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• Every Breath You Take

Sting Brings My Songs Tour to North America in 2023 with Son Joe Sumner

by Tina Benitez-Eves April 12, 2023, 7:39 am

In late 2023, Sting will bring his My Songs World Tour to North America with his son Joe Sumner as the opening act.

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Following a run of European shows during the summer, the North American leg of the My Songs Tour will kick off on Sept. 1 in Vienna, Virginia, and continue through Canada and the U.S., before wrapping up on Oct. 12 in Rogers, Arkansas.

The My Songs World Tour previously hit Australia, New Zealand, South Africa, United Arab Emirates, Malaysia, Singapore, the Philippines, and Japan with a set list spanning some of Sting’s biggest hits with The Police as well as from his solo career, including “Englishman in New York,” “Message in a Bottle,” “ Roxanne ,” “Demolition Man,” “Fields of Gold,” and “Shape of My Heart,” among many others.

Sting recently hit the news after rapper Diddy revealed that he pays the former Police frontman $5,000 per day for sampling the band’s 1983 hit “ Every Breath You Take ” on his 1997 single “I’ll Be Missing You.” Diddy later said that he was “joking” and that the two of them have been friends for a long time.

“I want y’all to understand I was joking,” wrote Diddy . “It’s called being facetious. Me and [Sting] have been friends for a long time. He never charged me $3K or $5K a day for ‘Missing You.’ He probably makes more than $5K a day from one of the biggest songs in history.”

Sting, 71, released his 14th album My Songs , a collection of new renditions of previously released songs from his catalog, in 2019, followed by The Bridge in 2021.

Singer, songwriter, and bassist, Joe Sumner, has released five albums with his band Fiction Plane since 2003 and is also working on his own solo material.

Sting, My Songs 2023 Tour Dates Sept. 1 – Vienna, VA @ Wolf Trap Sept. 2 – Vienna, VA @ Wolf Trap Sept. 3 – Atlantic City, NJ @ Hard Rock Live at Etess Arena Sept. 5 – Toronto, ON @ Budweiser Stage Sept. 7 – Boston, MA @ MGM Music Hall at Fenway Sept. 20 – Morrison, CO @ Red Rocks Amphitheatre Sept. 23 – West Valley City, UT @ USANA Amphitheatre Sept. 29 – Vancouver, BC @ Rogers Arena Oct. 2 – Concord, CA @ Concord Pavilion Oct. 4 – San Diego, CA @ Cal Coast Credit Union Open Air Theatre at SDSU Oct. 7 – Los Angeles, CA @ Hollywood Bowl Oct. 9 – Phoenix, AZ @ Arizona Financial Theatre Oct. 12 – Rogers, AR @ Walmart AMP

Photo by Don Arnold/WireImage

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Endless Sumner: Sting and His Opening Act, Joe Sumner, on Their Father-Son Tour and Why ‘the Audience Gets a Kick Out of Seeing Us Together’

The two visit the Hollywood Bowl Saturday, the day after Joe's album release. They talk about what they learn from one another and why Joe no longer needs to avoid 'the elephant in the room'

By Linda Laban

Linda Laban

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Opening for Sting at the Hollywood Bowl makes for some album release show. That’s what Joe Sumner will be doing Saturday night, the day after his debut solo album, “Sunshine in the Night,” is released. If he’s taking it in stride, there is the fact that they’re father and son; the familiarity has been compounded by the recent months spent gigging together on the Sumners’ summer tour, now being followed by a fall trek that is bringing them around to L.A.’s most storied venue.

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Joe, 46, his southern English accent crisp and fresh, and Sting, 71, his voice rounded by melodious northeast “Geordie”-inflected tones, talked to Variety via Zoom from a barren-looking room backstage at the Moody Center in Austin, Texas. They banter, rib each other and laugh a lot, situated in yet another arena — the kind of place Sting is utterly familiar with, and Joe is too, both with his early-2000s band Fiction Plane and, prior to that, as a kid practically growing up in them.

Joe, you’re finally releasing your solo debut, which was a victim of pandemic delays. Did the delay have you chewing your fingernails, or did you use the time to change the record up?

Joe: It gave me chance to go in and change a whole bunch of things. The idea of the album was it was going to be acoustic guitar and voice, and that was it. Then I went in and added every instrument I could think of.

Sting: It proves you were thinking…

Was this a good thing?

Joe: It was a very good thing. It is what it is; sometimes it’s not ready until it’s ready. Next time I make an album I want it to be a lot quicker. But they are a time capsule and you have to accept it.

It’s hardly your first go at the rodeo. With Fiction Plane you had a band career. How is a solo album different?

Joe: I get to make all the decisions and I get to take all the blame. That’s the main thing. I just found a very creative freedom of just being able to say this is what’s going to happen now. Then I mull it over in my head forever, but that’s OK.

So all you have to argue with is yourself, then?

Joe: That can be a problem, for sure. It’s different qualitatively than arguing with other people.

Sting, you have made 15 solo records. Is it a different baby from a band or other collaboration?

Sting: I think it’s a misnomer really. If you make a solo record you’re still working with musicians and bands. But it’s just as Joe said, it’s your baby and you make all the decisions. I’m sure we both invite comment. We invite advice, and collaboration. But at the end of the day the solo artist makes the executive decision. I think bands have this strange semblance of democracy. But it’s not really a democracy. [They both laugh.] It’s the guy who writes the songs and sings who’s the band leader. Even though the other guys in the band might object to that, that’s the truth.

Joe: I agree with that actually. I mentioned I have strings and a flute on the album…

Sting: You did not play the flute! [Laughs.]

Joe: I did not play the flute. I found this guy who just got me. I just brought him into the studio and said I want flute all over this and it kinda should go like this. I am not taking credit for writing those flute pieces, but he just got it. If I was a band that would be this whole other conversation.

Sting: (mocks) Well, maybe I should play the flute; maybe the drummer should play the flute… [As a solo artist] you’re directing. You’re not playing all the parts, but you’re directing.

Joe, do you recall the first time you saw your dad on stage and what your impression was?

Joe: I don’t recall at all. It was just always happening. It’s always been there.

Sting: Joe would be at rehearsals in his carry cot, propping up the bass drum. He’s never known life without me making an awful lot of row.

Joe: It was just always happening, just a thing you do. And I still don’t feel like I’ve done anything unless I do a gig.

Sting: But you’re not in your carry cot anymore, are you? [Laughs.]

Joe: No, but if I could fit in it…

Sting: We’ve done it a lot. When Joe had a band in school, sometimes the support act would not turn up and we’d get his band to come in. Ferry them in. Then they did a tour with the Police — a big tour with the Police.

Joe: Yeah, we did. I have to say, in the beginning of my career I was dead-set against it. I did things like, in my original record contract I was like you cannot mention any of this connection in promotion of the album. I was trying to defeat this elephant that’s in the room by going around it. I decided the only way is to go through it. You know what, if there is an opportunity to play for an audience and we get to be together, which is very nice, I’m going to take it.

Sting: There’s no way I would let him do it if I didn’t think he was any good. I would have fired his arse immediately.

Joe: I can attest to this!

Sting: But he is good and it feels natural. If you were a carpenter a hundred years ago, your dad was a carpenter, and his dad was a carpenter. So I’m a musician… I’ve never given Joe any advice on his work. The only thing I’ve given him is he sees me practice every day; he sees how hard I work to get better as a musician, get better as a band leader. I’ve shown him by example, but I’ve never given him any advice. He wouldn’t take it anyway.

Joe: No. Direct advice goes in the wrong direction.

When Joe joins you on stage and you are belting out a song together, how does it feel?

Sting: I feel very proud he’s my boy. I have a natural dad’s pride. But at the same time it’s a kind of out-of-body experience too, because he’s doing what I do and I recognize there are elements in his voice he gets from me. But I recognize there are elements he does not get from me. It’s a double world for me: I recognize me, but I know he’s completely unique too.

Joe: For me, it’s very natural. It took a long time to find my voice as a kid, because I did not speak at all. There were no noises coming out.

Sting: No, he didn’t speak at all.

Joe: So once I found there were noises coming out, that’s when I realized it was working the right way. It took a lot of hard work. I basically had to sing over a drummer in a rehearsal room for five years. Then at the end of that I could sing. It feels like where I am supposed to be.

If you sing together, it’s a bonding experience. You get closer together just…

Sting: Harmonizing.

Joe: …harmonizing. Even just yelling together; it just feels good. Like football crowds enjoy themselves so much singing together.

Sting: I think the audience gets a kick out of seeing us together. He’s bigger than me, but we look sort of similar.

Sting, you’ve been at this a long time…

Sting: Since the Second World War.

Sting: I’m led by my curiosity about music and also the desire to learn more about music. There’s no way any of us can say, “Oh, I know enough now about music.”  I am the eternal student, and I invested that in Joe, too. We’re curious about how things will pan out and also we want to deliver surprises. We want to be surprised by what we do. I think the essence of music is surprise.

If someone plays me a song and I’m not surprised within eight bars, then I stop listening. I desperately want to be … I want novelty; I want something I haven’t heard before. Something I can learn from; something I can steal. That’s what keeps me going.

Have you heard anything steal-able recently?

Sting: No. Maybe Joe’s record. I might steal a few ideas off that. I think I have the right, don’t I?

Joe: You can borrow the flute.

Sting, when did you realize Joe would enter the family business?

Sting: When he turned up with a band one day, and a guitar. I didn’t teach him guitar. I might have bought him one, but I didn’t teach him. It was of his own volition that he wanted to do that.

Joe: I listened to Nirvana one day and I was in a band by the end of the session!

Sting: The band was called Santa’s Boyfriend.

Strange name.

Joe : Is it?

Sting: You should have kept it.

Joe: We should have kept it. Nobody forgot that name. Playing music you kind of have to get obsessed with it on your own otherwise you’re never going to put in the work.

Might there be a Sting and Son album at some point?

Sting: It’s certainly not out of the question if things transpire that way. Joe needs to go and discover on his own, away from me. Maybe we’ll collaborate at a later date when he’s learnt something and so have I. I don’t think we’d do it at the moment. We like working together on stage, but actually getting in the studio? I mean, who would be the boss? [Laughs.]

Joe: I will just say that I already have another album’s worth of songs in the can, so that’s going to be my next thing.

Sting: Without me.

Joe: Without you! And I’m really interested in getting into scoring TV and film. And once this tour is finished, I am going to strike out [on tour] on my own. Sink or swim.

So, Joe, you’re basically saying you’re too busy to make a record with dad then?

Joe: Yes, that’s exactly what I’m saying! “Sorry, no, too busy.”

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Sting: My Songs 2023 Critically Acclaimed World Tour Comes To North America This Fall

Ten Shows Revealed With Additional Cities & Dates To Soon Be Announced  

Tickets available starting wednesday, april 12 with fanclub presale  , general onsale begins friday, april 14 at 10am local on sting.com  .

The Cherrytree Music Company and Live Nation have confirmed that Sting will take his acclaimed My Songs World Tour across North America in September and October. Following performances in United Arab Emirates, South Africa, Australia, New Zealand, Japan, the Philippines, Malaysia, and Singapore  earlier this year, Sting’s My Songs tour returns to North America on September 5 at Budweiser Stage in Toronto, ON with additional dates in Boston, Vancouver, San Francisco, San Diego, Los Angeles, and more. Additional shows will soon be announced in Wantagh, Hollywood, Atlanta, Portland, Seattle, Reno, Dallas, Houston, and Austin. 

Sting’s My Songs concert is an exuberant and dynamic show featuring his most beloved songs, written throughout the 17-time Grammy Award winner’s illustrious career both with The Police and as a solo artist. Fans can expect to be taken on a musical journey with timeless hits like ‘Fields of Gold’, ‘Shape of my Heart’, ‘Roxanne’, ‘Englishman In New York,’ ‘Every Breath You Take,’ ‘Roxanne,’ ‘Message In A Bottle’,  ‘Demolition Man’ and many more.  

On tour, Sting will be accompanied by an electric, rock ensemble. Special Guest Joe Sumner will be appearing at all newly announced performances. 

TICKETS: Members of Sting’s Fan Club will have the opportunity to access a special pre-sale by visiting sting.com , starting Wednesday, April 12. Additional pre-sales will run throughout the week. The general on sale for My Songs 2023 North American leg will start Friday, April 14 at 10am Local Time on sting.com  

VIP:  The tour will also offer a variety of VIP packages and experiences. For more information, visit vipnation.com . 

STING: MY SONGS 2023 NORTH AMERICA LEG 1 TOUR DATES:  

Sept. 05 – Toronto, ON – Budweiser Stage 

Sept. 07 – Boston, MA – MGM Music Hall at Fenway 

Sept. 20 – Morrison, CO – Red Rocks Amphitheatre 

Sept. 23 – West Valley City, UT – USANA Amphitheatre 

Sept. 29 – Vancouver, BC – Rogers Arena 

Oct. 02 – Concord, CA – Concord Pavilion 

Oct. 04 – San Diego, CA – Cal Coast Credit Union Open Air Theatre at SDSU 

Oct. 07 – Los Angeles, CA – Hollywood Bowl 

Oct. 09 – Phoenix, AZ – Arizona Financial Theatre 

Oct. 12 – Rogers, AR – Walmart AMP 

For complete tour, ticket and fan club information visit: www.Sting.com  

About Live Nation Entertainment  

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com . 

About Cherrytree Music Company  

Founded by songwriter/musician/producer Martin Kierszenbaum, the CherrytreeMusic Company provides management, record label, music production and publishing services to a boutique roster of artists, producers and mixers who push the creative envelope in popular music.  Cherrytree has had an indelible impact on the music landscape from managing celebrated musician and cultural icon Sting to launching Lady Gaga’s first two albums. The Cherrytree Music Company has released the artistically and commercially ground-breaking records of Feist, Ellie Goulding, Robyn, La Roux, LMFAO, Far East Movement, Disclosure and Sting & Shaggy and sold over 40 million units. In the process, the Cherrytree Music Company has become a vital source for popular music and catalyst for artist collaboration and innovation.  For more information on the Cherrytree Music Company, please visit: https://soundcloud.com/cherrytreerecords/cherrytree-music-company-15th-anniversary-radio-special  

MEDIA CONTACTS:  

Sting  

Tracy Bufferd I [email protected]  

Live Nation Concerts  

Monique Sowinski | [email protected]  

Valeska Thomas | [email protected]   

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LIVE REVIEW: Sting with Joe Sumner – King’s Park Perth, 10th February 2023

11 February 2023 Rossco Hunter

Kings Park as an outdoor concert venue serves Perth extremely well, its lush surroundings and tranquil setting allows a full emersion of the senses when it comes to live music. The 6,000 plus sold-out crowd were about to have a sensory “overload” at this beautiful site enjoying the start of a 10-date National tour. Fans filter in early, eager to find their seat or space on the perfectly manicured lawn – looking for their view that will create another music memory to reflect upon.

The support for this National tour is Joe Sumner, a name that the faithful would find familiar with and stock that any musician would welcome in their musical stable. Joe delivered a tailored package filled to the brim with entertainment, lined with strong vocals and technical guitar, Joe primed the punters. Understand that Joe was keen to carve his own path out on the music scene it was hard not to see the comparisons and admire the unique blend of which his talented surname held.

The house music slowly creeps in on the back of Joe’s set and the fans begin to readjust, endure refreshments from the bar or grab the obligatory toilet break before the main event. You really get an understanding just how much music means to people by just how quickly they move between “sets”. Like a migration of birds, it serves purpose and has a high degree of importance – after all this is “Sting” we are talking about, and this bird has not been back to our shores for a few years!

The lighting tower and sound desk come to life, like a blooming flower during the first light of day, silhouettes saunter across the stage as the light breaks through. The talent is recognisable – mostly local, we are all in for a treat. Domenic on Guitar, Kevon on keys, Zach on the drums, Shane on the harmonica, backed vocally by Gene and Melissa and the performer that everyone has come to see “Sting”. The crowd erupts, the emotional faucet fully open with passion spilling over the adoring, just when you thought the appreciation could not get greater “Sting” opens with “Message in a bottle” – the faucet is now broken, emotional reflection gushing out with no reprieve in sight…… everyone is ecstatic……… no one care about that leaking tap!

Sting cuts a formidable figure, molding his body to the same level of his lyrical prowess, you could easily forget that he is 71 years young. Free flowing across the stage, engaging the crowd and cheekily “photo bombing” fans in their pursuit to get the perfect photo of this rock “Icon” – very appreciative and playful.

The song list is calculated and measured – a mix of his solo career (from the back catalogue and some from the new) with dashing’s of “The Police” sprinkled all over the top. As a product of his earlier material, I really enjoyed the newer offerings – they affirmed that “age” has absolutely no bearing on just how good a performer he is (“Rushing Water” being one of my new favourites).

There were so many highlights for me in this show, “Every little thing she does is magic” – had everyone up and out of their chairs. It was a 6000 plus karaoke sing along that was clearly a crowd favourite. “Fields of gold” saw all the mobile phones light up on the hill and the reserved seating like a sea of moving stars, coupled with an amazing show of golden lights it truly was something to behold. “Man on the moon” the 1979 classic went collectively off for me, I sung so hard and I was not alone, the rest of the faithful masked just how bad of a singer I am (thank god). Domenic stole the spotlight in this song with some spectacular string work with the crowd showing their admiration. I loved the forward introduction of both Melissa and Gene – the musical dualling between them and Sting on both “Heavy cloud no rain” and “Shape of my heart”. Both came into their own upping the tempo and the diverse vocal range giving “Sting” smiles at the end of each engagement. “Wrapped around your finger” is one of my all time favourites……. I welcomed the change of tempo as it was needed for me to catch my breath.

“Every little step you take” 1982 hit rounded out the main set – smiles plastered on every one’s face knowing full well that there was an encore coming. Which songs would be chosen? Such and extensive back catalogue of award-winning hits it was impossible to guess. Sting re-emerged once again awaking the emotional musical monster lurking in all of us…… we did not want it to stop – 10 more songs! Please……

“Roxanne” came straight out of the gates rubbed with hints of reggae morphed into fiery phoenix released to roam free amongst the adoring fans. It had been patiently waiting in its cage for the whole set and Sting finally set it free. Rounding out the encore was “Fragile” a beautiful song rich in meaning and purpose sung by the man of the moment – just him, his classical guitar, a spotlight and thousands of revering fans. A fitting end.

Sting at Kings Park was a concert that I will never forget……music gives the listener the ability to transcend – it evokes emotion and gives power to re-live memories. There were several instances in his performance that I got lost in the moment, singing and absorbing the lyrics and notes. If you love beautiful music weighted with significance purpose whether it is from “The Police” back catalogue or “Sting’s” extensive solo work (older to new) you need to catch this show…… Sting has crafted a deliberate journey that will awake your sense every way possible and leave you singing his hits all the way back home.

Australia get ready, you are about to have your mind blown!

Thank you Sting…. Keep writing amazing music and we (Perth) will keep loving it

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Legendary rocker Sting goes on tour this fall, featuring his biggest records as a solo artist and his work with the Police. With special guest Joe Sumner.

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LIVE: STING with Joe Sumner, Perth, WA – 10 Feb 2023

LIVE: STING with Joe Sumner, Perth, WA – 10 Feb 2023 Kings Park Botanical Gardens, Perth, Western Australia Review and photography by Pete Gardner

The natural amphitheatre in Kings Park in the heart of Perth has to be one of the most beautiful concert venues ever created, and on a clear, warm but breezy West Australian summer night it’s the perfect setting for the thousands who have come to see a certain Mr Gordon Sumner, AKA Sting, on the sold out first night of his 10 date Australian leg of a massive world tour.

Stings “My Songs” tour began in Paris back in 2019, suffered the obligatory two year pandemic-enforced hiatus, and is scheduled to conclude in December this year at the end of the final European leg. Thus, the wait for Sting to land on Australian shores has been long, and tonight did not disappoint as he and his band delivered a set celebrating a long career at the top of his game, showcasing his very unique talent.

Support is from Joe Sumner, as the crowd fill the amphitheatre. If the name sounds familiar, it’s because his Dad is the main act. My initial suspicion, with respect to the obvious nepotism, soon gives way as Sumner junior delivers a solo set of songs of love and loss. Joe has an excellent voice, and uses the range well in his songwriting – albeit a bit self-indulgent at times – this mixed with some great guitar work proves he is definitely a chip off the old man’s block.

After the obligatory interval, the now full Kings Park cheers as the unmistakeable riff of a very up-tempo Message In A Bottle bursts from the PA. Sting enters to a huge cheer and strides to front of the stage playing his well-worn signature bass. Dressed in skintight black jeans and grey T-shirt, stretched taught across his pecs, at 71 years of age Sting looks fit, and I mean really fit. Lean, with well-cut biceps, he looks more like a new age yoga instructor at a Bali health and meditation retreat. Sting is the archetype of the benefits of healthy living; looking and sounding better than many of his peers, he is the antithesis of the aging rock star.

The band are tight and professional, featuring Domenic Miller on guitar, Kevon Webster on keys, Shane Sagar on harmonica, and backing singers Gene Noble and Melissa Musique. Sting has a reputation for only hiring the best musicians for his projects, but when your first drummer was the genius Stuart Copeland, you’ve a pretty high bar to match. Zach Jones rises to the occasion brilliantly driving the band from the rear of the stage like every great drummer. Sting himself is completely relaxed and commanding the stage, totally at home in his natural environment.

The crowd-pleasing set is heavy on Police material, which bookends the set, with solo work as the meat in the sandwich. Every Little Thing She Does is Magic is especially greeted with an enthusiastic cheer. The central part of the set starts with 3 tracks: If It’s Love, Loving You and Rushing Water from the 2021 release, The Bridge, written and recorded during the pandemic. These hold up well against the more familiar numbers, Loving You being a particular standout.

More familiar numbers follow, including a wonderful rendition of Fields of Gold with the stage washed in gold light and some beautiful classical guitar work by Domenic Miller. The song is introduced by Sting describing the fields of barley around his home/castle in Wiltshire, along with an open invitation to drop in for a cup of tea.

Heavy Cloud No Rain and Shape Of My Heart give Melissa Monique and Gene Noble respectively a chance to show their incredible voices as they take turns duetting with the main man.

The set finishes strongly with a string of Police hits, starting with a slightly mellowed Walking On The Moon, and a much more upbeat So Lonely, before segueing back to the solo material with Desert Rose from 1999’s Brand New Day album. The set closes out with King Of Pain, such a great song, and one of the highlights of the night, and the arrangement of Every Breath You Take finishing main set was sublime.

After a short breather the band returned for the encores, The opening ska-reggae riff of Roxanne generated huge cheers and a call and response singalong, before the evening concluded with the achingly beautiful Fragile, with Sting himself playing the classical guitar to accompany himself, showing he is an accomplished guitar player as well as a great bassman.

Sting and his band delivered a well-chosen setlist of crowd pleasers, greatest hits and a couple of deeper cuts to celebrate the career of a very distinctive talent. It is refreshing to know Sting is still producing new material and delivering a great performances. So often it feels that established bands and performers become their own tribute acts, recycling the hits of their glory days and never offering anything new. I have to confess I was a little cynical going into the show tonight, expecting a competent, but essentially tired regurgitation of past hits with a big flashy lightshow, but Sting and his band surpassed my expectations, with superb performances and wonderful musicianship. Tonight was about celebrating the music, and proof that you need never stop creating.

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This was a great show, no doubt about that, but to describe Zach Jones’s drumming as anything but contained and pedestrian, or dare I say it, just plain lazy, is not correct. With the shoes of virtuosos like Copeland, Vinnie, Omar Hakim, Manu Katche and Steve Jordan to fill, Zach played about 1/3 of the charts: safe, uninspiring and downright boring. It was like a junior high drummer trying to keep up with Danny Carey. To play a straight backbeat where Vinnie had left and right hands playing contrasting shuffles bordered on contemptuous.

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Sting Has Played The First ‘My Songs’ Australian Show in Perth

by Paul Cashmere on February 11, 2023

Sting kicked off his My Songs tour in Australia on Friday with his son Joe Sumner opening for him and joining him later for The Police’s classic ‘King of Pain’.

The Sting ‘My Songs’ tour focuses on his two recent albums ‘My Songs’ (2019) which features re-recordings of his classics, and ‘The Bridge’ (2021), the album Sting wrote during the pandemic.

Joe will showcase his upcoming album ‘Sunshine In the Night’.

Sting setlist 10 February 2023, Perth, Australia

Message in a Bottle (from The Police, Regatta de Blanc, 1979) Englishman in New York (from Nothing Like The Sun, 1987) Every Little Thing She Does Is Magic (from The Police, Zenyatta Mondatta, 1980) If It’s Love (from The Bridge, 2021) Loving You (from The Bridge, 2021) Rushing Water (from The Bridge, 2021) If I Ever Lose My Faith in You (from Ten Summoner’s Tales, 1993) Fields of Gold (from Ten Summoner’s Tales, 1993) Brand New Day (from Brand New Day, 1999) Heavy Cloud No Rain (from Ten Summoner’s Tales, 1993) Shape of My Heart (from Ten Summoner’s Tales, 1993) Seven Days (from Ten Summoner’s Tales, 1993) What Could Have Been (from Arcane League of Legends soundtrack, 2021) Wrapped Around Your Finger (from The Police, Synchronicity, 1983) Walking on the Moon (from The Police, Regatta de Blanc, 1979) So Lonely (from The Police, Outlandos d’Amour, 1978) Desert Rose (from Brand New Day, 1999) King of Pain (with Joe Sumner) (from The Police, Synchronicity, 1983) Every Breath You Take (from The Police, Synchronicity, 1983)

Encore: Roxanne (from The Police, Outlandos d’Amour, 1978) Fragile (from Nothing Like The Sun, 1987)

Joe Sumner Setlist

Looking For Me Looking For You (from Feelin’ the Love, Tasting the Fear EP, 2023) You You You (from Feelin’ the Love, Tasting the Fear EP, 2023) I’m Losing My Mind See You Again Live Life (from Feelin’ the Love, Tasting the Fear EP, 2023) Jellybean Hope (from Feelin’ the Love, Tasting the Fear EP, 2023)

Sting dates are:

11 February, Perth, Kings Park & Botanic Gardens 15 and 16 February, Sydney, Aware Super Theatre 18 February, Hunter Valley, A Day On The Green 19 February, Mount Cotton, A Day On The Green 21 February, Adelaide, Entertainment Centre 23 February, Melbourne, Rod Laver Arena 25 February, Mt Duneed, A Day On The Green 26 February, Bowral, A Day On The Green

https://www.livenation.com.au/artist-sting-95800

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Tagged as: 70s , 80s , Joe Sumner , My Songs , rock , Sting , The Police , UK

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Everything you need to know about Sting's non-binary child Eliot Sumner

By 13, eliot had penned their first song.

Eliot Sumner, the progeny of legendary musician Sting and esteemed film producer  Trudie Styler , has carved a distinctive path in both the music and acting spheres. 

Making a statement at the Netflix premiere of Ripley in Los Angeles, the 30-year-old's non-binary talent shone in a classic ensemble of a black suit paired with a crisp white shirt.

Born on July 30, 1990, in the picturesque city of Pisa, Italy, Eliot was raised in the serene English countryside of Wiltshire along with their five siblings Joe, Fuschia, Mickey, Jake and Giacomo. 

From a very young age, music played a pivotal role in their life. "I got my first guitar for my 4th or 5th birthday," Eliot recounted in an interview with The Cut, marking the beginning of a lifelong passion for music. 

By 13, Eliot had penned their first song, and by 14, had formed a band, showcasing an early drive and talent for music.

Eliot's academic journey included time at Bryanston School and later, the Hampstead College of Fine Arts, crafting a foundation that blended classical education with artistic exploration. 

At 18, they signed a multi-album deal with Island Records, a venture that proved to be both exciting and challenging as Eliot juggled school responsibilities with recording sessions. 

This period led to the release of their debut album The Constant in 2010 under the band name I Blame Coco, followed by solo projects including the 2014 EP "Information" and a full album by the same name in 2016.

Despite early success, Eliot experienced a period of self-reflection and redirection, choosing to step back from the limelight.

 "I didn't believe in what I was doing. It wasn't me," they shared, speaking to a moment of realization that prompted a hiatus from touring and a move to the Lake District for a period of introspection and discovery. 

It was during this time that Eliot's passion for house music ignited, leading them to a new career as a DJ under the alias Vaal, where they now energize dance clubs across Europe with their beats.

Eliot's talents extend beyond music into acting, with early roles in films like Me Without You and Stardust, and more recent appearances in the 2020 James Bond film No Time to Die, Showtime's Ripley, and Infinite Storm. 

These roles underscore Eliot's versatility and commitment to exploring diverse artistic avenues.

Reflecting on personal triumphs and family dynamics, Eliot shared a light-hearted yet telling anecdote about beating their father, Sting, in a game of chess, revealing a competitive yet affectionate relationship. 

"He was destroyed. But I think he was quite proud," Eliot mused, illustrating the deep-seated respect and intellectual admiration within their family.

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Sting's Daughter Mickey Sumner To Receive $7,000 A Month In Child Support

Famous singer Sting's daughter, Mickey Sumner , has finalized her divorce from her ex-husband, Chris Kantrowitz.

Sumner, who is an actress, made the decision to end her marriage to Kantrowitz in 2021. The duo had been married for four years.

Mickey Sumner Finalizes Divorce From Ex-Husband Chris Kantrowitz

According to court documents obtained by The Blast , Sting's daughter, Mickey Sunmner, has finalized her divorce from her former husband, Chris Kantrowitz.

In 2021, Sumner filed to end her marriage to Kantrowitz in a Los Angeles County Court on Tuesday.

The document states that Sumner will get $7,000 a month in child support from Kantrowitz. The pair had been married for four years and share one child, Akira Rogue Kantrowitz, whom they welcomed in 2016.

Sumner has also been ordered by the court to pay Kantrowitz $400,000 after the sale of one of their marital homes.

Who Is Mickey Sumner?

For those unfamiliar, Sumner, besides being the daughter of famous singer Sting, has graced the screen in films like "Frances Ha," "Mistress America," and "CBGB." Additionally, she played a leading role in the TNT series "Snowpiercer."

Meanwhile, according to his bio, "Kantrowitz is a serial entrepreneur in gaming, technology, and music. He began his career as the co-founder of 3D Groove, an online gaming technology company.

In 2006, Chris co-founded Frank the Plumber, a leading concert design company working with artists such as The Strokes, Akon, Stevie Wonder, Beyonce, Katy Perry, and John Legend."

Sumner Once Spoke About Her Special Needs Son

The same year of the divorce, Sumner opened up about raising their son, who was born with developmental issues that made him require special needs, per the Daily Mail.

She said at the time in an essay, "Akira is nonverbal, he is not walking, he is hard of hearing in both ears, has hypotonia, and global delays."

The actress then opened up about how her son's issues had taken an emotional and physical toll on her.

She continued, "My experience of motherhood has been a rollercoaster of emotions and mental health challenges. I've been diagnosed with postpartum anxiety and postpartum OCD….I watched myself move toward the precipice of madness — I could see the edge of losing my mind."

Sumner then mentioned that just when she was about to go off the cliff mentally, a voice inside her head told her, "You're a mother now. You can't go anywhere. You have to stay." Since then, she sees her son as her anchor whenever "anxiety creeps" in.

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Last month, reports swirled that Sumner would be left without a fortune by her music legend father, Sting.

In an interview, per the Daily Mail, the singer said that just as he has worked hard for his career and wealth, he expects his six kids, whom he shares with his wife Trudie Styler and ex-wife Frances Tomelty, to do the same.

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The Actress' Recent Outing With Her Father, Sting

From the looks of things, Sumner was okay with String's decision, as the two were seen at the recent New York City premiere of "Dune: Part Two."

It comes four decades after Sting played Feyd-Rautha Harkonnen in the first film adaptation of the dystopian movie, which coincidentally fell in the year of Sumner's birth.

The father-daughter duo decided to wear futuristic black looks to the event, which was in line with the theme of the film. They also walked the red carpet together, and Sting could be seen putting his hands around Sumner in one of the photos she posted about the event.

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Sting of The Police takes Atlanta back to the glory days of rock ‘n’ roll...

It’s not every day one can witness a legend the caliber of the likes of Sting perform; less so in an intimate setting like Atlanta’s quaint venue The Tabernacle. In support of his twelfth solo studio album 57th & 9th, Sting embarked on a tour of the same name with his son Joe Sumner and San Antonio Tex-Mex/Pop-Rock stand-outs The Last Bandoleros to perform a series of epic concerts that’s left crowds thrilled.

Kicking off the evening, fans were delightfully treated to a rare one-song acoustic performance of Sting’s “Heading South on the Great North Road”, during which the elder Sumner denotes the first time he played in Atlanta, nearly 40 years prior in 1979; which is a telling statement to the longevity and relevance of Sting’s career. Sting then proceeds to introduce his first-born: Joe Sumner, as the first opener.

Joe Sumner, who is a spitting image of his father, charms the crowd with a three-song set that gets the crowd swaying; evidently Joe also inherited his father’s musical talent. But don’t be fooled, Sumner is carving a name out for himself outside his father’s shadow. Prior to performing his set’s finale “Jellybean”, Sumner shares a touching insight into his private life by expressing he sings this track to his daughter when tucking her to sleep.

Up next were The Last Bandoleros, a group of up-and-comers with an infectious sound. This quartet’s been creating a buzz throughout the music industry since dropping their self-titled debut EP and being hand-picked by Sting to accompany him on this tour. The five-song set is a celebratory affair with the crowd at hand on their feet and clapping to the rhythm. The Bandoleros’ unorthodox mix of Tex-Mex and Beatles-like rock is on the high-rise and surely to become a household name sooner than later. Learn more on The Last Bandoleros here.

The moment everyone was waiting for arrives at nine sharp when Sting and the band hit the stage. Opening his Atlanta show with a walk down memory lane, Sting performs hits from his days with The Police. The reminiscent tracks were quickly met with resounding approval from those at hand. A bevy of Sting’s solo hits follow, including new album lead single “I Can’t Stop Thinking About You”. A frenzy erupts when the band delves into mega-hit “Message in a Bottle”; Sting humorously noted that he’d written this track over 40 years ago, when all he had was his inspiration and a fan-base that consisted of just his cat.

The show then gets a little more personal, while paying tribute to the great late David Bowie, Sting summons his son Joe to perform in duet tribute cover track “Ashes to Ashes”, reminding the crowd of Bowie’s otherworldly talents and his impact on music itself. Among other highlights were The Last Bandoleros joining in for a performance of “Desert Rose” and, of course, Sting performing classic hits like “Roxanne”, “So Lonely” and “Every Breath You Take”, with both Joe Sumner and The Bandoleros accompanying.

The crowd is treated to one last grand moment when Sting performs concert finale “The Empty Chair”, echoing his performance from the previous night at the prestigious Oscars. The track, which itself was nominated for an Oscar for Best Original Song, was the perfect send-off to a perfect night at The Tabernacle. At 65, Sting can still deliver a performance that would put peers half his age to shame. Then again, there’s no shame in not measuring up to the likes of a legend like Sting.

(c) Volume Magazine by Andres Alvarado

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2018 Primetime Emmy & James Beard Award Winner

In Transit: Notes from the Underground

Jun 06 2018.

Spend some time in one of Moscow’s finest museums.

Subterranean commuting might not be anyone’s idea of a good time, but even in a city packing the war-games treasures and priceless bejeweled eggs of the Kremlin Armoury and the colossal Soviet pavilions of the VDNKh , the Metro holds up as one of Moscow’s finest museums. Just avoid rush hour.

The Metro is stunning and provides an unrivaled insight into the city’s psyche, past and present, but it also happens to be the best way to get around. Moscow has Uber, and the Russian version called Yandex Taxi , but also some nasty traffic. Metro trains come around every 90 seconds or so, at a more than 99 percent on-time rate. It’s also reasonably priced, with a single ride at 55 cents (and cheaper in bulk). From history to tickets to rules — official and not — here’s what you need to know to get started.

A Brief Introduction Buying Tickets Know Before You Go (Down) Rules An Easy Tour

A Brief Introduction

Moscow’s Metro was a long time coming. Plans for rapid transit to relieve the city’s beleaguered tram system date back to the Imperial era, but a couple of wars and a revolution held up its development. Stalin revived it as part of his grand plan to modernize the Soviet Union in the 1920s and 30s. The first lines and tunnels were constructed with help from engineers from the London Underground, although Stalin’s secret police decided that they had learned too much about Moscow’s layout and had them arrested on espionage charges and deported.

The beauty of its stations (if not its trains) is well-documented, and certainly no accident. In its illustrious first phases and particularly after the Second World War, the greatest architects of Soviet era were recruited to create gleaming temples celebrating the Revolution, the USSR, and the war triumph. No two stations are exactly alike, and each of the classic showpieces has a theme. There are world-famous shrines to Futurist architecture, a celebration of electricity, tributes to individuals and regions of the former Soviet Union. Each marble slab, mosaic tile, or light fixture was placed with intent, all in service to a station’s aesthetic; each element, f rom the smallest brass ear of corn to a large blood-spattered sword on a World War II mural, is an essential part of the whole.

The Metro is a monument to the Soviet propaganda project it was intended to be when it opened in 1935 with the slogan “Building a Palace for the People”. It brought the grand interiors of Imperial Russia to ordinary Muscovites, celebrated the Soviet Union’s past achievements while promising its citizens a bright Soviet future, and of course, it was a show-piece for the world to witness the might and sophistication of life in the Soviet Union.

It may be a museum, but it’s no relic. U p to nine million people use it daily, more than the London Underground and New York Subway combined. (Along with, at one time, about 20 stray dogs that learned to commute on the Metro.)

In its 80+ year history, the Metro has expanded in phases and fits and starts, in step with the fortunes of Moscow and Russia. Now, partly in preparation for the World Cup 2018, it’s also modernizing. New trains allow passengers to walk the entire length of the train without having to change carriages. The system is becoming more visitor-friendly. (There are helpful stickers on the floor marking out the best selfie spots .) But there’s a price to modernity: it’s phasing out one of its beloved institutions, the escalator attendants. Often they are middle-aged or elderly women—“ escalator grandmas ” in news accounts—who have held the post for decades, sitting in their tiny kiosks, scolding commuters for bad escalator etiquette or even bad posture, or telling jokes . They are slated to be replaced, when at all, by members of the escalator maintenance staff.

For all its achievements, the Metro lags behind Moscow’s above-ground growth, as Russia’s capital sprawls ever outwards, generating some of the world’s worst traffic jams . But since 2011, the Metro has been in the middle of an ambitious and long-overdue enlargement; 60 new stations are opening by 2020. If all goes to plan, the 2011-2020 period will have brought 125 miles of new tracks and over 100 new stations — a 40 percent increase — the fastest and largest expansion phase in any period in the Metro’s history.

Facts: 14 lines Opening hours: 5 a.m-1 a.m. Rush hour(s): 8-10 a.m, 4-8 p.m. Single ride: 55₽ (about 85 cents) Wi-Fi network-wide

Buying Tickets

• Ticket machines have a button to switch to English.
• You can buy specific numbers of rides: 1, 2, 5, 11, 20, or 60. Hold up fingers to show how many rides you want to buy.
• There is also a 90-minute ticket , which gets you 1 trip on the metro plus an unlimited number of transfers on other transport (bus, tram, etc) within 90 minutes.
• Or, you can buy day tickets with unlimited rides: one day (218₽/ US$4), three days (415₽/US$7) or seven days (830₽/US$15). Check the rates here to stay up-to-date.
• If you’re going to be using the Metro regularly over a few days, it’s worth getting a Troika card , a contactless, refillable card you can use on all public transport. Using the Metro is cheaper with one of these: a single ride is 36₽, not 55₽. Buy them and refill them in the Metro stations, and they’re valid for 5 years, so you can keep it for next time. Or, if you have a lot of cash left on it when you leave, you can get it refunded at the Metro Service Centers at Ulitsa 1905 Goda, 25 or at Staraya Basmannaya 20, Building 1.
• You can also buy silicone bracelets and keychains with built-in transport chips that you can use as a Troika card. (A Moscow Metro Fitbit!) So far, you can only get these at the Pushkinskaya metro station Live Helpdesk and souvenir shops in the Mayakovskaya and Trubnaya metro stations. The fare is the same as for the Troika card.
• You can also use Apple Pay and Samsung Pay.

Rules, spoken and unspoken

No smoking, no drinking, no filming, no littering. Photography is allowed, although it used to be banned.

Stand to the right on the escalator. Break this rule and you risk the wrath of the legendary escalator attendants. (No shenanigans on the escalators in general.)

Get out of the way. Find an empty corner to hide in when you get off a train and need to stare at your phone. Watch out getting out of the train in general; when your train doors open, people tend to appear from nowhere or from behind ornate marble columns, walking full-speed.

Always offer your seat to elderly ladies (what are you, a monster?).

An Easy Tour

This is no Metro Marathon ( 199 stations in 20 hours ). It’s an easy tour, taking in most—though not all—of the notable stations, the bulk of it going clockwise along the Circle line, with a couple of short detours. These stations are within minutes of one another, and the whole tour should take about 1-2 hours.

Start at Mayakovskaya Metro station , at the corner of Tverskaya and Garden Ring,  Triumfalnaya Square, Moskva, Russia, 125047.

1. Mayakovskaya.  Named for Russian Futurist Movement poet Vladimir Mayakovsky and an attempt to bring to life the future he imagined in his poems. (The Futurist Movement, natch, was all about a rejecting the past and celebrating all things speed, industry, modern machines, youth, modernity.) The result: an Art Deco masterpiece that won the National Grand Prix for architecture at the New York World’s Fair in 1939. It’s all smooth, rounded shine and light, and gentle arches supported by columns of dark pink marble and stainless aircraft steel. Each of its 34 ceiling niches has a mosaic. During World War II, the station was used as an air-raid shelter and, at one point, a bunker for Stalin. He gave a subdued but rousing speech here in Nov. 6, 1941 as the Nazis bombed the city above.

Take the 3/Green line one station to:

2. Belorusskaya. Opened in 1952, named after the connected Belarussky Rail Terminal, which runs trains between Moscow and Belarus. This is a light marble affair with a white, cake-like ceiling, lined with Belorussian patterns and 12 Florentine ceiling mosaics depicting life in Belarussia when it was built.

Transfer onto the 1/Brown line. Then, one stop (clockwise) t o:

3. Novoslobodskaya.  This station was designed around the stained-glass panels, which were made in Latvia, because Alexey Dushkin, the Soviet starchitect who dreamed it up (and also designed Mayakovskaya station) couldn’t find the glass and craft locally. The stained glass is the same used for Riga’s Cathedral, and the panels feature plants, flowers, members of the Soviet intelligentsia (musician, artist, architect) and geometric shapes.

Go two stops east on the 1/Circle line to:

4. Komsomolskaya. Named after the Komsomol, or the Young Communist League, this might just be peak Stalin Metro style. Underneath the hub for three regional railways, it was intended to be a grand gateway to Moscow and is today its busiest station. It has chandeliers; a yellow ceiling with Baroque embellishments; and in the main hall, a colossal red star overlaid on golden, shimmering tiles. Designer Alexey Shchusev designed it as an homage to the speech Stalin gave at Red Square on Nov. 7, 1941, in which he invoked Russia’s illustrious military leaders as a pep talk to Soviet soldiers through the first catastrophic year of the war.   The station’s eight large mosaics are of the leaders referenced in the speech, such as Alexander Nevsky, a 13th-century prince and military commander who bested German and Swedish invading armies.

One more stop clockwise to Kurskaya station,  and change onto the 3/Blue  line, and go one stop to:

5. Baumanskaya.   Opened in 1944. Named for the Bolshevik Revolutionary Nikolai Bauman , whose monument and namesake district are aboveground here. Though he seemed like a nasty piece of work (he apparently once publicly mocked a woman he had impregnated, who later hung herself), he became a Revolutionary martyr when he was killed in 1905 in a skirmish with a monarchist, who hit him on the head with part of a steel pipe. The station is in Art Deco style with atmospherically dim lighting, and a series of bronze sculptures of soldiers and homefront heroes during the War. At one end, there is a large mosaic portrait of Lenin.

Stay on that train direction one more east to:

6. Elektrozavodskaya. As you may have guessed from the name, this station is the Metro’s tribute to all thing electrical, built in 1944 and named after a nearby lightbulb factory. It has marble bas-relief sculptures of important figures in electrical engineering, and others illustrating the Soviet Union’s war-time struggles at home. The ceiling’s recurring rows of circular lamps give the station’s main tunnel a comforting glow, and a pleasing visual effect.

Double back two stops to Kurskaya station , and change back to the 1/Circle line. Sit tight for six stations to:

7. Kiyevskaya. This was the last station on the Circle line to be built, in 1954, completed under Nikita Khrushchev’ s guidance, as a tribute to his homeland, Ukraine. Its three large station halls feature images celebrating Ukraine’s contributions to the Soviet Union and Russo-Ukrainian unity, depicting musicians, textile-working, soldiers, farmers. (One hall has frescoes, one mosaics, and the third murals.) Shortly after it was completed, Khrushchev condemned the architectural excesses and unnecessary luxury of the Stalin era, which ushered in an epoch of more austere Metro stations. According to the legend at least, he timed the policy in part to ensure no Metro station built after could outshine Kiyevskaya.

Change to the 3/Blue line and go one stop west.

8. Park Pobedy. This is the deepest station on the Metro, with one of the world’s longest escalators, at 413 feet. If you stand still, the escalator ride to the surface takes about three minutes .) Opened in 2003 at Victory Park, the station celebrates two of Russia’s great military victories. Each end has a mural by Georgian artist Zurab Tsereteli, who also designed the “ Good Defeats Evil ” statue at the UN headquarters in New York. One mural depicts the Russian generals’ victory over the French in 1812 and the other, the German surrender of 1945. The latter is particularly striking; equal parts dramatic, triumphant, and gruesome. To the side, Red Army soldiers trample Nazi flags, and if you look closely there’s some blood spatter among the detail. Still, the biggest impressions here are the marble shine of the chessboard floor pattern and the pleasingly geometric effect if you view from one end to the other.

Keep going one more stop west to:

9. Slavyansky Bulvar.  One of the Metro’s youngest stations, it opened in 2008. With far higher ceilings than many other stations—which tend to have covered central tunnels on the platforms—it has an “open-air” feel (or as close to it as you can get, one hundred feet under). It’s an homage to French architect Hector Guimard, he of the Art Nouveau entrances for the Paris M é tro, and that’s precisely what this looks like: A Moscow homage to the Paris M é tro, with an additional forest theme. A Cyrillic twist on Guimard’s Metro-style lettering over the benches, furnished with t rees and branch motifs, including creeping vines as towering lamp-posts.

Stay on the 3/Blue line and double back four stations to:

10. Arbatskaya. Its first iteration, Arbatskaya-Smolenskaya station, was damaged by German bombs in 1941. It was rebuilt in 1953, and designed to double as a bomb shelter in the event of nuclear war, although unusually for stations built in the post-war phase, this one doesn’t have a war theme. It may also be one of the system’s most elegant: Baroque, but toned down a little, with red marble floors and white ceilings with gilded bronze c handeliers.

Jump back on the 3/Blue line  in the same direction and take it one more stop:

11. Ploshchad Revolyutsii (Revolution Square). Opened in 1938, and serving Red Square and the Kremlin . Its renowned central hall has marble columns flanked by 76 bronze statues of Soviet heroes: soldiers, students, farmers, athletes, writers, parents. Some of these statues’ appendages have a yellow sheen from decades of Moscow’s commuters rubbing them for good luck. Among the most popular for a superstitious walk-by rub: the snout of a frontier guard’s dog, a soldier’s gun (where the touch of millions of human hands have tapered the gun barrel into a fine, pointy blade), a baby’s foot, and a woman’s knee. (A brass rooster also sports the telltale gold sheen, though I am told that rubbing the rooster is thought to bring bad luck. )

Now take the escalator up, and get some fresh air.

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