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It's a good thing fans were unable to bring radar guns into USANA Amphitheatre on Saturday night or The Police might have been ticketed for speeding.
Parting was such short sorrow for the 15,000-plus who turned out for what was billed as the iconic band's final Utah performance. The concert itself was top-notch -- just shorter than one would expect for a band of The Police's stature and rich history. The band's main set on Saturday only clocked in at a breezy hour and five minutes. The Police did extend things with five songs in a pair of encores, but still, this is a band that should be playing for more than two hours, not settling for a mere hour and 37 minutes. But there's no denying that what time Sting, Andy Summers and Stewart Copeland did spend on stage Saturday was well-received and a joy to watch. The Police reunion tour -- more than 23 years in the waiting -- is grinding toward its inevitable conclusion, with just 12 more shows after Salt Lake City remaining before the band completely calls it quits. With that in mind, there were moments in Saturday's show that took on added significance with the realization that time is running out on The Police experience. Such as during the middle of "So Lonely" late in the concert, when bassist Sting and guitarist Summers met at center stage for an extended jam. There hadn't been a lot of side-by-side interaction between the two on the night, but it was clear to see the enjoyment on their faces as they stood playing together. There was even some personal dialogue and knowing laughter exchanged -- showing, perhaps, that they were exulting in their musical camaraderie in these last string of dates as much as members of the audience. The band touched on all eras of its recording career, including material from each of its five studio albums. The setlist boasted most of the major hits, but also included a bevy of deeper cuts to appease the diehard fans. One of the most rewarding aspects of the night was watching the maniacal Copeland pound his drums into submission. There wasn't always much to see out front, as Summers and Sting barely broke a sweat with their cool and casual stage performances, but Copeland was an unbridled blur of energy at the back of the stage. Whether it was his contorted facial expressions or the rhythmic flailing of his arms, Copeland was a delight to study as he kept the band in perfect time. Granted, the fans' female contingent undoubtedly found graybeard (literally on this night) Sting the focus of their fawning, as the famous frontman was dressed in black slacks, a form-fitting long-sleeved black shirt and black boots. Tilting his well-worn bass at a slightly odd angle, with the neck a bit more upward than most players, Sting belted out all the vocals superbly -- his oft-haunting and silky smooth voice having lost nothing over the years. The Police were never really a guitar-driven outfit, as so many of the band's contemporaries in the late 1970s and early '80s were, but Summers shined live and it was easy to appreciate just what he brings to the band. He adds a lot of sonic texture, which allows Sting and Copeland to do what they do. He got to show off a bit harder edge on "Demolition Man" and the band's reggae-ish roots on "Can't Stand Losing You." The band's stage show was bolstered by the best big screen I've ever seen at a concert. Not only did the monitor show crystal-clear closeups of each band member, but it also provided multiple camera angles simultaneously in a seamless approach, to where one couldn't clearly tell where one shot ended and another began. The action sometimes appeared as one shot -- even though it clearly couldn't be. In addition to the impressive overhead lighting rigs, there also were six light pods at the back of the stage that were used to great effect in various songs throughout the night. They rose to different heights and formations throughout the show and, at times, offered a quirky diversion. One of the clear highlights of the main set was a haunting version of "Wrapped Around Your Finger." The song contained a great groove and featured an intriguing percussion segment from Copeland -- which was augmented by cool camera angles, including one from inside one of his drum heads, that placed audience members right in the middle of the action. The Police rolled out some of their biggest hits in the first encore segment, including "Roxanne," "King of Pain" and "Every Breath You Take." "Roxanne" was especially effective, with the stage and audience bathed in red lights. The band left the stage, only to have Summers summon everyone back for a rousing rendition of "Next to You" -- probably the hardest-rocking tune of the night. It was a completely fitting finale, especially when one recognizes that it was the very first track on The Police's debut album -- allowing the band to end the show where its musical legacy all started. One positive aspect of The Police's rather short set was that it enabled band members to fulfill one of the main credos of any entertainer: Leave them wanting more. It definitely accomplished that. Elvis Costello and the Imposters opened the evening with an enjoyable 12-song set. Highlights included "Pump it Up," "Everyday I Write the Book," "Radio, Radio" and "Alison." Sting strolled nonchalantly onstage during "Alison" and joined Costello on vocals. The Police USANA Amphitheatre July 19, 2008 1. Message in a Bottle 2. Walking on the Moon 3. Demolition Man 4. Voices Inside My Head 5. When the World is Running Down, You Make the Best of What's Still Around 6. Don't Stand So Close to Me 7. Driven to Tears 8. Hole in My Life 9. Every Little Thing She Does is Magic 10. Wrapped Around Your Finger 11. De Do Do Do, De Da Da Da 12. Invisible Sun 13. Can't Stand Losing You
Encore I 1. Roxanne 2. King of Pain 3. So Lonely 4. Every Breath You Take
Encore II 1. Next to You Performance time: 1 hour, 37 minutes |
