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| Sting 2000 | |
|---|---|
| Name | Sting 2000 |
| Type | studio |
| Artist | Sting |
| Released | 2000 |
| Recorded | 1999–2000 |
| Studio | Various |
| Genre | Pop, Rock, Jazz |
| Length | 47:12 |
| Label | A&M Records |
| Producer | Sting, Hugh Padgham |
Sting 2000 is a studio album released in 2000 by the British singer-songwriter Sting. The record continued Sting's solo exploration after his work with The Police, blending elements drawn from sessions with musicians associated with Paul Simon, Branford Marsalis, Anoushka Shankar, and producers linked to Peter Gabriel and Brian Eno. The album juxtaposes pop-oriented singles with jazz-inflected balladry and world-music textures, featuring collaborators from scenes around New York City, London, and Mumbai.
Sting began work on the project following tours that connected him to artists such as Bruce Springsteen, Eric Clapton, Dolly Parton, and instrumentalists from ensembles like the Orchestra of St. Luke's and the John McLaughlin-associated fusion community. Recording sessions took place in studios used by U2, Radiohead, Coldplay, and R.E.M. alumni, and involved engineers who had worked with Phil Collins, Elton John, and George Michael. The development phase incorporated compositional experiments reminiscent of collaborations between Paul Simon and members of the Graceland sessions, while production techniques echoed approaches by Trevor Horn and Nigel Godrich. Sting co-produced with figures linked to Hugh Padgham and consulted arrangers from the Birmingham Conservatoire network and orchestral contractors who had worked on projects for Andrew Lloyd Webber and Peter Maxwell Davies.
The album's standard edition presented a sequence of tracks structured to showcase ballads, uptempo numbers, and instrumental interludes favored by artists such as Miles Davis and Gil Evans. Special editions and regional formats included bonus tracks and remixes commissioned from remixers who had remixed material for Madonna, Destiny's Child, and Massive Attack. A limited edition included live recordings drawn from concerts in Tokyo, Sydney, and Milan, alongside alternate versions featuring guest appearances by musicians associated with Carlos Santana, Herbie Hancock, and Norah Jones. Vinyl pressings and CD singles distributed in markets like Germany, Japan, and Brazil carried exclusive B-sides referencing sessions with members of The Roots and horn players from the Tower of Power.
Musically, compositions on the album show affinities with the songwriting traditions of Joni Mitchell, Leonard Cohen, and Van Morrison, pairing lyrical narratives about travel, memory, and identity with arrangements recalling work by Stéphane Grappelli and Django Reinhardt. Sting's lyrics reference locales and figures associated with Venice, Istanbul, and New Orleans, and thematically intersect with subjects explored by Bob Dylan, Tom Waits, and Patti Smith. Harmonic language and melodic lines suggest study of modal jazz as practiced by John Coltrane and melodic sophistication comparable to Sérgio Mendes-influenced pop, while rhythmic textures incorporate percussion traditions linked to Fela Kuti and tabla players collaborating with Ravi Shankar's circle.
The album was released on the A&M label with promotional campaigns coordinated with media outlets such as MTV, BBC Radio 1, and NPR. Television performances and interviews were scheduled on programs hosted by figures like David Letterman, Jonathan Ross, and Conan O'Brien, and radio sessions occurred on stations in Los Angeles, London, and Paris. Promotional singles were serviced to DJs and stations that had previously supported releases by U2, Coldplay, and Sade, while press events featured appearances alongside collaborators who had worked with Whitney Houston and Seal.
Contemporary reviews compared the album to works by Peter Gabriel, Paul Simon, and George Harrison, noting both praise for craftsmanship and critiques of perceived conservatism when set against experimental albums by Radiohead and Björk. Critics writing for publications in the tradition of Rolling Stone, The Guardian, and The New York Times highlighted arrangements that evoked the sensibilities of Vanessa Carlton-era pop and the sophistication of chamber-pop practitioners like Belle and Sebastian. Academic commentary referenced songwriting studies focusing on artists such as Joni Mitchell and Leonard Cohen to contextualize the album's lyricism.
The album charted in territories including United Kingdom, United States, Germany, Australia, and Japan, entering national charts that previously featured releases by Madonna, Michael Jackson, and Prince. Sales milestones were reported in markets where Sting had historically performed well, alongside certification thresholds similar to those applied by British Phonographic Industry and the Recording Industry Association of America. Singles saw airplay on mainstream and adult-contemporary outlets that regularly playlist material by Phil Collins and Elton John.
Music videos accompanying singles were directed by filmmakers and visual artists linked to directors who had worked with Spike Jonze, Michel Gondry, and Jonathan Glazer. Visual themes referenced urban and maritime imagery associated with Venice, New York City, and Marseille and included cameo appearances by collaborators from sessions with Anoushka Shankar and horn sections reminiscent of those used by Tower of Power. Videos received rotation on MTV Europe, VH1, and festival screenings at events similar to SXSW.
Live promotion included headline dates on tours playing venues such as Madison Square Garden, Royal Albert Hall, and Sydney Opera House, with setlists blending material from the record with classics associated with The Police and solo hits performed by peers like Sting's contemporaries. Touring ensembles featured musicians connected to Branford Marsalis, Kenny Garrett, and rhythm sections that had worked with Paul Simon. In retrospective appraisals, the album is positioned among late-career works by artists like Bob Dylan and Paul McCartney that balance mainstream appeal with mature songwriting, and it continues to be cited in discographies and studies of popular music from the turn of the 21st century.
Category:2000 albums Category:Sting albums