The "sting" hits the Arena - All 13,000 fans stand for Sting...

A concert of uncommon elegance and class, capable of recounting the long story of Gordon Matthew Thomas Sumner and the Police. It's not sold out, but it's close.

"If 'manners make the man,' as someone said, he's a hero of the day." We steal the lyrics from one of his hits to describe Sting and his concert at the Verona Arena on Monday, July 8th. A concert of uncommon elegance and class, capable of recounting, in two hours, the long story of Gordon Matthew Thomas Sumner and, before that, of the Police. The concert isn't sold out, but it's close, only a few seats in the unnumbered stands remain empty: Sting's fan base can clearly afford to spend a little more to see their idol at the Arena.

"Ciao Verona," the singer bids farewell, and the show begins with a beautiful blues version of 'If I Ever Lose My Faith In You.' Then it's off like a train, few words, lots of music. When the songs are by the Police, the audience leaps with joy, as they did with the second, 'Every Little Thing She Does Is Magic'. Mr. Sumner never leaves his 1950s Fender Precision behind throughout the show (it's no coincidence that the tour is called "Back to Bass"), and this exploration of the music's origins seems to have led the production to opt for a simple, even spartan, stage, without screens or video walls; the only thing providing the spectacle is a superb band and music capable of transcending the decades (but in the upper tiers, binoculars are needed). The show continues on an upbeat note with "Englishman in New York," which maintains the offbeats that had innovated The Police's music. "Thanks, hello everyone, how are you?" asks Sting, wearing a white T-shirt over gray jeans, before introducing the band and moving on to "All This Time," a song that brings many couples together.

The super band is made up of the faithful guitarist Dominic Miller, the keyboardist David Sancious (a member of Bruce Springsteen's E Street Band until 1974), Vinnie Colaiuta (one of the most versatile drummers of all time, having played with Frank Zappa but also with Jeff Beck, Herbie Hancock, Duran Duran and Christina Aguilera), the electric violinist Peter Tickell and the backing vocalist Jo Lawry, who sings backing vocals and second vocals. A special mention must be made of "Vincenzo" Colaiuta, who holds his own live against a drumming monster like Stewart Copeland (of the Police): his interpretation of 'Seven Days' is textbook and, above all, worthy of applause, pursuing an arrangement that opens the rhythm with a soft violin and, between fugues and solos, finds itself back in reggae at the end. 'Demolition Man' is a hymn to rhythm, and here too the group's coordination is commendable; the sound is that of a blues-rock big band, with Miller grappling with a mesmerizing guitar riff. "Thank you, thank you," Sting says, putting his Italian, learned in the "Chiantishire," to the test. "This song is 'fields of gold,' 'Fields of Gold.'" 'I Hung My Head' is pure contemporary gospel, accompanied by the sunset over the Arena's arches. The "wah wah" effect blasted through Miller's sky-blue Fender kicks off a spirited 'Driven to Tears' with violinist Tickell delivering a powerful solo. Meanwhile, a girl manages to sneak onstage, but she doesn't immediately rush at Sting; instead, she walks through the band for a bit (unstoppable) and only at the end of the song goes to hug her idol, who looks at her and waves back, a mixture of amazement and amusement. 'Heavy Clouds No Rain' sounds like a cat hopping to the sound of jazz toward a bowl of milk.

But things get serious on the old hit 'Message in a Bottle,' with 13,000 people ready to applaud in time. Another universe of feelings on 'Shape of My Heart' and 'The Hounds of Winter.' The spotlight turns across the Arena for 'Wrapped Around Your Finger,' soft and fragile as a glass pillow. Police 100% with the upbeat rockabilly of 'De Do Do Do, De Da Da Da,' so much so that the singer wants to share the chorus with the audience, who are called upon to participate with a very Italian "per favore." The song becomes a wide-ranging jam in which each member carves out their own space (Sancious quotes 'Love Is Stronger Than Justice'). The official set closes with 'Roxanne,' featuring a very acidic plucking from Miller and a feisty Sting who plays and has fun with his audience, now all on their feet applauding. The encores begin with the incredibly effective Middle Eastern litany of "Desert Rose," followed immediately by the beautiful bass line of "King of Pain," simple yet impactful. It's impossible to sit still, and the 13,000 people in the Arena remain standing, dancing to the sweet (and slightly stalker-like, given the lyrics) "Every Breath You Take." The finale is the powerful "Next To You," followed by a farewell with "Fragile." "Bye, thank you," says Mr. Sumner: the sting has hit the bull's-eye.

(c) Corriere del Veneto by Francesco Verni