More than twenty years after the Police's induction into the Rock and Roll Hall of Fame, Stewart Copeland continues to remember that evening with mixed feelings. In the documentary “Copeland”, the drummer says he felt “heartbroken” and felt a deep “sadness” after what was supposed to be a celebration of the band's history.
On March 10, 2003, Sting, Andy Summers and Stewart Copeland reunited at the Waldorf Astoria in New York for the Hall of Fame induction ceremony, performing three classics from the Police repertoire: “Message In A Bottle”, “Roxanne” and “Every Breath You Take”. Yet, behind the scenes, the atmosphere was very different from what the drummer had imagined. “We hadn't seen each other for decades, the rehearsals were a bit strange. We played our three songs, after playing them, I turned around and saw Andy gone one way, Sting gone the other way. I headed towards the stage and joined my family… I never saw the Police again that night. Doesn't that mean anything? Come on, guys. I never saw them again.”
His words confirm how complex the relationships within the English group have remained over the years, despite episodes that marked a rapprochement, such as the worldwide reunion in 2007. Copeland remembers it today as a positive and even therapeutic experience: “It was therapeutic. We did group therapy, we told each other everything. I recommend it to other bands”.
While effectively ruling out a new Police return, the drummer still leaves a glimmer of hope open, at least on a theoretical level. “Of course, I would like to, but it won't happen. Or rather, there's a one in a billion chance. Never say never… The problem is that we get along until we play together. And I don't want to ruin everything.” Today, he explains, the personal relationships between the three ex-mates remain quite cordial: “We send each other silly videos on Instagram, mostly strange versions of our songs. It's our favorite gag.”
During a recent interview with Adnkronos, Copeland also spoke about his relationship with Sting, who he continues to admire deeply. He called him “a fucking genius”, immediately adding with a joke: “But don't tell him!”. He also confessed that he had only discovered in recent years the richness of the lyrics written by the singer: “I was the drummer, I made a mess while someone shouted something in front. I had never listened carefully to the words”.
Tensions between the band members, however, are not just a thing of the past. In recent years, Summers and Copeland have initiated a legal dispute against Sting and his publishing company, claiming that they have not received an adequate share of the compensation resulting from the digital exploitation of the Police's catalogue. The two musicians believe they are entitled to between $2 million and $10.75 million in unpaid royalties, a figure that could increase with the addition of interest.
Earlier this year it emerged that Sting had already paid over $800,000 to his two ex-boyfriends after the legal action was launched. However, the singer continues to dispute their requests, arguing that revenues from streaming and downloads should be considered compensation for “public performance” and not actual sales. His lawyers also denied the allegations, saying Summers and Copeland were “overpaid.”
At the center of the controversy are some of the trio's biggest hits, in particular “Every Breath You Take”, the lead single from the last album released under the Police name, “Synchronicity” (1983). Although not credited as authors, Summers and Copeland claim financial recognition for their contribution to the arrangements of the original recordings and for the subsequent digital exploitation of the band's repertoire.
In the interview, Copeland also reflects on the public role of artists, while distancing himself from the political activism of celebrities. “When stars take the microphone, they often damage the cause they want to support. I don't think voters really care what I think.” However, his belief in the value of the songs that made the Police famous remains unchanged. “The new ones may be better from a technical point of view, but they will never have the same emotional impact. Because the old songs have a history.” A story that, despite the misunderstandings, legal battles and reunion unlikely, continues to this day to inextricably link Sting, Andy Summers and Stewart Copeland.
Daniel D`Amico for SANREMO.FM
