Stewart Copeland's Wild Concerto: How animals became his latest bandmates

Stewart Copeland: From The Police to Wild Animal Symphonies

In an engaging phone conversation, Stewart Copeland, the celebrated drummer of The Police, known for hits like “Every Breath You Take,” playfully revisits past critiques. Copeland, whose band dominated global charts forming in 1977, recalls the era with a touch of humor. The Police achieved phenomenal success, releasing five multi-platinum albums, and achieving five number one singles. Since then, Copeland has expanded his musical horizons, composing for film, opera, and ballet. His latest project, the album “Wild Concerto“, features a unique collaboration with wildlife – real animals, not just boisterous rock musicians. From the infectious rhythms of “De Do Do Do, De Da Da Da” to the natural soundscapes of “De Do Dolittle,” Copeland’s musical journey continues to evolve.

A Combative Spirit and Capitalist Views

At 72, Stewart Copeland remains outspoken and energetic, retaining the spirited attitude that made him one of the world’s most respected drummers. A vocal advocate for free enterprise, he notably challenged the prevailing left-leaning views of the music industry in the 1980s. During a 1986 Melody Maker debate with Red Wedge, a pro-Labour musician group, Copeland directly questioned Paul Weller about socialist principles and fair compensation for band crews. A staunch supporter of capitalism, the Virginia-born musician expresses reservations about protectionist trade policies. When Donald Trump’s name is mentioned, Copeland humorously repeats “I shall not be triggered” multiple times as a self-composed mantra.

Creative Collaborations: From Sting to Wildlife

While political disagreements marked his relationship with Sting, Copeland insists any physical altercations were accidental, recalling a play-fight where he jokingly claims to have only broken one of Sting’s ribs unintentionally. His current musical partnerships are less fraught with tension and feature a diverse ensemble: an owl, a hyena, six frogs, two wolves, and a white-throated sparrow. His album, “Wild Concerto,” masterfully blends his orchestral compositions with authentic animal sounds captured in their natural habitats by Martyn Stewart, of The Listening Planet, often called ‘The David Attenborough of Sound’. Copeland credits Martyn Stewart’s arduous fieldwork for providing the raw material: “Martyn had to endure challenging conditions to capture these incredible sounds, while my task of building music around them was comparatively easier.”

From Street Sounds to Film Scores

Copeland’s pioneering work in sound integration dates back to his score for Francis Ford Coppola’s 1983 film “Rumble Fish,” which incorporated street ambience, dog barks, shattering glass, and traffic noises. He has since composed over sixty film scores, including for Oliver Stone’s “Wall Street,” before stepping back from film work two decades ago. “The demands of film studios and the constant pressure became overwhelming,” he explains.

Early Life and Influences

Stewart Copeland’s upbringing was shaped by an extraordinary family background. His father, Miles Copeland, was a prominent US intelligence officer during World War II and a co-founder of the CIA. His mother, Lorraine, born in Aberdeen, was an archaeologist with British Intelligence connections. The family relocated to Cairo when Stewart was an infant, then to Beirut. At the age of 14, they were evacuated to London. “I grew up in London,” he jests, referencing St John’s Wood. “I’m more grounded than you might assume.” He attended Millfield public school in Somerset on a scholarship, where his American identity set him apart. “Initially, the American accent was a pose, but it’s now genuinely part of me.” He humorously admits his attempts at British accents now resemble Dick Van Dyke’s.

Musical Beginnings and The Police’s Formation

Copeland’s musical journey began at age 12 with his band, the Black Knights, performing covers of The Animals and James Brown at the US Embassy beach club in Beirut. At a subsequent performance at the British Embassy beach club, he was captivated by a 15-year-old named Janet. He recalls the initial unrequited attraction changing when he started drumming: “She began dancing to my beat. Though I was physically small, behind the drums, I felt powerful.” His career path solidified. At 22, Copeland joined the progressive rock band Curved Air, later marrying the lead singer Sonja Kristina. “I joined Curved Air as it was declining, but our tours were always memorable and well-received,” he recounts.

Following Curved Air’s breakup in late 1976, Copeland initiated the formation of The Police. He replaced his original guitarist with Andy Summers in August 1977 but still needed a bassist. Sonja Kristina suggested Gordon Sumner, known as Sting, whom they had seen performing with the jazz band, The Last Exit, in Newcastle. The Police‘s debut punk single, “Fall Out,” released in February 1977, met with little initial success, and the early days were financially challenging. Copeland supported himself with savings from Curved Air, even renting equipment for gigs. A Wrigley’s chewing gum commercial ironically inspired The Police‘s iconic blond hairstyle. Hired as a “wild” rock band for an advertisement, Sting, Andy, and Stewart underwent a peroxide and hair-spiking transformation to amplify their rebellious appearance. “The £50 each we received for that commercial sustained us for a month.”

Breakthrough and Global Success

Copeland achieved a minor hit as Klark Kent in 1978 with “Don’t Care,” even appearing on Top Of The Pops with Sting playfully wearing a gorilla mask. “I’m glad you remember that,” he laughs. “Sting’s first TV appearance was in a gorilla mask, pretending to play bass, thanks to me. I might have had the first joke, but he ultimately had the last laugh by writing The Police’s numerous hit songs.”

After signing with A&M Records, The Police achieved breakthrough success with “Roxanne” shortly after. Within five years, they headlined New York’s Shea Stadium, performing to 60,000 fans. “It felt like an incredibly rapid ascent,” Stewart reflects. Initially booked as a support act for Alberto Y Lost Trios Paranoias on a UK tour, their trajectory shifted dramatically when “Can’t Stand Losing You” reached the Top 3. “From the first night onwards, venues were packed. Their manager jokingly suggested we should be paying them, as it became clear the audience was primarily there for us. As a supposed support act, we were met with deafening screams from teenage girls – like a piranha frenzy in sound.” Their most challenging performance was in America, opening for The Ramones. “The Ramones delivered an electrifying set. We were exhausted and underprepared after a long drive and couldn’t match their energy that night.” An Italian concert was delayed by civil unrest. “Tear gas permeated even our underground dressing room, but we eventually performed.”

The Police’s Legacy and Solo Endeavors

The Police officially disbanded in 1984, reuniting only for their 2007 Reunion Tour, which generated more revenue than their cumulative earnings from their initial run. “I am immensely proud of The Police, and of my work with Sting and Andy. Opera, however, represents a different, more niche aspect of my work. My experience with film scoring paved the way for composing operas. I see a strong interplay between music and dramatic narrative. I deeply appreciate operatic vocal performance.” He shares a humorous anecdote about his wife Fiona’s perspective on his operatic pursuits: “Fiona questions my opera compositions, noting none of our friends enjoy opera. But opera houses are artistic spaces. Their business model is fundamentally about the art, not profit.”

Current Projects and Future Aspirations

Copeland’s diverse compositions extend from concertos to his Grammy-winning 2021 new age album “Divine Tides” with Ricky Kej. Had music not worked out, he might have pursued journalism, having reviewed instruments for Sounds magazine in the 1970s. However, advertising jingles proved more financially rewarding. His Mountain Dew commercials for the Super Bowl earned him “six figures for 60 seconds.” BlackBerry paid him handsomely for a five-note audio logo. “Each note’s payment could have funded a year of private schooling for my child.” He is a father of seven, three with Fiona. Describing his personality, he admits, “I tend to interrupt – something my children often tease me about. My older sons are well-accustomed to my humor. I particularly like my eldest daughter’s boyfriend, who still finds my jokes amusing.” He will present his “Wild Concerto” in London on April 22 and is working on a final opera, alongside two ballets. He aims to conduct more frequently, is writing a book titled “The Young Rock Star’s Handbook,” and plans to bring his spoken word tour back this Autumn. “Staying active is vital. I still have a strong desire to push boundaries,” he concludes. “I still want to make a powerful impact!”

Stewart Copeland’s “Wild Concerto” album is available from Friday, April 18 on Platoon Records.