggae to rock and then into open improvisation without "Roxanne" ever losing its identity.

Afterwards, Sting put down his bass and picked up an acoustic guitar. Seated on a stool, he was visibly delighted that England was leading France 4–0 at that moment in the World Cup third-place play-off. The final gesture of Icónica 2026 was "Fragile," with Miller adding textures on the electric guitar that made no attempt to compete with the melody. He did not aim for a grand finale; quite the opposite. After so many nights of monumental productions, the festival concluded by compelling everyone to lower their voices. "Fragile" served as a reminder that strength can also lie in knowing when to step back. There was no confetti, nor any explosion to signal the end. Just three musicians wrapping up a concert lasting an hour and forty minutes with a song about the ease with which something seemingly solid can shatter.

Sting didn't need to prove he was still young - because he isn't, and there would be no point in pretending otherwise. What mattered was seeing that he remains a musician willing to take risks within a repertoire he could easily perform on autopilot for the rest of his life. His voice bore the natural marks of time, yet also displayed a confidence that allowed him to tackle even the most demanding passages without shying away. Miller once again demonstrated that accompaniment doesn't mean fading into the background, while Maas anchored a performance where a single heavy-handed beat could have closed off the very spaces that gave the format its meaning.

Icónica ended just as each of its nights had begun: with a public square waiting for someone to decide what to do with it. Sting chose to subtract rather than add. He stripped away musicians, arrangements, ornamentation, and grandiosity, leaving the songs exposed in their essential structure. Then, he turned out the lights.

(c) Diario de Sevilla by José Miguel Carrasco

Sting revives The Police's greatest hits and the nostalgia of a generation at Plaza de España...

The show featured a more dynamic and energetic format, departing from his usual intimate style.

At 10:30 PM - with characteristic British punctuality - the first concert by Sting (whose real name is Gordon Matthew Sumner) kicked off in Seville. The event opened with the chords of "Message in a Bottle," with Sting joined on stage by his long-time guitarist Dominic Miller and drummer Chris Maas.

The show featured a more dynamic and energetic format, departing from his usual intimate style. It was a pleasant evening for the audience - mostly fans feeling nostalgic for the 80s - who gathered at Plaza de España to enjoy the performance by the former lead singer of The Police. The concert also marked the closing of the latest edition of the Icónica Sevilla Fest.

With a career spanning over forty years, Sting has amassed a vast repertoire that is deeply ingrained in his fans' memories. The concert included enduring songs from The Police as well as hits from his solo career, all part of the "Sting 3.0 World Tour."

After performing "Wrote Your Name," he moved on to The Police's most iconic songs. Tracks such as "Englishman in New York," "Every Little Thing She Does Is Magic," and "Never Coming Home" had the audience singing along to every word. Sting expressed his gratitude for the warm reception in perfect Spanish: "Thank you very much, Seville. We are very happy to be here."

The concert blended mellow melodies - accompanied by soft lighting across the plaza - with livelier songs that energised the crowd. Dominic Miller humorously remarked on a surprise track: "He doesn't know what we're going to play next." The setlist included "Fields of Gold," "Mad About You" (released in 1991), "Wrapped Around Your Finger" (1983), "Driven to Tears," and "1000 Years." As the concert got underway, Chris Mass took centre stage with "Shape of My Heart," followed by "Brand New Day," and immediately after came another classic: "So Lonely." Excitement mounted with tracks like "Every Breath You Take" - one of the most popular songs - which sparked a wave of enthusiasm among the fans. "Roxanne" was also performed, with the entire crowd singing along and recording the moment on their phones. As many remarked, these songs "are part of the soundtrack of our lives."

The grand finale featured the hit that turned The Police into international stars in 1977 - a song inspired by prostitutes and a stage play - followed by a rendition of "Fragile." Sting also took a moment on stage to celebrate England's resounding 4–0 victory over France in the World Cup, adding, "And tomorrow, Spain," in reference to the final against Argentina.

The hour-and-a-half-long performance blended nostalgia with high energy, honouring the legacy of one of Britain's most iconic bands and their influence on an entire generation.

(c) Andalucia Informacion

Sting dusts off the classic sounds of The Police and the memories of an entire generation at Plaza de España...

With British punctuality - even a few minutes ahead of the scheduled 10:30 PM start time - and to the opening bars of the quintessential classic "Message in a Bottle," Gordon Matthew Sumner (better known by his stage name, Sting) kicked off the first concert of his career in Seville. He was joined on stage by guitarist and long-time collaborator Dominic Miller and drummer Chris Maas.

In a format that was energetic rather than intimate - and on a night far more pleasant than might have been expected - the English singer (who has sold over 100 million albums and singles) began to captivate a nostalgic audience. The crowd, largely composed of fans from the 80s era, had gathered at Plaza de España to see the former member of The Police. The concert also served as the grand finale for this year's edition of the Icónica Sevilla Fest.

The London-based musician boasts a catalogue spanning more than four decades - a prolific career that has become part of his fans' collective memory. The atmosphere was filled with timeless classics - songs from that legendary band that remain etched in the public imagination, tracks everyone knows and loves - alongside hits from his solo career. All of this came together in the "Sting 3.0 World Tour." The track "Wrote Your Name" paved the way for three of his former band's best-known songs - a fact clearly reflected in an audience that had grown up with them and knew the lyrics by heart. After all, "Englishman in New York," "Every Little Thing She Does Is Magic," and "Never Coming Home" were - and remain - monumental tracks. The extraordinary bassist from Newcastle reciprocated the crowd's admiration and enthusiasm: "Thank you very much, Seville. We are very happy to be here," he said in perfect Spanish.

One artist, two types of songs. There were more melodic numbers - accompanied by soft lighting in the Plaza - that invited quiet contemplation, alongside the more upbeat tracks from his band (or rather, *our* band). It was impossible to stand still during the latter, unable to resist singing along to catchy choruses like that of "Can't Stand" - a song that came as a surprise even to Sting himself during this concert, as guitarist Miller revealed: "He doesn't know what we're about to play," he announced, also speaking in Spanish.

In between came "Fields of Gold" and "Mad About You" - the latter a solo track by the band's former lead singer and bassist, released in March 1991 as the second single from his third studio album, "The Soul Cages" - along with "Wrapped Around Your Finger" (which came out back in 1983), "Driven to Tears," and "1000 Years."

An hour into the concert, after handing the spotlight to Chris Mass for "Shape of My Heart," it was time for "Brand New Day." This paved the way for another classic, "So Lonely," to the delight of fans who once again proved that The Police remain as relevant as ever.

The extensive repertoire of this multifaceted artist - deeply committed to social and environmental causes - naturally included "Every Breath You Take." Arguably one of his most famous songs, it was met with wild enthusiasm by his devoted followers - though "Roxanne" might give it a run for its money. Was there anyone *not* holding up their phone and singing along? Absolutely not. As many remarked - echoing a common sentiment - "It’s part of the soundtrack of our lives." That, and comments on his "enviable physical shape."

Decibel levels peaked before the band left the stage, only to return for the highly anticipated encore featuring their first major international hit - the song that catapulted them to superstardom. It was a track inspired in 1977 by the prostitutes he saw near his seedy hotel and an old poster for the play "Cyrano de Bergerac", telling the story of a man who falls in love with a sex worker.

Yet, there was still time for one more gift: "Fragile." Who knows if the mood was boosted by England’s resounding 4–0 victory over France in the World Cup third-place play-off - a result he announced himself from the stage! "And tomorrow, Spain," he added, looking ahead to the grand final against Argentina.

A mix of collective euphoria and nostalgia in equal measure. The music of the legendary British band was dusted off for an hour and a half - and with it, the memories of an entire generation.

(c) Teleprensa

Sting provides a dream finale for Icónica Santalucía Sevilla Fest...

The British musician capped off the festival's sixth edition with a spectacular show as part of his 'Sting 3.0' tour.

The Icónica Santalucía Sevilla Fest 2026 has concluded a brilliant edition that offered a bit of everything: from major domestic pop stars like Aitana to established Spanish icons like Raphael and Hombres G, as well as international heavyweights such as Robbie Williams, Lenny Kravitz, and Jamiroquai. However, the organizers had one lingering ambition, as Sting was a name that had been rumoured for years. Consequently, having the British musician provide the grand finale served as an excellent boost for the festival's continued growth.

The bassist took the stage at the Plaza de España in the midst of the European leg of his 'Sting 3.0' tour. He has been performing in this format for two years, and it pays homage to his former band, The Police; like that legendary group, he now performs as part of a trio. Joining him are drummer Chris Maas and, notably, guitarist Dominic Miller. The latter - a musician of Anglo-Argentine heritage - has been Sting's loyal right-hand man since the early 1990s, collaborating on every album released since 1991 as well as on tours and special performances.

Gordon Matthew Sumner - the real name of this rock genius - is well aware that his career, spanning nearly fifty years, has yielded numerous hits, both during his brief stint with The Police and throughout his long-running solo career. Yet, at 74 years old, he continues to prove that he possesses plenty of onstage energy - cementing his status as a true legend. Perhaps what saved Sting was the fact that he expanded upon the musical sound he achieved with The Police - that successful blend of pop and rock with nods to new wave, punk, and reggae - to venture into other exciting territories such as jazz, bossa nova, classical music, and even electronic elements.

With those credentials, the Englishman took the stage at Plaza de España a few minutes ahead of schedule alongside Dominic Miller and Chris Maas, eager to demonstrate why he remains well worth seeing live. The choice of opening with "Message in a Bottle" proved a winner from the start; the song drew thunderous applause and was sung along to by a capacity crowd. Next came "I Wrote Your Name (Upon My Heart)," the night's only relatively new track, penned by the musician during the "Sting 3.0" tour.

Next came "If I Ever Lose My Faith in You," the first single from one of his best albums to date, *Ten Summoner's Tales*. The track concluded with an incredible musical cadence that showcased Dominic Miller's guitar talent. With barely a moment to catch a breath, the band launched into "Englishman in New York," another of his most iconic anthems. By this point in the evening, the musician was clearly at ease, buoyed by the audience's enthusiastic rapport.

The Police's repertoire returned with "Every Little Thing She Does Is Magic" - the song with the music video filmed at the legendary Montserrat studios owned by George Martin. A few minutes later, the Plaza de España provided the perfect setting for the delicate "Fields of Gold," another of his most memorable singles. With guitar riffs reminiscent of "Bring on the Night," it was time for the enigmatic "Never Coming Home." Dominic and Sting then delivered a masterclass on guitar and bass, segueing from that track into notes from the classic Police song "When the World Is Running Down." Next came the poetic "Mad About You," a song from "The Soul Cages" (1991) - the first album on which Miller collaborated.

The enduring legacy of The Police resurfaced with "Wrapped Around Your Finger," another of the legendary trio's most famous songs, followed by "Driven to Tears," a track that flirts with reggae. And while Stewart Copeland and Andy Summers are irreplaceable, the line-up performing in Seville rose to the occasion magnificently.

The mood shifted completely with "A Thousand Years," a song of desperate love. Then, they masterfully blended "Can't Stand Losing You" with "Reggatta de Blanc." One of the concert's most magical moments arrived with the wonderful "Shape of My Heart."

The party atmosphere kicked in with "So Lonely," one of The Police's most upbeat singles. Without missing a beat, the band moved on to the world-music-infused "Desert Rose." Naturally, "Every Breath You Take" - The Police's most popular song - was also included in the set.

After a brief pause, they returned to play "Roxanne," The Police's first major hit. Later, Sting joined the trio on stage to perform the final song of the night, "Fragile," playing the acoustic guitar. It was the perfect finale to a magnificent concert and an outstanding edition of the Icónica Santalucía Sevilla Fest 2026.

(c) ABC by Andrés González-Barba

Sting in Seville: the art of looking back without surrendering to nostalgia...

The British musician closes this year's edition of the Icónica Santalucía Sevilla Fest with an extraordinary anthology of his career, recreated with intimacy and artisanal mastery.

The live album and the "Sting 3.0" tour have been marketed as a return to the British musician's essence - a return to his rock roots, to the freshness and the stripped-back, organic approach of his early days - and, though we usually make exceptions, this time we are buying into the promotional narrative. The trio format he employed inevitably evoked the line-up of The Police, the band with which - over four decades ago - he conquered the world and became an intergenerational super-legend.

In fact, his performance at the Icónica Santalucía Sevilla Fest - his first in the Andalusian capital - began under the influence of his former band. A rendition of "Message in a Bottle" took just a few bars to spread those warm gusts of minimalist reggae-rock and trigger a genuine sentimental and generational seismic shift.

"I Wrote Your Name (Upon My Heart)" and, above all, "If I Ever Lose My Faith in You" might have benefited from fuller arrangements; the performance made it clear that guitarist Dominic Miller (the singer-bassist's trusted collaborator since the early 90s) and drummer Chris Maas are neither Andy Summers nor - even less so - the imaginative and versatile Chris Stewart. Yet, that was precisely why the concert was taking place in the Plaza de España rather than the Estadio de la Cartuja.

It is equally true, however, that there was great charm in this direct - and, shall we say, raw - approach to his catalogue, allowing the songs to stand on their own merits rather than relying on the pre-emptive overproduction with which megastars so often cloak their music. It was a pleasure to hear "Englishman in New York" in its most stripped-down form, and especially "Fields of Gold" - played simply as a beautiful ballad within the intimate, contemplative atmosphere of a corner pub.

Naturally, at 74, Sting is no longer up for the vocal pyrotechnics of his younger days, yet he continues to perform his songs with immense skill - so much so that one forgets he has had to lower his signature vocal range by a few keys. "Never Coming Home" - a performance rich in instrumental nuance and featuring moments of improvisational flair - showcased the trio's undeniable chemistry. It also made us appreciate that, at his age and with no need to take risks, Sting retains such a genuine passion for music *per se* - beyond the trappings of fame and status - that he chooses to perform in this stripped-back format rather than hiding behind, say, the kind of orchestral arrangements often used to mask the creative terminal decline of pop musicians under the guise of "quality" and the always-suspect prestige of "adult seriousness."

It was a pleasure to hear "Englishman in New York" in its most stripped-down form, and especially "Fields of Gold" - played simply as a beautiful ballad within the intimate, contemplative atmosphere of a corner pub.

With "Mad About You" - a masterclass in atmosphere and subtlety - we finally forgot (or at least I did) that we were watching Sting perform. He has been a legend of popular music since before I was even born, so being impressed by the concert felt almost like a foregone conclusion. Yet, quite simply, with the band now perfectly in sync, it was a superb concert - regardless of any considerations outside the songs themselves. The fantastic version of "Wrapped Around Your Finger" - another taste of The Police’s legendary repertoire - demonstrated that it is possible to lose youthful urgency and energy while gaining depth and serenity, without the performance turning into a wax museum exhibit, as so often happens.

Sting came to play his music, and perhaps that is why - aside from a couple of obligatory polite remarks - he largely dispensed with between-song banter. The songs were the only focus here, and what better focus could there be? "Driven to Tears," from The Police’s debut album, took us back to the jazzy undertones, magnetic pop choruses, and vaguely global rhythms that brought the band fame and legendary status. Yet, rather than simply carbon-copying a formula, they treated the material for what it is: a starting point from which to let the sound and nuances soar.

Despite the challenges of performing outdoors before a sold-out crowd of thousands, "1000 Years" deepened the concert’s intimate, stripped-back feel. The band let the songs simmer and breathe, playing masterfully with the silences between the notes. Perhaps due to a certain professional cynicism, superstars often make us wary. That is why it was a genuine pleasure to see - since live performance, especially in this format, allows for no fakery - that Sting never forgot he is, first and foremost, a great pop performer and songwriter, rather than just a global celebrity. It might sound like stating the obvious, but let’s be classy and spare ourselves the notorious examples that would prove it isn’t actually such an obvious claim.

"Can’t Stand Losing You" - another of The Police’s massive hits - sounded exactly the way Sting can and should sound in 2026. Naturally, it has lost some of its brashness and that punk-bred sense of urgency; in exchange, however - and thanks to the song’s underlying structure - it has gained a deep, craftsman-like wisdom. Using the same raw materials, he delivers a piece that feels both enormously familiar and almost entirely new. "Shape of My Heart" once again highlighted the breadth of the British artist’s repertoire and his undeniable talent for mid-tempo tracks that slip into your ears and end up altering your pulse and mood: magnificent, hypnotic - one of those great live-show moments where time seems to both stand still and stretch out.

More spirited and building subtly in intensity, "Brand New Day" paved the way for another of the essential mega-hits from the early part of his career: "So Lonely." With this track, Sting and his two cohorts gave a masterclass in playing with a song’s tempo at will, breathing life into it so it felt truly alive - far beyond the memory we all share of the decades-old recording playing on the car radio.

"Desert Rose," with its Arabian-inflected melody, gave way to "Every Breath You Take" - a song so overwhelmingly famous that it seems to have always just been floating in the air around us. Yet, someone actually wrote it, and he still knows how to recreate it - not merely avoiding the trap of a routine, clichéd performance, but actually polishing it and breathing new life into everything that makes it a surefire hit: a majestic pop masterpiece in every sense of the word. For the encores - which followed almost immediately, as if the musicians were so fired up and having such a great time that there was no point in dragging out the charade of a feigned farewell - came another timeless gem: "Roxanne." It was a fantastic rendition, alternating between calm and tension in a way that made the song feel, once again, as if it had just been written. For the first time all night, Sting put down his bass and picked up an acoustic guitar to treat us to "Fragile," a pop-jazz marvel that brought the performance to a close with the same intimate feel that had defined the entire show. Just as we began this piece by embracing a promotional slogan, let us conclude by offering another that rings equally true: a magnificent, high-note finale for this edition of the Icónica Santalucía Sevilla Fest.

(c) El Correo de Andalucia by Paco Camero