Sting offers his fans a musical journey at the National Auditorium...
Mexico City. Gospel, soul, chamber music, poetry, and a whole lot of joy were the ingredients of Sting's concert this Friday night at the National Auditorium, where a passionate, excited crowd experienced, one by one, the 20 pieces played by Gordon Matthew Thomas Summer (Sting) with his partner, his equal, Dominic Miller on guitar, and drummer Chris Maas, members of The New Power Trio, the star of the Sting 3.0 Tour.
From the opening piece, "Message in a Bottle," to the second and final piece of the evening, "Fragile," these musicians traced the life stories of the crowd, who sang along to the songs of their sentimental and intimate upbringing, that of poetry, in a couple of hours that will go down as one of those experiences in which one ends up hoarse, sweaty, happy after having sung, danced, closed one's eyes, jumped, hugged, and been scorched by a torrent of verse, a torrent of joy, and a wellspring of sound that owes much to reggae, spiritual, literature, Elizabethan music, and Sting's powerful voice.
Contrary to what many expected, an "anthology" of The Police's greatest hits was not heard, because the three musicians never did what so many like so much: play them "as on the record."
On the contrary, they transformed those pieces, which at first were recognizable and then quickly mutated, into devices conducive to jam sessions, instrumental music, music that hadn't been heard until last night, because it had never been played like last night: in a mix of jazz improvisation, sudden impressions, interweavings of unexpected sounds, all born from the magic of the moment.
Almost half a century after The Police was founded, the cultural heritage built by founders Sting, Stewart Copeland, and the Corsican Henri Padovani, and later Andy Summers, and then Gordon Matthew himself, into a dazzling and always surprising solo career, from astonishment to astonishment, manifested itself in the National Auditorium as an identity, that of each of the people who occupied the ten thousand seats, a reason for being, an emblem, and a growing joy.
In case there was any doubt, the supreme mastery of the great sound-maker Dominic Miller, the creator of the magic of Sting's sound, was evident, at the same time that he showed himself to be the great bassist that he is, while Christian Maas made a great show of the excess of brass in his percussion setup: too many cymbals, too few drum heads, a din. A tame drum.
Verses, choruses, bridges, the construction of the lateral sense of harmony invented by Sting and enriched by Dominic Miller with the meditative serenity with which he transforms the guitar into an oasis, a sanctuary, a space of light, transformed the evening, to the delight of those present, into a loving ritual of happiness.
Thus, Shape of My Heart, the short symphony they wrote together, sounded like the brief gush of water from a fountain sounds in dreams, the ripples that expand when a stone, falling on one of drummer Maas's drumheads, gave rise to circles that grow and grow and rise to the very last seat in the stands.
Ah, the stands: couples held hands, turned to look at each other, embraced. Some let trickles of water run from their eyes. Others simply jumped, shouted, and sang along to all the songs, because they all knew them, and that made Sting very happy. He kept clasping his hands in the Buddhist style to say thank you to everyone.
And we all smiled and clasped our hands last night and also said in unison: thank you, beloved Sting, thank you, beloved Dominic, thank you Christian Maas, thank you for making us live, because to sing is to live.
Sting is at the peak of his career. He's never played bass like that, so deep and so powerful, and he's never sung like that, so high and so powerful. Dominic Miller, a poet with a guitar. Their thing, their thing, is poetry. It was a beautiful concert.
(c) La Jornada by Pablo Espinosa
A new power trio post-The Police: Sting 3.0 @ Auditorio Nacional, Mexico City...
Less than a year after his free performance at the Feria Nacional in San Marcos, Aguascalientes, and eight years after seeing him live for the first time at the Auditorio Nacional in Mexico City in 2017, the British singer, actor, songwriter, and multi-instrumentalist, named Commander of the Most Excellent Order of the British Empire, Knight of the Order of Arts and Letters, winner of 17 GRAMMY Awards, and member of the Rock & Roll Hall of Fame, Gordon Matthew Thomas Sumner, better known worldwide as Sting and former bassist and frontman of the legendary rock and new wave band, the most influential of the 1980s, The Police, returned to the stage of the iconic Auditorio Nacional in 2025 to present his powerful 3.0 World Tour, returning to his rock roots, accompanied by guitarist and long-time colleague Dominic Miller and drummer Chris Maas (Mumford & Sons). forming a new and powerful trio after The Police, who are sorely missed.
Before becoming one of the most powerful voices and one of the greatest and most important musicians and composers in the history of contemporary music, the man nicknamed "Sting" was a teacher at a school in Cramlington, Newcastle, in the 1970s. In 1977, he formed the post-punk band The Police in London, England, alongside drummer Stewart Copeland and guitarist Henry Padovani. Later, they were joined by experienced guitarist Andy Summers, who replaced Padovani, forming one of rock's best power trios. The rest is history.
This time, Sting only appeared in Mexico City with two dates at the National Auditorium on Friday 7th and Saturday 8th March after his tour of Latin America (Brazil, Chile, Argentina, Peru, Ecuador and Colombia) and because once is never enough to hear live again the great classics of one of my favourite bands of all time, The Police and of his successful solo career with his new and powerful trio of voice-bass, guitar and drums, we met at the National Auditorium for his first sold-out date in one of the most important and iconic stages in Mexico.
Accompanied this time by my beautiful girlfriend and once again with seats in the Luneta area (very close to the audio and lighting console) and an excellent view of the stage, the start of the show was slightly delayed by almost 15 minutes, as it was scheduled to start at 8:30 p.m. (this time, without an opening act), when the lights of the National Auditorium suddenly went out to welcome the 73-year-old Briton, in excellent shape, with his classic 1957 Fender Precision bass on his shoulder, which he had used since the beginnings of The Police, along with his new trio.
Kicking off with one of The Police's great classics, "Message in a Bottle," and its unmistakable guitar riff, immortalized by Andy Summers on his 1979 second studio album, Reggatta de Blanc, forced us to get up from our comfortable seats to sing along with a grand stage production that this time amazed me thanks to a large screen projecting the first visuals of the night, in addition to the two side screens of the Auditorium that gave us close-ups of Sting and company on stage in front of the 10,000 souls who packed the venue. Followed by "If I Ever Lose My Faith in You" from his classic fourth solo studio album and my personal favourite, Ten Summoner's Tales from 1993, which this time I heard live for the first time, featuring that incredible and distinctive bass line and featuring Dominic Miller on guitar and Chris Maas on drums.
Amazed by the warm reception from the Mexican audience, the English musician continued with his classic from his second solo album …Nothing Like the Sun from 1987, “Englishman in New York,” in which Sting asked to sing louder with great jazz fusion and rock performances. An Englishman in Mexico City once again. Then, “Every Little Thing She Does Is Magic,” The Police’s second classic of the night from their fourth studio album (and my second favourite from the band), Ghost in the Machine from 1981, got the youngest and oldest members of his generation dancing before captivating us with the great ballad “Fields of Gold,” one of my favourites from his album Ten Summoner’s Tales, which gave me goosebumps with its visuals and golden lights. Simply beautiful and special.
After taking a shot of tequila, Sting and company continued with "Never Coming Home," perhaps one of the least expected of the night from their seventh studio album, Sacred Love, from 2003, with an instrumental fragment of The Police's "When the World Is Running Down, You Make the Best of What's Still Around" that reverberated throughout the Auditorio Nacional. They then continued with "Synchronicity II," another great classic from The Police in an incredible and powerful version that brought everyone present to their feet again, with the three colours of the cover of The Police's fifth and final studio album (and my favourite), Synchronicity from 1983—red, yellow, and blue—on the big screen on the stage, which brought us as close as possible to a Police concert for those of us who couldn't see them at the formerly called Foro Sol (now GNP Stadium) during their 2007 reunion tour.
In addition to good rock, there was also literature when Sting sat on a stool to tell us in Spanish "a story of the Bible… King David fell in love with a beautiful woman, there was a small problem, she was married” he said in almost perfect Spanish, a story that inspired him to write “Mad About You”, one of my favourites from his third solo album The Soul Cages from 1991 that I heard for the first time on the album Pavarotti & Friends (a live album of collaborations with the legendary Italian tenor Luciano Pavarotti) from 1993 in its Italian version as a duet with the Italian singer and musician Zucchero and that I had never played in Mexico. Then, three great songs that brought us closer to The Police again: the magnificent "Spirits in the Material World," another classic from the fourth album, Ghost in the Machine; the fascinating "Wrapped Around Your Finger," my favourite from Synchronicity, with candles lit on the big screen, just like in the official video for this great Police classic; and the powerful "Driven to Tears" from the third album, Zenyatta Mondatta, from 1980, with Sting's powerful bass that once again made the entire Auditorio Nacional vibrate.
Another surprise of the night was "Fortress Around Your Heart" from his debut solo album, The Dream of the Blue Turtles, from 1985, which we enjoyed from our seats. It was also "Can't Stand Losing You" from The Police's debut album, Outlandos d'Amour, from 1978, featuring a snippet of "Reggatta de Blanc" as he used to play it with Andy Summers and Stewart Copeland in live versions, though without achieving the unmistakable, explosive sound of The Police. Without a doubt, another of my favourite moments of the entire night, one I'd wanted to hear live with The Police for many years. This was the closest I'd ever gotten, and it was incredibly fantastic and exciting. Many of us truly felt like we were watching the original power trio with those incredible visuals.
With the energy and emotions at their peak, it couldn't have gotten any better than with another of my favourites from their fourth album, Ten Summoner's Tales, the fascinating and melancholic ballad "Shape of My Heart," which many remember as the theme song that appears over the end credits of one of my favourite French films, León, The Professional from 1994, starring Jean Reno, Gary Oldman, and a very young Natalie Portman. It gave me goosebumps from the first chords and made many shed a tear. Simply another of the best and most beautiful moments of the night. But there was also room for new things, like their latest single, "I Wrote Your Name (Upon My Heart)," released in 2024.
Going back in time again and continuing with The Police classics, came "Walking on the Moon," another song from Blanc's second album, Reggatta, with a great blue light show like their 2017 concert. It was fused with "So Lonely," another song from the band's 1978 debut, which once again rocked the entire National Auditorium with a more energetic version and a message for the US president: "Donald Trump wants to call the Gulf of Mexico the Gulf of America. Texas, Florida, and California are also Mexico. He's crazy," he said before moving from reggae-rock to world music with the commercial success of his 1999 album, "Desert Rose," which got everyone dancing to its ethnic and Arabic rhythms. A total party in its own way.
Nearing the end of the first half of the concert, Sting gave us another highlight with two classics from The Police's best and final studio album, Synchronicity, with stunning visuals: "King of Pain," which many of us heard live for the first time, featuring a stunning guitar solo from Dominic Miller and his masterpiece, and one of the greatest pieces of music of all time, "Every Breath You Take," which gave us goosebumps with an incredible version and made us all sing along, regardless of the true meaning of the dark lyrics. Without a doubt, another of the most emotional and special moments of the night and the perfect way to close out the first half of his debut performance at the Auditorio Nacional with this timeless classic of contemporary pop.
After a few minutes, and to a standing ovation that called for "another, another, another..." Sting and company returned to the stage to close the evening with another of The Police's great classics and my favourite from their 1978 debut album, Outlandos d'Amour, the mesmerizing "Roxanne," featuring that classic reggae-style Summers guitar riff reinterpreted by Dominic Miller, which resonated throughout the Auditorio Nacional in a magnificent extended version with red visuals and neon-lit signs perfect for the song. It was fantastic to hear this great Police classic live again, and another of my favourite moments of the evening. After saying thanks in Spanish and to close with a flourish, Sting returned to his stool to pick up his Spanish guitar and perform one of his most beautiful and magnificent solo pieces, "Fragile," from his second solo album ...Nothing Like the Sun, bidding farewell to a euphoric audience of three generations. It couldn't have been more perfect.
A total of 22 songs in new versions and incredible performances by the new trio (although without surpassing the great virtuosity of Andy Summers and Stewart Copeland) in almost two hours of concert reviewing almost half a century of musical history from his short but successful career with The Police, to the most recent of his enormous solo career, bringing together once again three generations with that incredible display on stage that made us enjoy his excellent music even more in an energetic, nostalgic and memorable night full of timeless classics of good rock, pop rock, reggae, jazz fusion, even literature and world music with the powerful and unique voice of Sting, proving that he remains one of the best and greatest singers, songwriters and musicians in history in these times full of reggaeton and auto-tune.
It was incredible to see this great music legend live again, and the closest thing I've ever had to seeing The Police for a second time (many of these songs were heard live for the first time), with a more powerful sound than in 2017 and with excellent visuals. Although it would have been fantastic to have also heard other great songs from his solo career, such as "It's Probably Me," "Why Should I Cry For You?", "Let Your Soul Be Your Pilot," and "Little Wing" (originally by Jimi Hendrix), as well as other Police classics such as "Tea in the Sahara," "I Burn for You," "Bring On The Night," "Truth Hits Everybody," and "Synchronicity I." Without a doubt, one of the best concerts of the first half of 2025 with the best company in the world. Enormous Sting!
(c) Anwar Mex
The legendary singer performed this Friday at the Coloso de Reforma to relive his greatest hits...
Sting at the National Auditorium: A Musical Journey with a Message to Trump.
An emblem of new wave, rock, and even reggae, Gordon Matthew Thomas Sumner, better known as Sting, began his career more than forty years ago. Along with drummer Stewart Copeland and guitarist Andy Summers, he formed The Police, one of those bands that defined an entire era with songs like "Roxanne," "Message in a Bottle," and "Every Breath You Take," all resounding hits that are still part of every music lover's setlist.
Last night, Sting performed on the stage of the National Auditorium as part of his Sting 3.0 tour, which has toured much of Latin America. He performed alongside guitarist Dominic Miller and drummer Chris Maas, a power trio format reminiscent of the old days. The first of two nights filled with nostalgia, boundless energy, and a great musical performance.
Before the British musician's appearance, fans gathered outside the Coloso de Reforma to grab a souvenir of the concert, from the proverbial T-shirt to the now-popular stickers of the artists in the form of religious figures, in this case Saint Sting, or inflatable pins.
Then, little by little, the diverse mass of fans began to enter the venue, followers of different generations, although predominantly baby boomers and Generation X.
Around 9 p.m., the British artist took the stage to a wave of applause and shouts of welcome, to which he limited himself to waving and smiling, visibly sincere, before immediately performing "Message in a Bottle," one of the crowd's favourites and a staple of The Police, followed by "If I Ever Lose My Faith in You," from his solo career, setting the tone for the evening, blending both facets of the British musician.
"Thank you very much, Mexico," he simply shared with his audience, asking them to shout louder in understandable Spanish, especially when performing "Englishman in New York," a crowd favourite and one of the most sung-through songs of the night. It also defines the style of The Police and Sting, that splendid fusion of reggae and rock, of which he was a pioneer.
He continued with "Every Little Thing She Does Is Magic," which once again captivated the audience and got them dancing to his signature rhythm. "We are very happy to be here in Mexico with you," said Sting before continuing with "Fields of Gold," "Never Coming Home," and "Synchronicity II."
In his limited but understandable Spanish, Sting explained, "The next song is a story from the Bible about King David. He fell in love with a beautiful woman, but the problem was she was married," referring to the lyrics of "Mad About You," which he linked to "Spirits in the Material World" in its final section.
One after another, the songs "Wrapped Around Your Finger," "Driven to Tears," "Fortress Around Your Heart," "Can't Stand Losing You," and "Shape of My Heart" followed, almost without a break except for times of thanking or playing with the audience and repeating choruses, as well as asking them to shout louder, which the audience did, to which Sting clasped his hands in thanks.
“I Wrote Your Name (Upon My Heart)” and “Walking on the Moon” followed, where Sting once again demonstrated his extraordinary vocal ability, which remains intact over the years, in addition to his enviable physical condition. “So Lonely,” where he showcased his signature style of musical fusion between rock and reggae, one of the most exciting moments.
After this cathartic moment, Sting took the stage to reminisce about the tense situation Mexico is currently experiencing with Donald Trump, President of the United States. “Donald Trump wants to call the Gulf of Mexico the Gulf of America; he's crazy. Texas, Florida, and California are also Mexico,” he said before laughing and continuing with “Desert Rose.”
Finally, and under official conditions, the concert closed with “King of Pain” and, of course, “Every Breath You Take,” a classic of classics, which, as expected, was sung at the top of their lungs, wonderful. They said their goodbyes and left the stage.
“Iralo, say goodbye properly.” Although we already know that this space is for taking a short break and returning to finish properly, it was just as it was. To a loud and endless uproar from the audience, Sting, Dominic Miller, and Chris Maas returned to finally perform "Roxanne" and "Fragile."
Although Sting performed at the San Marcos Fair in Aguascalientes last year, the British artist hadn't given Mexico City a concert in the form of a show for over seven years, so this performance was a simply incredible and unforgettable event.
(c) Cronica de Hoy by David Rosas
Sting gives a masterclass of talent at the National Auditorium...
The former elementary school teacher returned to the capital's venue after eight years, just to prove he hasn't lost his calling to teach.
In the 1970s, Gordon Sumner dedicated his time to teaching English to children at a school in England, but music led him down another path. Although he no longer teaches in a classroom, now, as Sting, he gives a masterclass of what it means to have an enviable career with one of the most influential bands of the 1980s, then as a solo artist, and to gather 10,000 people to sing with him.
That's what the Brit did yesterday at the National Auditorium. The former bassist of The Police took the stage at the Mexico City venue and it was like a masterclass for his fans, one of those that stay in the memory.
There's nothing Sting's presence on stage can do but elicit an ovation full of love and nostalgia. This was how the audience welcomed the British singer, who gave a fitting opening to his legacy with The Police with "Message In A Bottle," in which he encouraged the crowd to sing along. "Mexico" was all he had to say to get those souls to join in the classic.
“Thank you very much,” said Sting, who didn't hesitate to do the same on bass, Dominic Miller on guitar, and Chris Maas on drums, while “If I Ever Lose My Faith in You,” one of his most significant songs, sounded powerful, with the crowd joining in, clapping along at the musician's request.
The trio - yes, the one that gives its name to the 3.0 tour featuring songs by The Police and Sting's solo work - is relentless with the arrangements they make in each song, with jazz riffs, a few blues notes, and the impressive voice of the 73-year-old Briton. The audience remained on their feet while he accompanied Gordon Sumner on the chorus, because it was a delight to hear him sing and play his bass.
“Louder,” he urged his fans, who turned up the volume during the chorus, but Sting's directed applause grew louder and louder. He listened to his audience, scratching his head until the volume of the gigantic choir in front of him satisfied him on “Englishman in New York.”
Sting's career is impossible to separate from The Police, as when he sings "Every Little Thing She Does Is Magic," and his solo career wouldn't exist without the band that made him famous. But the former primary school teacher at a convent school in Cramlington, Newcastle, strikes a perfect balance between his creations, giving them equal space and importance, as the crowd felt with "Field of Gold" and "Never Coming Home." "We're very happy to be here in Mexico," he said, in Spanish.
His happiness at being in our country and at the National Auditorium, after eight years, is completely authentic. It's not just a cliché; it's obvious; he lives it with his friends on stage, playing and enchanting his fans.
This 3.0 version of Sting arrived brimming with years of proven talent, but also with a unique production where the central screen of the stage was filled with colourful graphics that perfectly matched the lights that turned on and off to complement songs like 1983's Synchronicity II and Mad About You, which he introduced with a brief story told in Spanish.
One of the moments the audience enjoyed most—and one in which some ventured to record with their cell phones—was The Police's third performance, where songs like "Spirits In The Material World," "Wrapped Around Your Fingers," and "Driven To Tears" took most of the audience on a journey back to their youth, the 1980s.
In addition to bringing songs like "Fortress Around Your Heart," "Can't Stand Losing You," and "Shape Of My Heart" to life, Sting, generous as he is, also gave everyone the opportunity to take home a souvenir from the stage. He moved from one side to the other, allowing those closest to him to take a photo or one with him in the background.
Song after song, Sting didn't let his audience get distracted. There was always an opportunity to sing along or listen to an arrangement, but the madness broke loose when So Lonely, King of Pain, and Every Breath You Take made their appearance.
Screams, applause, and cheers, to say the least, were what Sting received in return before leaving the stage for a few minutes and returning accompanied by Roxanne and Fragile, with whom he said goodbye.
(c) Excelsior by Azul Del Olmo
Sting at the National Auditorium: The Example of a Legend Who Keeps Reinventing Himself...
After almost seven years without playing in Mexico City, Sting returned to give us a magical and nostalgic night at the National Auditorium.
It's always incredible when you see a band or artist that we could consider a living legend, especially since there are those who simply can't continue playing live. However, few are those who, despite having an impressive career, are willing to challenge themselves to do different things. And Sting showed us at the National Auditorium that staying in a comfort zone isn't his thing.
As you may recall, the British musician recently visited our country. To be exact, the last time the former Police frontman was on this side of the pond was in 2024, when he headlined the San Marcos National Fair (yes, the same one held in Aguascalientes, hehe), in one of the most random moments that Mexico has ever given us.
However, this time, and to refresh his live performances, this amazing artist returned to Mexico City with the 3.0 tour, presenting a show completely different from what he'd been doing in recent years. Why do we say this? Well, on his most recent tours, Sting was accompanied by a full band (you know, with percussionists and even backing vocalists).
But now, he's decided to return to his roots, playing live in a power trio format with a pair of great musicians: Dominic Miller on guitar (with whom Sting had already collaborated in the 90s) and Chris Maas on drums. Of course, this reminded us of his time with the band that launched him to fame, where he only needed his bandmates to wow the audience. In the middle of 2025, and given the way things have been going, this is the closest we've come to seeing Sting with The Police.
But back to the point, this of course gave the show a completely different vibe and energy, as they didn't even change instruments. The visuals were very discreet, and they played almost everything in a row, like a true old-time band that only cared about sounding good live and making a killing on stage. Something that, without a doubt, is very rare to see in a concert today.
The setlist Sting unleashed on his first night at the Auditorio Nacional was simply marvellous, so much so that we could almost consider his selection for this specific show perfect. To double-check the situation, they played a ton of songs from his time with The Police (12 to be exact) and 10 more songs from his solo career. All perfectly balanced.
And while a few classics were missing (cough cough, “Don’t Stand So Close To Me,” “Bring on the Night,” “De Do Do Do, De Da Da Da,” “The Bed Too Big Without You,” and more), we can’t complain, as we heard the best of the best that this great artist has released throughout a massive four-decade career in the music industry. So, it certainly wasn’t that easy putting together the setlist.
Something worth highlighting about this Sting concert is that he demonstrates why he’s one of the most complete artists of all time. I’ve always thought he’s an underrated bassist, as he not only creates lines that are difficult to play, but also sings at the same time. And we could see that virtuosity in songs like “Never Coming Home” and “King of Pain,” which sound easy but aren’t so easy when it comes to performing them live.
Although Sting is the star of the concert (of course, that's obvious, everyone paid a ticket to see him), he gives Chris Maas and Dominic Miller the opportunity to shine when necessary, demonstrating not only that he's accompanied by top-notch musicians, but that there's a real band atmosphere, in which he wants the audience to notice the dynamic between them and how close they are (which, by the way, the three of them are perfectly synchronized).
Of course, the British musician took advantage of the few breaks to interact with his Mexico City fans, encouraging them to sing and chant along, so they could be part of the show. He completely won over the entire audience almost from the moment he stepped onto the stage at the National Auditorium, and the truth is, he didn't need anything else to drive them crazy. But there were a couple of moments when he connected with everyone present.
Sting spoke in Spanish, which had the crowd going crazy, especially when he said, “We are very happy to be here in Mexico, with you.” But he took things to the next level by giving the following explanation in our language before “Mad About You,” we quote: “In the Bible story, King David fell in love with a beautiful woman, her name was Bathsheba.” There was a small problem: she was married to someone else."
What's more, the Briton even took the time to joke about the "renaming" of the Gulf of Mexico, mentioning that if that were the case, they would have to rename cities like "Texas, Florida, California, and New Mexico" (remembering that the names of those cities are influenced by our country and the Spanish language). A great moment where he reminded us that what the president of our neighbouring country is trying to do is crazy.
Almost two hours of concert and 22 songs were enough for Sting to give us a magical and nostalgic night at the National Auditorium. The show in Mexico City ended with "Every Breath You Take" (one of the most anticipated and chanted songs of the first date), "Roxanne" (the last Police classic played and a reminder of his enormous legacy with the band), and "Fragile" (a song that is part of his extensive solo repertoire).
At this point in his enormous career, a music legend like Sting could easily be in his comfort zone and afford to continue playing comfortably as he has in recent years, continuing with the formula that has worked for him. However, at 73 years old, he is far from falling into that trap, much less retiring.
Despite his status within the industry, as an icon and inspiration for generations to come, he continues to reinvent himself and look for new ways to put on a show to offer something more to those who see him live, which of course is greatly appreciated. In conclusion, and to summarize this point, Sting is a star in every sense of the word.
(c) Sopitas by Jesús González
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