The Police
Live @ Stadio Delle Alpi - Torino 02.10.07

"This review is about a band that makes punk music, so this review sucks..."

It is known that the singer and bassist of The Police strongly disparaged the emerging musical genre in London in the second half of the '70s, yet it is also known how much the band owes to that genre. It is true that by the second album, traces of punk become increasingly sporadic (No Time This Time?... Perhaps). But just listen to CD 2 of "The Police - Live" (live recording from 1979) and you immediately realize how punk this band was. On CD 1 of the same album (recorded during the "Synchronicity" tour), it's like listening to a different band.

Definitely the Police that are loved worldwide, "the ones who know how to play," complete with supporting backup singers, Summers allowing himself keyboard solos, Sting on the double bass. That's how they left us. In this reunion, the band returns to its essential formation, and the first impressive discovery is that the trio alone does not make you miss the absence of additional musicians. But let's proceed in order. I do not hide my strong curiosity during the wait before the concert (of course, I will spare all the nonsense about the emotion felt, the anticipation of the show, and other flourishes like "The Police are one of my favorite bands"... however, I guess in doing so, I'm saying it anyway...).

The stage features a scenographic setup of strong impact: mobile frames, multicolored streetlights, three screens behind the musicians and two on the sides. In short, a stage worthy of a stadium concert. (One negative note: the audio quality of the basses on the column of speakers positioned to the left was not optimal.)

At 9:30 PM, The Police were on stage and immediately played Message in a Bottle. The stadium went wild. The performance was impeccable. Synchronicity II and Walking on the Moon are the other two tracks that make up the opening trio. It's rare to witness a concert that can afford to start the setlist with three such songs. Walking on the Moon, in particular, is extraordinary, with Copeland allowing himself the improvisations that made the song famous. Voices in My Head and The World Is Running Down are performed in a medley, the speed change is a rush of adrenaline. Don't Stand So Close to Me aligns with the 1986 version, slower and less "square." They are followed by Driven To Tears and the beautiful Truth Hits Everybody. The Police never stop, and Hole In My Life transforms into Hit The Road Jack.

With Every Little Thing She Does Is Magic begins an impressive series of classics. Wrapped Around My Finger with Copeland oscillating between percussion and drums is chilling. Then the 65,000 spectators follow Sting in the chorus of De Do Do Do De Da Da Da and you almost have to laugh. The splendid Invisible Sun, accompanied by rather strong protest images, does not make you miss the absence of synthesizers at all. Summers manages to build a rich and saturated sound carpet. And again, Summers, in Walking In Your Footsteps, scrapes the guitar strings on his microphone stand, making them shout in a dialogue with Sting's singing. Can't Stand Losing You: no one can stay still. And then Roxanne, which recalls, in the central part, the version Sting presents live in his recent tours. Magical the final chorus in acceleration when all the red lights that set the stadium on fire explode in a sparkling white.

A break, and then Copeland again on percussion. It's King Of Pain, another song that needs no introduction. Just like So Lonely, which offers a reprise of the chorus full of energy. Paradoxically, Every Breath You Take was the least convincing track, but perhaps it was just my subjective impression. Finally, Next To You, the first track from the first album. With this, the band seems to want to take us back to the beginning with a vibrant final acceleration and almost punk sounds. All leading to the explosive finale where the chord or staying in time doesn't even matter ("it's punk"), but only one thing matters: making a big mess.

One last brief digression. After pursuing solo careers of varying quality (Sting, in particular, indulged in mediocrity in at least a couple of albums he could easily have avoided), the 3 reunite to fill stadiums worldwide in a global tour, selling out everywhere. Most say it's for the money. And I confess, I think so too, but I don't see how to blame them. Rumors speak of an earnings of 50 million euros each: I don't see how such an offer could be refused. But I don't think this is the only motivation. Because I was there watching them play, and I saw how much they enjoyed playing together. The atmosphere on stage was truly infectious; the band's 23-year hiatus seemed to vanish. Sting looking at Summers during a solo and smiling, Copeland jumping like a child between his two massive drum kits, and again Summers inviting the two companions back on stage for a second encore, almost playing as if it were a small theater...

But yes... allow me, shouting, just one last flourish: The Police are truly an extraordinary band!!!