Review: Sting Brings Decades of Music to Vancouver with STING 3.0

Four days after celebrating his 75th birthday, Sting returned to Vancouver with his bass guitar in hand and two musicians by his side. His catalogue offered plenty of familiar songs, but the STING 3.0 Tour gave them a different sound.

On October 6, the 17-time GRAMMY Award winner performed at Vancouver's Queen Elizabeth Theatre for the second of two consecutive shows, marking the opening of the fall leg of his North American STING 3.0 Tour. Joined by longtime guitarist Dominic Miller and drummer Chris Maas, Sting revisited songs from his solo career and his years with The Police, this time with only three musicians onstage.

Singer-songwriter Chance Emerson opened the evening promptly at 8 p.m. with an acoustic guitar and a cover of Jackson Browne's "These Days." His vocals were strong from the start, and his five-song set offered a mix of folk, indie, and country influences.

Emerson also had a story to accompany nearly every song. Before performing "Plant a Forest," he recalled a dream he had on a plane about filling a space with soil and planting a forest. "Honey," meanwhile, came from the small habits people pick up from their partners. In Emerson's case, he started putting honey in his coffee, and his partner eventually did the same. His introductions were detailed and often humorous, giving the audience a chance to learn more about him and the music he was performing. He saved his latest song, "Mine All Mine," for last, ending his set with one of his catchiest songs of the evening.

Sting first rose to fame as the frontman and bassist of The Police before launching his solo career in 1985. His music has since moved between rock, pop, jazz, and other genres, often incorporating unusual rhythms and arrangements. With STING 3.0, he returns to the guitar, bass, and drums format of his Police days, performing songs from across his catalogue with Miller and Maas.

Following a short break, Sting appeared onstage at approximately 8:50 p.m., dressed in a black shirt with his bass guitar in hand. He opened with The Police's "Message in a Bottle," immediately giving the audience a taste of what the trio had to offer. Despite having only three instruments onstage, the sound was full, with Miller and Maas handling the guitar and drum parts alongside Sting's bass and vocals.

The audience appeared to be largely made up of longtime fans, many of whom knew the songs well enough to sing along without much encouragement. "Englishman in New York" was an early favourite, with concertgoers swaying to the beat and joining Sting for the familiar refrain, "Be yourself, no matter what they say." The crowd was equally enthusiastic during "Every Little Thing She Does Is Magic," singing along as Sting encouraged their participation.

Sting seemed comfortable onstage, occasionally stopping between songs to speak with the audience. He introduced Miller, his longtime collaborator, and Maas, the younger member of the trio, while sharing a few stories of his own. Before "Fields of Gold," he spoke about his home in England and the fields of barley surrounding the property. The story led naturally into the song, accompanied by warm orange lighting and projections resembling church windows. It was one of the evening's quieter performances, with Sting's voice sounding particularly smooth.

The instrumental performances were among the most enjoyable parts of the concert. Sting's bass playing was as prominent as his singing, while Miller and Maas had plenty of opportunities to show what they were capable of. Several songs featured extended instrumental passages, with Miller's guitar solos drawing enthusiastic responses from the audience. At times, the projections behind the stage showed close-ups of his fingers moving across the fretboard, making his playing even more interesting to watch.

"Seven Days" was a particularly good example of the trio's musical ability. Written in 5/4 time, the song has a rhythm that differs from the more familiar 4/4 meter heard in most pop and rock music. Sting introduced the song by explaining the challenge it presents for drummers, putting some added attention on Maas. His ability to maintain the rhythm while moving through the song's changing accents was impressive to watch. The unusual meter was noticeable throughout, yet the performance never sounded forced. Once the song ended, Maas stood up from behind his drum kit and took a bow to applause from the audience.

"Why Should I Cry for You?" followed, with watery video overlays and footage reminiscent of the 1990s projected behind the stage. The production made good use of these visuals throughout the concert, particularly during the slower songs, while keeping the musicians as the main focus.

The middle portion of the set was noticeably more subdued. "Mad About You" and "When We Dance" slowed the pace, and the audience's energy dipped during this stretch. Although Sting's vocals remained strong, the slower selections began to feel a little lengthy when heard back-to-back. The performances themselves were enjoyable, but the set lost some of the momentum established earlier in the evening.

Photo Credit: Sting

Things picked up again with The Police's "Can't Stand Losing You," which transitioned into an instrumental passage of "Reggatta de Blanc." The crowd was back on its feet, singing along and responding to the extended arrangement. Sting continued to encourage audience participation, and the energy in the theatre was noticeably different from the preceding songs.

"Shape of My Heart" was another audience favourite, drawing cheers as Miller began playing the song's recognizable guitar introduction. His playing was especially clear in the Queen Elizabeth Theatre, where the acoustics were excellent throughout the evening. Each instrument was easy to distinguish, even during the louder sections, and Sting's vocals never seemed lost in the mix.

Sting closed the main set with "Every Breath You Take," with the audience joining him for one of The Police's biggest hits. The trio then left the stage, returning shortly afterward to applause for an encore beginning with "Roxanne."

The song received a strong, enthusiastic reaction. Rather than performing a straightforward version of the Police classic, the trio extended the arrangement with a lengthy instrumental section. The musicians appeared to be enjoying themselves as much as the audience, taking their time with the song while the crowd cheered them on.

Sting had one more song planned, although he wanted to end the concert differently. He told the audience he liked finishing his shows on a quiet note so everyone would go home feeling calm. Taking a seat, he performed "Fragile," bringing the evening to a gentler close after the energy of "Roxanne."

At 75, Sting still sounded comfortable performing songs he has played for decades, and his bass playing was especially fun to watch. Miller's guitar work and Maas's drumming were highlights in their own right, with all three musicians finding opportunities to show their individual strengths throughout the concert. The pacing slowed a little too much at times, but the performances rarely disappointed. Even after decades of performing, Sting still has plenty to offer onstage.

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