Sting on Tollwood: Love with Every Breath

Munich Artists need applause, that’s a common cliché. This does not appear to be the case with Sting. The crowd in the sold-out Tollwood tent would like to cheer him up with love and admiration, but they hardly get a chance to do so, as Sting lets almost every song flow into the next, drowning out any applause. When he then paused for a moment after the eighth song, “Fields Of Gold,” the audience hit back. It rages, tramples, shrieks, grows louder, just doesn’t stop: an eruption rarely happens at concerts. “That’s enough,” Sting must say in German at some point so he can continue playing.

In fact, Sting was supposed to play in Munich in 2019

But the audience also had to wait a long time for him: this concert was supposed to take place in 2019. At that time, Sting had to cancel for health reasons and postpone it until next year. Then the world fell ill, and the concert was also postponed in 2020 and 2021. On the fourth attempt, Sting makes a great start with “Message In A Bottle” and “Englishman In New York” – and it becomes even clearer what an extraordinary musician this man is.

Sting’s voice is still very strong

Not only is his sound charismatic and beautiful, but it’s also tremendously powerful at 70, which makes all the difference live, even if the headphone mic doesn’t seem like the perfect choice for audio. At the same time, he plays the bass elegantly, distinguishing the sound of the band with his gently bulging lines. Then of course there are all the great songs.

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In 2019, he recorded the hits for the album “My Songs” again in a new look and modern sound – a failure, the releases did not live up to the original recordings. However, there is no trace of the booming bass, the pieces, moderately rearranged for the tour of the same name, are often light, airy and always good, whether “If you love someone you’ll set them free” or “So lonely.” Sting slips in a few paragraphs of “No Woman No Cry” with a subtle and elegant thank-you to Bob Marley, who has changed his pace and taken the reins of the police strike.

Before the start of “A Whole New Day,” Sting excitedly asks his younger bandmate, Shane Sager, if he’d dare play the chromatic harmonica played by Stevie Wonder on the album. “Yes,” he says, not counting much.

‘Walking on the Moon’: The new drummers are Stuart Copeland

And yes, the other musicians in the seven-piece band are also getting their moments: backing vocalist Jane Noble steps up to perform a duet on “Shape Of My Heart” and performs well in R&B. And new drummer Zach Jones plays Stuart Copeland on “Walking On” the moon”.

Sting wrote the song in Munich, as he didn’t remember it until after that. At night, the reef was heading toward him at the Hilton, and when he looked out the window, the full moon lit up toward him. “Thanks, Munich!” Sting says. Thank you again, the audience cheered.

In the pop rap for Desert Rose, Dominic and Rufus Miller perform for two-part guitar solos. Sting says Dominic has been his right-hand man for thirty years, and he has brought his son Rufus into the band to be on the safe side. What he did not say, but is unequivocal: he himself has a possible replacement with him, his eldest son Joe Sumner.

Son Joe Sumner is the opening act

Joe is already 45 years old and is confident enough to accept his father’s famous help with a permanent start-up: as in 2017 in the Olympic Hall, he plays in the opening classHe borrows the stage and fans from Sting and knows how to please them. The songs he sings to accompany him on the guitar are not quite as strong as his dad, but they are very good. But the sound is incredible: Joe Sumner sounds almost like a Sting and has an amazing bass that reaches the highest treble. With hardly any trace of the mother’s DNA, the son looks like a clone.

In the penultimate song “King Of Pain”, Sting takes him back on stage and lets him sing two lines – almost like a duet with himself. Joe Sumner then joins the background singers and sings the choral sections with them for the last song: “Every Breath That Takes”.

When the musicians then leave the stage, it’s the audience’s turn to demand the musical that Sting will play with “Roxanne” and “Fragile,” and yes, to finally express what they think of him and his concert: 6,000 people could hardly have been louder during one last applause.

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