Police

More than twenty years after the Police's induction into the Rock and Roll Hall of Fame, Stewart Copeland still recalls that evening with mixed feelings. In the documentary “Copeland”, the drummer says he felt “heartbroken” and experienced a deep “sadness” after what should have been a celebration of the band's history.
On 10 March 2003, Sting, Andy Summers and Stewart Copeland reunited at the Waldorf Astoria in New York for the Hall of Fame induction ceremony, performing three classics from the Police catalogue: “Message In A Bottle”, “Roxanne” and “Every Breath You Take”. Yet behind the scenes, the atmosphere was far from what the drummer had imagined. “We hadn't seen each other in decades, the rehearsals were a bit strange. We played our three songs, and after we'd played them, I turned around and saw Andy had gone off one way, Sting had gone off the other way. I headed towards the stage and went to find my family… I never saw the Police again that night. Doesn't that tell you something? Come on, guys. I never saw them again.”

His words confirm just how complicated relationships within the English band have remained over the years, despite episodes that marked a partial reconciliation, such as the 2007 world reunion tour. Copeland now recalls it as a positive, even therapeutic experience: "It was therapeutic. We did group therapy, we told each other everything. I'd recommend it to other bands."
While effectively ruling out another Police reunion, the drummer still leaves a small window open, at least in theory. "Sure, I'd love it, but it won't happen. Or rather, there's a one-in-a-billion chance. Never say never... The problem is we get along fine as long as we're not playing together. And I don't want to ruin that." Today, he explains, personal relations between the three former bandmates remain fairly cordial: "We send each other silly videos on Instagram, mostly weird versions of our own songs. It's our favourite running joke."
In a recent interview with Adnkronos, Copeland also spoke about his relationship with Sting, whom he continues to deeply admire. He called him "a fucking genius," quickly adding with a joke: "But don't tell him!". He also admitted that he only came to appreciate the richness of the singer's lyrics in recent years: "I was the drummer, I was making a racket while someone shouted something up front. I never really listened closely to the words."

The tensions between the band members, however, are not just a thing of the past. In recent years Summers and Copeland have launched a legal dispute against Sting and his publishing company, claiming they never received an adequate share of the earnings generated by the digital exploitation of the Police catalogue. The two musicians believe they are owed a sum between $2 million and $10.75 million in unpaid royalties, a figure that could grow once interest is factored in.
Earlier this year it emerged that Sting had already paid out more than $800,000 to his two former bandmates since the legal action began. The singer, however, continues to dispute their claims, arguing that revenue from streaming and downloads should be classified as "public performance" income rather than actual sales. His lawyers have also rejected the accusations, claiming that Summers and Copeland were, if anything, "overpaid."

At the heart of the dispute are some of the trio's biggest hits, in particular "Every Breath You Take," the lead single from the last album released under the Police name, "Synchronicity" (1983). Although not credited as songwriters, Summers and Copeland are seeking financial recognition for their contribution to the arrangements on the original recordings, and for the subsequent digital exploitation of the band's back catalogue.

In the interview, Copeland also reflects on the public role of artists, while distancing himself from celebrity political activism. "When stars grab the microphone, they often end up hurting the cause they're trying to support. I don't think voters really care what I think." His conviction about the enduring value of the songs that made Police famous, however, remains unchanged. "The new ones might even be technically better, but they'll never have the same emotional impact. Because the old songs carry a history with them." A history that, despite the misunderstandings, the legal battles and the unlikely reunions, still binds Sting, Andy Summers and Stewart Copeland together to this day.

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18/06/2026