How Sting Pays Bandmates in The Police Reunion
Sting pays bandmates Andy Summers and Stewart Copeland through a structured royalty and profit-sharing framework tied to The Police reunion tours and catalog earnings. The trio reformed in 2007 for the reunion tour, which grossed over $358 million across 151 shows according to Billboard Boxscore, and the ongoing revenue is divided under a written agreement that specifies base splits and performance bonuses. The latest public data shows that the band's primary royalty entity remains controlled by Sting via his publishing company, with Summers and Copeland receiving negotiated points on touring income and master royalties. Forbes reported the tour's gross and the band's profit-sharing approach.
The payment mechanics rely on a combination of live-performance revenue, streaming royalties, and sync licensing, with each member's share calculated after deducting tour costs and management fees. Sting's publishing administration handles the collection of mechanical and performance royalties globally, while the band's designated accountant distributes the agreed portions to Summers and Copeland on a quarterly basis. The contract also includes provisions for credits, branding rights, and decision-making authority on reunion activities, ensuring that all three members have defined roles in revenue generation and expenditure approval.
Royalty Splits and Contract Terms
Sting pays bandmates based on a royalty split that reflects each member's contribution to The Police's songwriting and performance legacy, with the majority of publishing rights historically tied to Sting as the primary songwriter. The Police's catalog generates tens of millions of dollars annually in streaming and licensing revenue, and the internal split is documented in a long-term agreement that governs reunion activities and catalog usage. SEC filings and public music-company disclosures often illustrate how band royalty structures are reported.
Under the current terms, Summers and Copeland receive a negotiated percentage of touring income and a share of master royalties, while Sting retains a larger share of publishing income due to his role in writing the band's hits. The agreement also sets thresholds for additional bonuses tied to album sales, streaming milestones, and high-grossing tour legs, with payments triggered automatically once those benchmarks are met. Legal counsel for all three parties reviews the terms periodically to align with evolving industry standards and tax jurisdictions.
Performance Bonuses and Revenue Thresholds
Sting pays bandmates performance bonuses when The Police reunion tour grosses exceed predefined targets, with the bonus structure outlined in the band's management agreement. These bonuses are calculated as a percentage of net tour profit after deducting venue costs, promotion, and crew expenses, and they are distributed alongside the regular royalty payments on a per-show basis.
Streaming and Sync Licensing Income
In addition to live-performance revenue, Sting pays bandmates from streaming and sync licensing income generated by The Police's catalog on platforms such as Spotify, Apple Music, and YouTube. Sync fees from film, television, and advertising placements are also split according to the agreement, with the band's publisher tracking usage and collecting royalties through global collection societies.
Legal Framework and Governance
Sting pays bandmates under a legal framework that incorporates partnership law principles, contract law, and music-industry standards to define ownership, decision-making, and dispute resolution. The agreement specifies that major decisions regarding reunion tours, new recordings, and catalog licensing require consensus among the three members, with a designated manager handling day-to-day operations and financial reporting