'Fields of Gold', framed by pretty acoustic guitar, was probably the only song that sounded like its recorded version. To his credit, Sting reworked his older material, bringing a Paul Simon-like Afro-pop vibe to 'River Flows' and shifting to a carousel-like gallop during 'Seven Days'. But the band seemed like it was making mundane dinner-table conversation until the inevitable 'Roxanne', the song that turned things around for the Police and for the 110-minute concert. Sting's body language - his swaying hips and bouncy struts - suggested that he, too, wanted to get down. But the crowd on Tuesday wanted to party. (No, it's not an oxymoron, he'll tell you.) In both lyrics and music, his songs have depth and complexity, presenting challenges beyond the buoyant world-pop that made him famous as the lead singer of the Police.
Sting, 48, has long been able to play the role of the intellectual pop singer.
#TRACY CHAPMAN TICKET TO RIDE LYRICS MOVIE#
If he were to make a movie of the band with which he played on his current 'Brand New Day' CD and tour, it might be called, ''My Dinner with Andre, er, Sting.'' There was a warmth and camaraderie among those musicians. In 1985, Sting made a movie, 'Bring on the Night', about the making of his first solo album. At both venues, the players came across like hired hands, lacking the chemistry, spontaneity and confidence of the previous ensembles he has brought to the Twin Cities. (Neither was the ticket price - $150 tops at the theater, $75 at the arena.) More significantly, Sting's band leaves much to be desired. With 12,000 people, Target Center wasn't exactly intimate, and the acoustics are no match for the Orpheum's. Sting himself was better - more playful, more spontaneous in his comments (he wondered why Minnesota summers are so short), more consistently spirited and, as always, in fine voice.
It was essentially the same songs played by the same musicians with the same backdrops, lighting and slide shows. On Tuesday, he came back to town at Target Center. He performed in December at the intimate, soldout Historic Orpheum Theatre in Minneapolis. Agents for 'N Sync and Dixie Chicks, each of which sold out the Minneapolis arena this summer, are negotiating for fall concerts at Target Center.Īt least Sting has a different strategy. tour in Minneapolis, announced a return engagement at Target Center in November. On Tuesday, Tina Turner, who opened her U.S. Instead of playing back-to-back nights in one town, they do a sold-out concert and then come back a few months later for another show. These days, the big pop-music stars are doing things differently. It’s an ever-present steed that you can mount up on a whim and ride to greener pastures.Įach vehicle is different, but within this context, they collectively represent the freedom and agency we all yearn for.Sting improves, but it's not perfect yet. It’s a time capsule for treasured memories. It’s a vessel that - even when it’s not moving - always has the potential to get going again.
It’s a roller coaster you can kick into high-gear to remember what it feels like to feel. I think that idea applies to the car in general. This chorus occurs three times, even after she’s resigned herself to the reality that she’s never actually going to “cross the border and into the city” and “finally see what it means to be living.” That means, even in a life she never wanted, the titular “fast car” remains a symbol of hope and progress. I-I had a feeling I could be someone, be someone, be someone.” Lyrics provided by Genius Lyrics. Between verses that explain her current circumstances, a repeated chorus references the thrill and freedom of driving.Īnd your arms felt nice wrapped around my shoulder The significance of drivingĬhapman’s lyrics are devastating, but the way the song is constructed shines a spotlight on the sense of escape that cars represent. She’s trapped in the exact situation she hoped to escape. Eventually, she gets a job that pays the bills, but by then, her partner spends more time at the bar than they do at home. Still, she remains hopeful, now dreaming of a life in the suburbs instead of a shelter. Her father takes ill due to alcoholism, so she quits school to take care of him. She’s tired of living in a small town she doesn’t love and dreams of escaping to the city to finally “be someone.” Luckily, her significant other has - you guessed it - a fast car, which she sees as a ticket to freedom. The song comes from the perspective of Chapman’s unnamed character.
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