Sting breathes new life into classic hits at sold-out Abu Dhabi show...

English singer–songwriter reinvigorated as he returns to power trio format for first time since his days with The Police.

That Sting has toured the UAE in various formations over the past 15 years is testament both to his restless musical spirit and the region’s adoring audiences.

He appeared with a full band – complete with keyboardist, backing vocalist and a harmonica player – in 2023 and shared the stage with trumpeter Chris Botti as a headline act for the Dubai International Jazz Festival in 2016.

On his latest tour, dubbed 3.0, he returns to the power trio format for the first time since his days with The Police. It could be viewed as a kind of homecoming, or perhaps an effort to strip back some of the sonic gloss of previous shows.

Judging by his sold – out concert at Abu Dhabi’s Etihad Arena on Thursday, both readings miss the mark. Backed by long-time guitarist Dominic Miller and drummer Chris Maas, the new set-up sounded vigorous, adding fresh textures to Sting’s celebrated catalogue that older fans could appreciate.

This is apparent from the outset with the wiry opener Message in a Bottle. Without a full band to smooth out the edges, its glittering, jagged guitar lines are pushed to the forefront, hinting at The Police’s often overlooked influence on the post – punk movement.

Every Little Thing She Does Is Magic also felt more grounded. Stripped of its synth flourishes, the song became a showcase of the trio’s instinctive interplay, with Miller’s rippling riffs intertwining with Sting’s percussive bass, while Maas provided plenty of space through an agile yet restrained drumming style.

Some of Sting’s more subdued songs also benefited from the new set-up. Never Coming Home felt more muscular, with his warm, treated bass lines stepping in for the atmospheric keyboards of the original recording. Mad About You, a song about a tempestuous relationship, sounded darker and more foreboding. The bass lines throbbed steadily, while occasional guitar spasms by Miller ratcheted up the tension in this meditation on obsession.

Sting’s enduring reggae influences – he even released a collaborative album with Shaggy in 2018 – were front and centre during several key moments of the set, particularly in key songs from The Police, where his bass took on an even more prominent role.

Spirits in the Material World benefited from the prominence of its pensive, syncopated groove. Walking on the Moon thrived in the trio’s minimalism, which heightened its ethereal quality. And in Roxanne, that ever – present bass line took centre stage, prompting the crowd to sing along from the moment its signature intro rang out.

The trio clearly enjoy playing together. Despite the relaxed nature of the set, there’s no disguising the sheer concentration required to pull these songs off live. Without extra players or backing vocalists, Sting may be working harder on stage than he has for years, with his voice – still rich and fluid – solely carrying those dazzling, and at times complex, melodies in songs like Synchronicity II and If I Ever Lose My Faith in You.

It all points to an artist who, at 73, feels utterly invigorated and finding new ways to express familiar material. With the continuing 3.0 tour proving a success, and reports that Sting is planning to record an album with the trio, he seems to have found the sweet spot of celebrating his past while confidently pushing into the future.

(c) The National by Saeed Saeed