synchronicity tour 1983

Posted by Nolan Dalla on Mar 29, 2023 in Blog , Essays , Music and Concert Reviews | 0 comments

Classic Concert Reviews: The Police (Synchronicity Tour), Reunion Arena, Dallas, 1983

 “Synchronicity is the sound of a band coming together, while dissolving apart.”

On July 23, 1983, the pop-rock trio known as The Police embarked on a punishing nine-month world tour.  It would be among the most successful and lucrative of the entire decade.  Yet, it would also lead to friction and resentment among the three band members stemming from bitter personality clashes that had been brewing for years, ultimately fracturing into the band’s unceremonious break-up.  Synchronicity thus became The Police’s last album, final tour, and for loyal fans, the perfect swan song — effectively saying a long goodbye while on top.

The Police played 105 shows across three continents, consistently selling out every arena and stadium where they performed.  This was a staggering workload to undertake, especially given the group’s inner disharmony, which was certain to gradually grind down and eventually wear out even the most experienced and energetic musicians.  Many cities included on the tour even added second shows because tickets were in such high demand.  Given the group’s tireless work ethic and ceaseless striving for perfection, the trio initially insisted on playing every instrument and singing every note of each show, virtually all of the high-pitched lyrics falling onto the already-strained vocal cords of Sting (a.k.a. Gordon Sumner).

Given the eclectic 21-song setlist, which on most nights resulted in a non-stop, high-energy, two-hour show, The Police realized help was needed, especially with backing vocals.  If Sting’s voice cracked and shows were postponed or canceled, the entire tour might end in disaster.  So, for the first time since their formation, The Police agreed to bring on three female backup singers to take the heavy load off of Sting, the band’s charismatic frontman.  Nonetheless, Sting (on bass), Andy Summers (on lead guitar), and Stewart Copeland (on drums) insisted on maintaining the group’s reputation for authenticity by playing all the music themselves, with no recordings or electronic enhancements.

The Synchronicity album and tour marked a quantum leap forward from the early days of struggling in near obscurity.  Just six years earlier, The Police launched their first North American tour schedule in which the band drove themselves and their equipment around the country in a rented Ford Econoline van. On one humiliating night on that 1978 tour in Poughkeepsie, NY, The Police played to six people. Only three paid. Although the venue looked empty, The Police reportedly were said to have played the show as if they were playing to thousands , true professionals that they were.

By mid-1983, The Police were rock royalty, even though their roots were firmly grounded in alternative sounds of funk, reggae, and jazz.  Their videos were a constant mainstay played on MTV.  They released a string of catchy pop songs, typically with simple but universal themes — one reason why The Police was also widely popular not only in North America and the U.K. but also in non-English speaking countries.  However, critics were in near-unanimous agreement that each of their five successive albums was progressively more ambitious than the next, starting with Outlandos d’Amou r (1978), then Reggatta de Blanc (1979), Zenyatta Mondatta (1980), and Ghost in the Machine (1982).

When released, Synchronicity , the band’s fifth album, quickly rocketed to #1 in both the U.S. and the U.K.  It sold 8 million copies in the United States alone, stayed atop the Billboard charts for a stunning 17 straight weeks, and included the group’s most successful hit single, “Every Breath You Take.”  The song would become one of the most widely-played hits in pop music history.  Sting reportedly earned $2,000 per day from the song just from radio royalties alone, an astronomical sum for any songwriter-musician in the early ’80s.  Yet Copeland, instrumental in the composition as the group’s drummer, hated the final arrangement, especially the percussion, which he described as “all wrong” for the song.

The record-buying public disagreed.

Making the album — later ranked by Rolling Stone as one of the top 100 of all time — took a heavy toll on the group’s cohesiveness.  Recorded in Montserrat, a Caribbean island known for active volcanoes, the studio sessions were hardly unifying, and like the rumbling ground beneath them, at times even explosive.  Sting and Copeland even came to blows at one point.  The producer walked out in the middle of rehearsals.  The band didn’t even record together as “a band” in the usual sense:

An interesting set-up saw each member stationed in individual rooms, with Stewart Copeland and his drums in the dining room, Andy Summers in the studio itself, and Sting in the control room with them all connected via video link. Even though co-producer Hugh Padgham claimed this was for social reasons, this approach didn’t help dispel rumours that the trio were increasingly sick of each other. — Ian Wade ( Classic Pop )

So, going straight out on a world tour soon thereafter was clearly a huge mistake, but also marked the band’s apex of global popularity, culminating in three Grammys. Years later, Sting shared a much clearer perspective of the tour and the imminent end of the group that came afterward. Just a few weeks into their North American schedule, The Police played in front of 67,000 at New York’s Shea Stadium, which looking back, Sting noted was the peak of their career:

“I realized that you can’t get better than this, you can’t climb a mountain higher than this. This is Everest. I made the decision on stage that ok, this is it, this is where this thing stops, right now.”

The problem was — after the group’s Shea Stadium pinnacle, The Police still had another 90, or so, tour dates ahead.  They were expected to bring music and energy to every show.  Every night.  For the once tight-knit group, the repetitive routine of performing and traveling together constantly with few breaks became like living under the same roof when divorce is imminent.

Then again, singing and performing the insufferable “De Do Do Do, De Da Da Da” 105 times would probably drive anyone over the edge.

Reunion Arena , awkwardly cross-blocked on the western edge of downtown Dallas, seemed obsolete from the first day it opened.  It housed the NBA’s Dallas Mavericks for 25 inglorious years.  But Reunion Arena, even with its drab demur and impersonal lack of character, was an excellent venue for live concerts.  I saw at least a dozen shows there.  Reunion Arena didn’t have a bad seat in the house.

By the Fall of ’83, Synchronicity had already been out for five months.  The album spawned three Top-10 hits.  Every American FM radio station, including Dallas’ two premier rock stations, KZEW (the Zoo) and Q-102 wore out the vinyl, even playing the album’s non-hits.  Locally, tickets to the first show were snapped up within a few hours.  So, a second show was added.  Their Texas swing of the North American tour included six shows in eight nights — played in four different cities.  Houston also included a second show, at the Summit.  For the group, adding more shows meant fewer days off, less rest, and predictably, more tension.

The Police’s first of two dates in Dallas began on Sunday night, November 13th.  UB40, the British reggae band was the opener.  I have no recollection of UB40’s performance.  Perhaps I arrived close to showtime and missed it.  I can’t remember.

From the opening note when they took the stage, what I do remember from The Police was a stunning transformation of sight and sound.  It was an overwhelming experience.  The set began with the album’s title track, “Synchronicity,” a blistering wave of raw energy fueled by a thundering bass, amped to the gills by Sting.  Indeed, it was synchronic.  The opener established a hopelessly high bar that was nearly impossible to sustain over the next full 120 minutes, though The Police for the most part delivered with a tight, if time-clock-punching concert, which for all its audio and visual grandeur lacked spontaneity.  But we didn’t come that night to see The Police jam or go off on Grateful Dead-like tangents.  Well into the tour by this time, this was a well-oiled rock machine at the height of the influence.  Like the tension on a tightly-strung Fender, everything was pushed nearly to a breaking point, but the strings somehow held.  How could just three musicians put out a sound like that?  They were a rock orchestra.

The pulsating light show and tricolor backdrop of bright blue, red, and yellow replicated the album’s attractive cover.  Sting’s multi-colored jacket, bookended with giant shoulder pads that were then such a fad, made it clear who the star of this show was.  Summers and Copeland, though superbly talented and accomplished musicians in their own right (while on tour, Copeland had been commissioned to do the soundtrack to the Francis Ford Coppola film, Rumblefish ), seemed reduced to Sting’s session players and sidemen.  Sting handled every vocal and led the wall of sound like a conductor.  As for singing and small talk between numbers, Summers and Copeland stayed muted and glued to their instruments throughout.

The band played all their hits — including “Walking in Your Footsteps,” “Message in a Bottle,” “Demolition Man,” “Walking on the Moon,” “De Do Do Do, De Da Da Da,” “Wrapped Around Your Finger,” “Spirits in the Material World,” “King of Pain,” “Every Little Thing She Does Is Magic,” and “Every Breath You Take.”  The 20-minute encore included songs from the band’s earlier days — including “Roxanne” and “Can’t Stand Losing You.”  One interesting take from seeing The Police live is — their best songs in the studio are actually the least compelling inside a vast arena.  High-energy songs like “Demolition Man” were the biggest crowd-pleasers.

The audience of 17,000 left happy and satisfied.  I counted hundreds of unisex mullet haircuts.

By the duo of Dallas dates, each member of The Police was well aware that this was their final touring act, well, at least until the money and temptation to do it all over again simply became too great to resist.  They would reunite nearly 25 years later for a “30th Anniversary Tour.”  Incredibly, that brutal workload was even more of a strain than the Synchronicity tour, which included 151 shows in 2007-08.  By the conclusion of that one-year reunion run, it became the (then) third highest-grossing tour of all time.

The Police were a combustible clash of headstrong personalities and perfectionists, who even in their dissolution, always delivered for their audiences — both inside the studio and onstage.  As the song goes, every little thing they did was magic.

Read other articles in this “Classic Concert Reviews” series:

Jim Croce, Six Flags Over Texas, Arlington, TX, 1973

Charley Pride, Tingley Coliseum, Albuquerque, NM, 1971

Tony Orlando and Dawn, Cotton Bowl, Dallas, TX, 1973

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Listen to The Police bring the Synchronicity tour to JFK Stadium in 1983

On August 20, 1983, The Police took to the stage of JFK stadium. Though the stadium last stood in 1992, an audio recording of the almost-two-hour set gives listeners a blast to the past or a place to imagine iconic concerts like this one.

Since The Police formally formed in 1977, the 1983 set marks the English pop rock band only five years into their career together.

At the time of this performance, the band had already released five studio albums, the last being Synchronicity that dropped two months prior. On the recording, the group opens the concert with a raging version “Synchronicity I” and moves onto other hits like “Message In A Bottle” around the thirteen-minute mark.

At an hour and eight minutes, The Police perform what would become their biggest hit, “Every Breath You Take.”

The recording also gives listeners an insight into the circumstances of the concert, such as Sting saying “I think the next time we play in Philly, we’re gonna have to play at night,” 44 minutes into the show. For The Police, it was a mini-festival that began at 1 p.m. and found a little-known Georgia band called R.E.M. opening the day ( read about their set here ) alongside Madness, and Joan Jett and the Blackhearts.

Sting also goes on to compliment how the city “looked good” from an airplane an hour previous to the concert, and spoke of how hot it was out on that August day. The temperature was also referenced at several points by Philadelphia Inquirer critic Ken Tucker , who was astonished at how “remarkably well-organized” this rock concert was.

Check out the audio recording along with some other memorabilia below.

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The Police’s ‘Synchronicity’ at 40: The Story Behind Every Song

It’s rare for a band’s final album to be their best, but that’s exactly what the Police delivered on June 17, 1983.  Synchronicity represented everything – both good and bad – that helped make the Police one of the biggest acts in the world. The trio’s sound was honed to perfection, an expert blend of pop sensibilities, exotic rhythms, engrossing lyrics and dynamic instrumentation.

But behind the scenes, Sting , Stewart Copeland and Andy Summers were splintering beyond repair. The always-combustible trio recorded their respective parts in separate rooms and frequently quarreled while working on the album. At one point, Sting and Copeland even came to blows.

Still, those deeper details wouldn’t come out until later. When Synchronicity was released, fans had no clue they were listening to the final creative explosion from one of the era’s greatest groups. The album hit No. 1 in the U.S. and U.K., sold more than 10 million copies worldwide and took home three Grammy Awards. Below we take a look at the album, track-by-track.

1. "Synchronicity I" Even though its songs are too disconnected to be considered a concept album, Synchronicity ’s title comes from psychiatrist Carl Jung's theory of the same name. The basic concept is that every experience and circumstance is somehow connected. In the LP’s frenetic opening track, the theory is spelled out clearly: “A connecting principle / Linked to the invisible / Almost imperceptible / Something inexpressible / Science insusceptible / Logic so inflexible / Causally connectable / Nothing is invincible.” The Police also used this high-energy song as their set opener during the Synchronicity tour. “It was real 'rama-lama' way of starting our set on tour,” Copeland recalled . “Though it almost killed me to start with that kind of onslaught every night."

2. "Walking in Your Footsteps" The Police delved deeply into world music influences for Synchronicity , with distinctive tribal rhythms and arrangements that were more sparse than in their previous work. The stylistic shift is evident in "Walking in Your Footsteps," a song where Sting compares the plight of the dinosaurs to humanity's potential end. This album cut may get lost among the LP's more popular tracks, but it's well worth a listen if only to hear Sting weave the word "brontosaurus" into his lyrics.

3. "O My God" The Police dipped back into their history to create “O My God.” Some parts of the track are a new composition, but two earlier songs inspired the lyrics. The first verse and chorus came from “3 O’Clock Shot,” a song that dates to Strontium 90, the band Sting, Summers and Copeland were in with bassist Mike Howlett before the Police. “O My God” also features lines that famously originated on the Police's 1981 single “Every Little Thing She Does Is Magic": "Do I have to tell the story / Of a thousand rainy days since we first met / It's a big enough umbrella / But it's always me that ends up getting wet"

4. "Mother" Unquestionably the strangest and most distinctive song on Synchronicity , “Mother” is a harsh and aggressive spoken-word track featuring Summers ranting about his mom. Notable lines include "Oh, mother dear, please listen / And don't devour me" and "Every girl that I go out with / Becomes my mother in the end."  You don't have to be a psychologist to see the long-simmering issues present here. “We all have our family situations, and I had a pretty intense mother who was very focused on me,” Summers explained to Songfacts . “I was sort of the golden child, and there I was, sort of fulfilling all of her dreams by being this pop star in the Police. I got a certain amount of pressure from her. It’s not heavy — it was written kind of ironic, to be kind of funny but crazy. It’s inspired a little bit by Captain Beefheart . It’s something that’s really off-the-wall.”

5. "Miss Gradenko" “The music for ‘Miss Gradenko’ came from playing guitars in hotel rooms,” Copeland told  Far Out Magazine , addressing his only songwriting credit on Synchronicity . “I had it on guitar, and was struggling to play it, but Andy just picked it up. He can just do that. As for the lyrics, it was during the Cold War, and I remember seeing a picture of a lady in a Russian uniform. I think Sting did something similar with ‘I hope the Russians love their children, too.” How can you compete with a fucking poet?”

6. "Synchronicity II" Two seemingly unrelated storylines – a domestic dispute and the Loch Ness Monster emerging from its slumber – are presented in “Synchronicity II,” designed to highlight the album's titular psychological concept. "Jung believed there was a large pattern to life, that it wasn't just chaos,” Sting explained to Time . “Our song 'Synchronicity II' is about two parallel events that aren't connected logically or causally, but symbolically." Released as the album’s third single, “Synchronicity II” climbed to No. 16 on the Billboard Hot 100. The song is seemingly unconnected in any way to the album’s earlier track “Synchronicity I,” but there’s most likely an underlying link that Sting has never revealed.

7. "Every Breath You Take" Even on an album of incredible quality and depth, "Every Breath You Take" stands out as The Big Hit. The incredibly catchy song came together at a time of personal strife for Sting. His first marriage had fallen apart, and his new relationship - which started while he was still married - quickly became a tabloid favorite. The song idea suddenly came to Sting when he was in Jamaica at the Goldeneye estate of James Bond novelist Ian Fleming. “I woke up in the middle of the night with that line in my head,” Sting recalled to the Independent . “I sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn't realize at the time how sinister it is.” "Every Breath You Take" spent eight weeks at the top of the Billboard Hot 100, on its way to becoming the biggest single of 1983.

8. "King of Pain" Never one to shy away from melodrama, Sting penned "King of Pain" to reflect a bout of self-pity. "I was sitting moping under a tree in the garden, and as the sun was sinking toward the western horizon, I noticed that there was a lot of sunspot activity," the singer recalled in his book Lyrics by Sting . He turned to his then-girlfriend and future wife Trudie Styler. "'There's a little black spot on the sun today.' She waited expectantly, not really indulging my mood but tolerant. 'That's my soul up there,' I added gratuitously. Trudie discreetly raised her eyes to the heavens. 'There he goes again, the king of pain.'"

9. "Wrapped Around Your Finger" Songs about turning the tables on an oppressive partner have been done many times, but leave it to the Police to give their tale a reggae beat and references to Greek mythology and Faust. In Lyrics by Sting , the frontman explains:"['Wrapped Around Your Finger'] is vaguely alchemical and probably about a friend of mine, a professional psychic and my tutor in tarot, with bits of Doctor Faustus and 'The Sorcerer's Apprentice' thrown into the pot for good measure," Sting admitted. Released as Synchronicity 's fourth single in the U.S., "Wrapped Around Your Finger" was another Top 10 hit for the Police, peaking at No. 8 on the Billboard Hot 100.

10. "Tea in the Sahara" The name and inspiration for "Team in the Sahara" came from the book The Sheltering Sky . Sting was a fan of Paul Bowles' novel and based this song on one of its stories. "It's one of the most beautiful, sustained, poetic novels I've ever read," he explained. "It's about Americans that regard themselves as travelers and not tourists, and I class myself in that category. I'm a hopeless tourist, but I'm constantly on the move. There was a story within that story - that was a sort of Arab legend that was told in the story of three sisters who invite a prince to a tea party out in the desert to have tea, tea in the Sahara. They have tea, and it's wonderful, and he promises to come back and he never does. They just wait and wait and wait until it's too late. I just loved this story and wrote a song called 'Tea in the Sahara'. I don't know whether Paul Bowles ever heard it, probably not, but it's still one of my favorite songs."

11. "Murder by Numbers" (bonus track) The original vinyl version of Synchronicity  included 10 songs, but fans who purchased the album on CD or cassette received an 11th bonus track called "Murder by Numbers" (which was also released as a B-side). The song came together quickly while the trio was in the middle of recording. "We are sitting at the dinner table and Andy’s plunking on his guitar with his sophisto jazz chords, and Sting loves that shit," Copeland recalled to Sound Vapors . "He pulls out his book and he’s got a lyric for that." The band soon adjourned to the studio, where Copeland put together the track's rhythm. "So I’m already playing when they plug in their amps and Hugh switches on the tape machine to record and it’s already in progress. They pick it up and just lay the tune down one time and that’s the record. We didn’t even run it through one time. That was it! The first time it was ever attempted, that was the recording.”

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• September 8, 1983 Setlist

The Police Setlist at Phoenix Municipal Stadium, Phoenix, AZ, USA

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Tour: Synchronicity Tour statistics Add setlist

• Song played from tape Voices Inside My Head Play Video
• Synchronicity I Play Video
• Synchronicity II Play Video
• Walking in Your Footsteps Play Video
• Message in a Bottle Play Video
• Walking on the Moon Play Video
• O My God Play Video
• De Do Do Do, De Da Da Da Play Video
• Wrapped Around Your Finger Play Video
• Tea in the Sahara Play Video
• Spirits in the Material World Play Video
• Hole in My Life Play Video
• Invisible Sun Play Video
• One World (Not Three) Play Video
• King of Pain Play Video
• Don't Stand So Close to Me Play Video
• Murder by Numbers Play Video
• Every Breath You Take Play Video
• Roxanne Play Video
• Can't Stand Losing You Play Video
• Reggatta de Blanc Play Video

Note: Originally scheduled for the previous day - the show for this day was originally planned in Las Vegas at The Dunes

Edits and Comments

8 activities (last edit by [deleted user] , 16 Oct 2020, 00:10 Etc/UTC )

Songs on Albums

• Every Breath You Take
• King of Pain
• Murder by Numbers
• Synchronicity I
• Synchronicity II
• Tea in the Sahara
• Walking in Your Footsteps
• Wrapped Around Your Finger
• Invisible Sun
• One World (Not Three)
• Spirits in the Material World
• Can't Stand Losing You
• Hole in My Life
• Message in a Bottle
• Reggatta de Blanc
• Walking on the Moon
• De Do Do Do, De Da Da Da
• Don't Stand So Close to Me

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Setlist History: The Police Kick Off of the Synchronicity Tour

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The Police Gig Timeline

• Sep 05 1983 Aztec Bowl San Diego, CA, USA Add time Add time
• Sep 06 1983 Hollywood Park Racetrack Inglewood, CA, USA Add time Add time
• Sep 08 1983 Phoenix Municipal Stadium This Setlist Phoenix, AZ, USA Add time Add time
• Sep 10 1983 Day on the Green 1983 #3 Oakland, CA, USA Add time Add time
• Sep 11 1983 Ratcliffe Stadium Fresno, CA, USA Add time Add time

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<== previous entry

On 1983-07-23 , The Police performed at Comiskey Park in Chicago, IL, USA.

• 2 Recording information
• 5 External links
• 6 References
• Voices Inside My Head
• Synchronicity I
• Synchronicity II
• Walking In Your Footsteps
• Message In A Bottle
• Demolition Man
• De Do Do Do, De Da Da Da
• Wrapped Around Your Finger
• Spirits In The Material World
• Hole In My Life
• Invisible Sun
• King Of Pain
• Every Breath You Take
• Tea In The Sahara
• Don't Stand So Close To Me
• Can't Stand Losing You
• Every Little Thing She Does Is Magic
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Recording information

There's a recording of this concert.

The setlist and its order is quite different to other 1983 concerts.

Early flyers and posters announced Simple Minds and not Chicago-based band Ministry.

This show, like some others on the 1983-1984 Synchronicity Tour was a matinee show.

In the evening there was an after show party at the Park West Hotel. While Andy, Stewart, Miles and Ian attended the event (as did the support acts and Robin Zander from Cheap Trick), Sting didn't.

A magazine clipping (probably Billboard) lists the cost for such a huge concert event - including talent, rent, labor, ads, stage, security, ticket commissions, restoring the turf, permits, catering, insurance, payroll taxes, medical expenses, limousines, lighting, buses and recording licenses it was about US$ 650.000 !

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External links

source: tickets, flyer, poster, photos, Outlandos newsletter September 1983 , The Chicago Tribune review, Pop-Teen (after show party)

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• 1983-1984 Synchronicity Tour

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