On stage, surrounded by the Orchester Symphonique de Québec, Stewart Copeland looked like he was having a great time. We saw him deliver his rhythmic signatures on drums, play guitar and even lead, stay in the air and bounce, the group of 48 musicians.
The 70-year-old drummer was at the Palais Montcalm on Wednesday with his Police Deranged tour, where he performed deconstructed versions of the British trio’s songs during a sold-out concert.
In an interview hours before he took the stage, Stewart Copeland admitted to Joker having a lot of fun during his concerts.
“The sound, where the orchestra comes up with all sorts of textures, is fantastic. I joke with Andy Summer, who is currently covering the Police songs with a Brazilian group, and tell him it’s fun playing those songs without the other two motherfuckers around, and he agrees. I like them, these motherfuckers, when we’re not making music together. They are my brothers and we are linked for life,” the drummer started smiling.
Photo courtesy of Palais Montcalm
Stewart Copeland said that at the time the police never really mentioned the possibility of giving a concert with a symphony orchestra.
“We debated the idea of doing an ‘unplugged’ concert with an ensemble for five minutes, but it never materialized,” he said.
Sting, he clarified, has already made one.
“He didn’t have the right business model. He hired 30 people to get them on the streets. My plan was better. They’re the ones who hire me and I cost a lot less than them,” he said, laughing.
He states that he can play less loud with this formula and that it sounds better.
“I can bring in elements of finesse that would be impossible to hear in a rock concert. The biggest advantage of playing less hard is that nobody goes home with a headache,” he stressed.
An unrecognizable Roxanne
To appreciate the Police Deranged adventure, one had to accept being destabilized. As the orchestrator and composer of several film scores, Stewart Copeland takes the titles from The Police, modifying the arrangements, the structure of the verses and choruses, and inserting new musical segments.
With Demolition Man off the Ghost in the Machine album, which opened this concert event, it was quite a sound chaos. A title somewhat less familiar to the police force. It was difficult to distinguish the sounds provided by the OSQ and things started to settle down with King of Pain that followed.
We recognize the songs but some, like the great classic Roxanne, were very deranged. The lyrics, the music, everything was different and impossible to sing.
Photo courtesy of Palais Montcalm
“That one, I disturbed her a lot,” Stewart Copeland started laughing before his interpretation, accompanied by the OSQ led by guest conductor Edwin Outwater, guitarist Carl Verheyen, bassist Armand Sabal-Lecco and singers Amy Keys, Carmel Helen and Ashley Tamar.
Before Message in a Bottle, Stewart Copeland called OSQ the coolest band in North America and invited people to join their next program.
“It will change your life,” he said with a smile that lasted throughout the performance.
personality
In the interview, the percussionist stated that when he was in charge of the services, he noticed the differences in the interpretation of the symphonic movements.
“The musicians all play exactly the same notes. I feel differently about the OSQ. He has his own signature. Even if there are 50 musicians, it is an organization with its own identity. It brings out her personality. I love her,” he insisted before returning to rehearsal.
King of Pain, Murder by Numbers, Spirits in the Material World and a great all-music segment fronted by Stewart Copeland for his play The Equalizer Busy Equalizing were the highlights of the show’s first segment. But it wasn’t until the second half that the concert picked up speed. We could hear the sonority of the strings and brass better. The sound was also more balanced and of higher quality.
We felt that during The Bed’s Too Big Without You, Don’t Stand So Close to Me, Message in a Bottle, the OSQ was emphasized and the sound was better. Stewart Copeland went wild on the drums on those last two songs. Conductor Edwin Outwater even took a few leaps when conducting the symphony orchestra.
As a reminder, we got a not-too-disturbed version of Every Little Thing She Does is Magic. People got up. In some places there was dancing.
At the end of the concert we could see that the songs of the police, disturbed or not, are still strong and firmly imprinted in our memory. A unique and somewhat different performance, but a grandiose evening of music off the beaten track.