De Stewart Copeland huet sech mam Voll Orchester bei der Police Deranged Stop zesummegedoen

“I know what you’re wondering,” mused Stewart Copeland on stage just outside Chicago earlier this month. “Why is this punk rock drummer playing with an orchestra?” he asked the crowd playfully, introducing a drastically reworked take on the 1978 Police classic “Roxanne.”

Copeland brought his “Police Deranged” production to the Genesee Theatre on May 19, about an hour outside Chicago in the northern suburb of Waukegan, Illinois.

Just the third U.S. performance so far this year, ahead of a July tour of Italy and dates in both Omaha, Nebraska and Denver, Colorado yet to come this fall, “Police Deranged” finds Copeland backed by a terrific six piece group and a full orchestra during each concert.

Following his Rock and Roll Hall of Fame worthy time as drummer of legendary post punk, new wave trio The Police, Copeland embarked upon a new career scoring films. His contributions to the 1983 Francis Ford Coppola drama Rumble Fish proved particularly influential, an experience which forced the drummer to work outside his comfort zone, incorporating strings.

But the “Deranged” tour was actually inspired by his work on the 2006 documentary Everyone Stares: The Police Inside Out. Copeland directed that film, compiling footage he personally shot on a Super-8 camera. Scoring it, the drummer utilized lost moments from studio multi-tracks as well as live recordings to reinterpret the music of The Police for the first time.

Further capturing the unique compositions, Copeland is set to release the Edwin Outwater-conducted Police Deranged For Orchestra album on June 23, now available for pre-order on CD and vinyl ahead of physical and streaming release.

On stage, vocalists Ashley Tamar, Amy Keys and Carmel Helene do a masterful job reworking the vocals of Sting, with Copeland locking in alongside bassist Armand Sabal-Lecco (Peter Gabriel, Paul Simon) to drive the show rhythmically.

As is typical of such productions, the orchestra backing the “Police Deranged” performances is unique to each local market. In Waukegan, Copeland was backed by members of the Chicago Federation of Musicians.

The drummer smirked with a shrug, seemingly impressed as he neared the end of about a two hour soundcheck, one which saw him running through the show with the Chicagoland-based musicians for the first time.

“It’s better already!” he told the group pleased, working on “Message in a Bottle” for a second time as soundcheck wrapped up ahead of schedule, ultimately giving it a third try. “You guys!” said Copeland excitedly. “45 minutes early! Thank you very much. We shall rock the house tonight.”

“Demolition Man” kicked things off on stage in Waukegan, horns shining as flutes and clarinet joined in.

Tamar took the early lead vocal as Copeland and company launched into “King Of Pain,” Copeland providing delicate flourishes early before pounding away harder during the second verse. A scorching guitar lick broke through a quiet moment late as the group moved into “Roxanne.”

“We are playing – massacring – the songs of one Gordon Sumner,” explained Copeland with a chuckle on stage. “We had our differences. Exaggerated. But I realize now after all these years reading these songs, the man is one heck of a poet,” he said, complimenting Sting. “But another piece of the puzzle is Andrew Summers. This next song, the music is by Andy,” said Copeland, referencing the Police guitarist. “He came up with it at dinner in Montserrat. Jazz chords. Of course, Sting loves jazz chords. Well, I just started playing. And that’s the record!” he said, understating “Murder By Numbers.”

A cool saxophone part kicked off the deranged performance of the Synchronitéit deep cut, strings cutting through ahead of a beautiful early vocal by Helene. Copeland paused, caught up in the moment as he conducted with his left hand from behind the drum kit, strings coming to dominate the song’s later moments.

Sabal-Lecco is something to behold in the live space and his frenetic playing over keys provided a stunning open to the group’s take on “Spirits in the Material World,” trumpet soon kicking in.

Drums and percussion coupled with a Keys vocal to drive “One World (Not Three).” Copeland pointed with his right hand at the bassist next, a drum and bass showdown during “Walking on the Moon,” proving to be an early highlight.

“Let’s see how I can mess this up!” said Copeland with a laugh, orchestral eyes on the drummer as he made his way to the center of the stage to conduct the ensemble during a rare performance of his 1988 solo cut “The Equalizer Busy Equalizing.”

“Every Breath You Take” followed, perhaps the best utilization of the full orchestra in the show, strings up early as flute and clarinet gave way to horns and full woodwinds, a resplendent intro on the group’s biggest hit, one which drove Synchronitéit, the group’s only #1 album in America, to multi-platinum sales of more than 8 million copies.

Copeland strapped on a guitar for “The Bed’s Too Big Without You” before heading back to the drums for “Message in a Bottle,” backing Sabal-Lecco’s funkiest bassline of the show during a standout performance of the track.

“Can’t Stand Losing You” proved to be a simmering pot that would ultimately boil over, the horn section standing as bass drove the song to its close in one of the night’s more rocking moments.

Copeland held his hands over his head, smiling wide as Keys drew out the ending vocal to “Every Little Thing She Does is Magic,” blowing kisses to the trio of singers as he joined the ensemble assembled for a center stage bow.

“It’s a fancy hall and it’s a fancy orchestra,” observed Copeland on stage earlier in Waukegan. “But tonight we shall rock.”