Sting's night at the concert hall provides respite from election stress...

7 out of 10 adults say the future of the nation is a significant source of stress in their lives, according to the new report Stress in America 2024: A Nation in Political Turmoil.

And while listening to music is often recommended by psychologists as a method of relieving anxiety, an online playlist may not be enough to ease voters' minds in the final countdown to the 2024 election.

That's why concerts are filling a void for voters looking to catch a break from the 24/7 onslaught of campaign ads and negativity.

Taking the temperature of voters at the Cobb Energy Performing Arts Centre in suburban Atlanta Tuesday proved their mood to be ecstatic - but not for political reasons.

At the sold-out Sting show, fans of all political stripes said they checked their election worries at the door.

In the lobby before the event, concertgoer Walter Anderson of Atlanta said attending concerts can be an outlet for stress, as long as the messaging in the music doesn't overpower the mood of the moment.

"I think music brings people together, and based on the songs, can be either something that does bring people together or it can alienate and separate," he said.

A longtime follower of Sting’s former band, The Police, Anderson attended the 1983 Synchronicity concert at the Omni (a recording of that show went on to become one of the bestselling concert videos of the era). He said the 73-year-old British musician’s songs are “a celebration of life, and he has expressed faith in many of his songs, which is a connectivity point for me … I like what he stands for."

Sharon Roberge and her husband made the trip to Atlanta from Charlotte, N.C. She said the couple travels often to see their favorite artists, and concerts are an escape.

“It’s not politics, but just like everyday life," she said. "Music is our soul.”

Inside the hall, the performances calmed the mood and engaged the mind.

Sting arrived onstage shortly after 8 p.m. to introduce opening act Eric Lewis (a.k.a. Elew), an alumnus of Wynton Marsalis’ Lincoln Center Jazz Orchestra and jazz pianist whom the headliner said caught his ear at a nightclub gig in New York City.

Elew, an instrumentalist who did not sing, played both the keys and strings of a Yamaha grand piano, its shiny propped lid acting as a mirror to reflect his handiwork beneath the hammers.

Without a bench, Elew assumed a surfer’s stance to pound the chords of Nirvana’s “Smells Like Teen Spirit,” summon a favorite Gershwin Tune and elicit a standing ovation of Hoagie Carmichael’s “Georgia On My Mind.”

By the time Sting returned to the stage with his “Sting 3.0” bandmates - longtime guitarist Dominic Miller and Chris Maas, a powerhouse touring drummer who served stints with Mumford & Sons - the crowd was focused on the palpable energy in the room, not the world outside.

As Sting plowed through the verses of his classics, starting with 1979’s “Message in a Bottle” and 1993’s “If I Ever Lose My Faith in You,” he nodded to the audience to amplify the music's anthemic choruses. He raised his eyebrows with a smile during latter song’s famous lyric: “You could say I'd lost my belief in our politicians / They all seemed like game show hosts to me,” he sang, garnering laughter and cheers.

It was a lone nod to politics in a set that covered the breadth of Sting’s recording career, from expected solo selections like the tender “Fields of Gold” and a nimble rock version of “Englishman in New York” (that, no matter how good, still yearns for the soprano saxophone playing of Branford Marsalis) to Police stalwarts including “Every Little Thing She Does is Magic” and “Driven to Tears.” Hearing and seeing Sting's fingers move on the bass strings in the stripped-back trio configuration was a treat for fans who consider his playing underrated.

Miller’s intricate fretwork was featured more prominently than in past tours (the guitarist has supported Sting for more than 30 years). He moved easily from Jimi Hendrix-influenced riffs employed the circular playing style of 2003’s “Never Coming Home” and strumming the distinctive chords of 1985’s “Fortress Around Your Heart” when Sting tasked him with choosing a wild card from the more than 200 songs and myriad of time signature combinations in his catalog.

The sold-out crowd of 2,750 responded by singing every word with Sting, whose vocals sounded as strong as ever: “King of Pain," “Every Breath You Take” and “Roxanne” ratcheted everyone to full lung capacity and showcased the unity of unison. It was a reminder of why music and sports are often the only gatherings Americans attend where they routinely interact with folks outside their own political and social bubbles.

Yet, across the evening, it was the lushness of Sting’s balladry that stood as proof of life for the inquisitiveness and nuance in our daily lives which are now so often drowned out by the angry din of arguments and harsh rhetoric.

“Why ShouId I Cry for You” and the rarely performed 1981 Police song “I Burn for You” considered the depth of human relationships, while the final encore, “Fragile” captured the fleeting nature of existence.

Walking out of the theatre after the show, friends Laura Morse and Leah Johnson of Atlanta said concerts are serving as coping mechanisms during periods of stress.

“This is actually my third concert in a week with Usher, Stevie Wonder and now Sting, and I’ve been thinking about what music means to me,” Morse said. “Especially live music that makes me feel grounded and grateful. I’m feeling the love and joy tonight.”

“Music is the way for people to kind of let the barriers down - and there's a commonality,” Johnson said. “Even here in the audience,  we're partying with the people around us. I mean, I don’t know who they are, but we're all laughing together and having fun. It’s a great way for people to come together because they all love this music. And I think you leave the politics or whatever else is happening at home back there.”

(c) Georgia Public Broadcasting by Kristi York Wooten