57th & 9th is the solo studio album number 12 by the British singer and songwriter Sting, released the 1st September 2016.
Let’s do deeper on that!
Tha album is named “57th & 9th” for the intersection that he crosses to go to the studio and it’s the one who made him come back to rock after decades. “It is not a lute album,” he says with a smile, a reference to Songs from the Labyrinth in 2006. “It passed a lot of time since my last rock work. It is a kind of anthology of all that I am, but mostly seems to have pulled off a very energetic side. I’m glad I hoisted the sail and to have let it go. ”
Analogies with boats are the easiest, having spent the last few years writing and performing The Last Ship, a musical performed in 2014 inspired by his childhood in England in the Postwar. This new project was born after a productive decade, freewheeling, with an album of Christmas songs, orchestral Symphonicities and a marathon tour with The Police between 2007 and 2008 which, he says, has not influenced this album.
“That reunion was a nostalgic exercise, pure and simple,” he says. “A year of great success, but no one wanted that it had successive outcomes.” The Last Ship was able to get to Broadway, but it was canceled after three months. “It was very gratifying to see him up to it,” he says. “Those five years had been the most satisfying of my life.” After the close of the show, Sting found himself with free time, a very rare thing for him. “I walked through the park and did not see much difference between me and the people out of work. Sure, I had a home to go to. But I began to feel anxious. ”
So he decided to follow the advice of his new manager, Martin Kierszenbaum (who used to work as A&R for Sting), and he booked a studio with a small group: the drummer and guitarist who follow him on tour, Vinnie Colaiuta and Dominic Miller in addition to Jerry Fuentes and Diego Navaira of Last Bandoleros, a tex-mex group of San Antonio, managed by Kierszenbaum.
Sting came every day in the studio without having prepared nothing and wrote everything on time with the others. “It raised the tension, everything had a cost,” says Sting. “Much of the album was made impulsively,” says Kierszenbaum, who produced the LP. “One or two takes. I think it didn’t worked so much with devotion to rock from Synchronicity times “.
Most of the album, Sting says, is about migration. Inshallah tells about the refugees story who travel to Europe. One Fine Day talks about the skepticism with respect to climate change. “The biggest incentive for future migration will be the climate,” he says: “Millions of people will move to safer places. I’m still sad about Brexit, a choice that has no sensible reason. At least the EU has a program against climate change. ”
“One of the main songs is 50,000, a ballad that he wrote a week after the death of Prince. “Mortality becomes a problem to deal with, especially at my age – I have 64 years,” he says.
“It is my statement that talks about how we are affected by the death of our cultural icons: Prince, David (Bowie, ed), Glenn Frey, Lemmy (Kilmister, ed). They are the deities, somehow. When they die we doubt our own survival. Even I have to question mine. And at the end there is a bittersweet revelation: arrogance adn haughtiness do not lead to anything. “
Sting has had his last great success when he was 48 years old, with Brand New Day, with whom he won two Grammys. This time, keep at bay the expectations: “The industry is in a state of chaos and continuous flow. I do not know what to expect. It’s not like the old days. Rock & roll is part of the tradition. It is not socially cohesive as before.” But that is why he believes it is the right time to come back to this genre. He explains:
“For me, the most important thing in music is the surprise. I continue to surprise people. It is my path, those who want to share it with me is welcome. ” He laughs. “Really I do what the fuck I want.”