Stewart Copeland has offered a candid perspective on his friendship with Sting. The two former Police bandmates maintain a cordial relationship despite ongoing legal tensions. In recent comments, Copeland explained that while the musicians themselves remain on good terms, their respective legal teams are handling a significant financial dispute in the background.
“We’re not (in court). The bean counters are, somewhere over in London. For me it’s, ‘Lemme know how it works out…'” Copeland stated. He emphasized the separation between his personal relationship with Sting and the formal legal proceedings. He further elaborated on the nature of their friendship, noting that they continue to communicate regularly about personal matters and share cultural interests. “I still talk to Sting, about kids, Instagram memes, bullshit… I’m happy that we get along just fine, and we know way. It’s not because of satanic impulses or any of the human infirmities of jealousy, greed, pride, whatever.”
Copeland attributed their ability to maintain a positive relationship to a fundamental understanding about their creative partnership. “We really achieved everything we needed to achieve. Really, as I’ve been saying a lot recently, ol’ Sting-O and I, we make music for different reasons, and it has a different place in our lives. So we get along great as long as we’re not trying to make music together,” he explained. This pragmatic approach to their past collaboration has allowed both musicians to move forward without the bitterness that often accompanies band breakups.
The drummer’s current approach to music reflects a significant shift in his priorities and career philosophy. “I’ve had a career in music; it worked out well. Now I just do it for kicks and put (music) up on YouTube for folks to enjoy, without any agenda. I’m not chasing the charts; if I make a record, it’s probably gonna cost me money. You can’t make a living writing opera, but it’s a lot of fun,” Copeland revealed. His creative pursuits have become more personally fulfilling than commercially driven.
Behind the scenes, the financial dispute between the former bandmates remains substantial. Copeland and guitarist Andy Summers have claimed that Sting owes them more than $2 million in unpaid royalties. These royalties stem from the digital exploitation of The Police’s extensive back catalog. The core of their argument centers on the assertion that they are entitled to a 15 percent share of publishing income under earlier band arrangements. This entitlement should extend to streaming and other modern digital uses that have generated significant revenue since the band’s initial dissolution.
Sting’s legal representatives have contested these claims. They argue that the disputed agreement does not apply to digital distribution in the manner that Copeland and Summers contend. The singer’s lawyers have further suggested that a 2016 settlement agreement resolved the underlying issues. They have even asserted that their client may have substantially overpaid his former bandmates under certain interpretations of the existing contracts. Despite these contentions, Sting has already paid more than $800,000 to his former bandmates in acknowledged historic underpayments since the lawsuit commenced. This indicates that some financial adjustments have been made during the course of the legal proceedings.
The dispute represents one of the most significant financial disagreements among members of one of rock music’s most successful acts. The Police’s catalog, particularly iconic tracks like “Every Breath You Take,” continues to generate substantial revenue through streaming platforms and other digital channels. The question of proper royalty distribution is a matter of considerable financial consequence. The ongoing nature of the case underscores how the transition from physical media to digital distribution has created new complexities in music industry contracts. These contracts were negotiated decades earlier, when streaming revenue was not a contemplated factor in royalty calculations.
