An Analysis of Stewart Copeland’s Financial Legacy: The $80 Million Virtuoso

I. Executive Summary: The $80 Million Virtuoso – An Analysis of Stewart Copeland’s Financial Legacy

This report provides a comprehensive financial analysis substantiating the estimated $80 million net worth of musician and composer Stewart Copeland.¹

This valuation is the result of a multifaceted, five-decade career that began with his role as the rhythmic engine of the globally renowned rock trio The Police and evolved into a prolific and diversified second act as a composer for film, television, and video games.

The foundational pillar of Copeland’s wealth was built upon the monumental commercial success of The Police.

The band’s extensive record sales and, most significantly, their record-breaking 2007-2008 Reunion Tour, generated hundreds of millions of dollars in revenue, providing each member with a massive capital base.

However, a critical distinction in intellectual property ownership—specifically the songwriting copyrights for the majority of the band’s hits, which are held by frontman Sting—is the primary factor explaining the significant wealth disparity between the band members.

This dynamic, where musical contribution does not equate to an equal share of all revenue streams, is a central theme of this analysis.

Following the zenith of his rock stardom, Copeland successfully cultivated a second, highly stable pillar of wealth through his work as a composer.

This career path, with its distinct financial models of upfront fees, long-tail royalties, and work-for-hire buyouts, provided a consistent and substantial income stream for over 30 years.

Finally, his current activities, including ongoing orchestral tours and strategic investments in high-value tangible assets, demonstrate a sophisticated approach to both continued wealth generation and long-term preservation.

This report will deconstruct Copeland’s net worth by examining each of these pillars in sequence: first, a detailed breakdown of the revenue generated by The Police; second, a valuation of his extensive work as a composer; and third, an assessment of his ancillary ventures and active investments.

The analysis will conclude with a comparative valuation against his bandmates, offering a final synthesis that validates the $80 million figure and assesses his future financial outlook.

II. The Police: Deconstructing the Fortune of a Rock & Roll Superpower

The period from 1977 to 1986, followed by a brief but financially colossal reunion, established the financial bedrock upon which Stewart Copeland’s entire net worth is built.

The analysis of The Police’s financial success requires a tripartite approach, examining revenue from recorded music, the immense profitability of touring, and the crucial, wealth-defining nuances of intellectual property rights.

A. Revenue from Recorded Music: An Examination of Album Sales and Performance Royalties

The Police stand as one of the most commercially successful acts of their era, having sold over 75 million records worldwide.⁴

This immense volume of sales created a substantial and enduring stream of royalty income for Copeland.

The band’s studio output was remarkably consistent, with their five albums achieving significant sales.

According to detailed sales analysis, their releases generated massive equivalent album sales (EAS), including

Outlandos d’Amour (1978) with over 15.8 million EAS, Reggatta de Blanc (1979) with over 16 million EAS, and their final studio effort, Synchronicity (1983), which amassed over 36.5 million EAS, making it the most successful album of its year.⁶

As a performing artist and instrumentalist on every recording, Copeland is entitled to a share of artist royalties from these sales and subsequent streams.

While this percentage is traditionally smaller than that allocated to the songwriter, it represents a significant income stream given the sheer volume of sales.

Further distinguishing his role, Copeland is credited as a co-arranger on all of The Police’s songs.⁷

In music publishing, arrangement credits can command a portion of mechanical royalties, elevating his financial stake beyond that of a standard band member and acknowledging his critical contribution to the band’s unique sound.

However, a key limitation on this income stream is the ownership of the master recordings.

The Police’s albums were released on A&M Records, a label now owned by Universal Music Group (UMG).⁸

As is standard in the industry, the record label that finances the recording sessions typically retains ownership of the master recordings in perpetuity.¹⁰

This was confirmed by Sting’s 2022 comprehensive catalog deal with UMG, which united his recorded music catalog—the masters—with his publishing under one corporate roof.¹²

Consequently, Copeland’s income from recorded music is derived from his contractual royalty percentage, not from any ownership stake in the master recording assets themselves.

B. The Financial Apex: Analysis of The Police Reunion Tour (2007-2008)

While album sales built a strong foundation, the single largest liquidity event of Stewart Copeland’s career was unequivocally The Police Reunion Tour.

Spanning 2007 and 2008, the tour was a global phenomenon, grossing a staggering $362 million from 152 shows and selling over 3.3 million tickets.⁶

At its conclusion, it was the third-highest-grossing tour of all time, a testament to the band’s enduring appeal.¹³

Guitarist Andy Summers has publicly claimed he earned “about $1 million a night” for 150 nights, implying a personal haul of $150 million.¹⁴

While this figure captured headlines, it almost certainly represents an exaggerated gross figure before numerous deductions.

A more realistic financial model, based on industry standards, reveals a more plausible, yet still monumental, payday for each member.

The gross box office revenue is the starting point, not the end.

From this total, significant costs must be subtracted.

Promoters and venues typically take a substantial cut, followed by the immense costs of a global stadium tour, including production, freight, crew, insurance, and travel.

After these expenses, commissions are paid to agents and managers, which can amount to 10-20% of the artist’s gross earnings.¹⁵

The remaining net profit is then split among the three band members.

This tour was not merely a nostalgic victory lap; it was a strategic re-capitalization event that likely generated more net income for Copeland in 18 months than his entire preceding 20 years of composing work combined.

This massive injection of capital secured his long-term financial standing and enabled significant later investments, such as his multi-million dollar real estate acquisitions.¹⁸

Metric	Estimated Value	Source / Rationale
Gross Box Office Revenue	$362,000,000	13
Estimated Promoter/Venue Cut & Tour Costs (45%)	($162,900,000)	Industry average for stadium tours 16
Net to Artist Group (Gross)	$199,100,000	Calculated
Estimated Management/Agent Commissions (20%)	($39,820,000)	Standard industry rates 16
Net Profit to Band Members	$159,280,000	Calculated
Estimated Share per Member (3-way split)	~$53,093,000	Calculated

C. The Intellectual Property Divide: Songwriting Credits, Publishing Rights, and the UMG Catalog Sale

The most critical factor in understanding Stewart Copeland’s net worth, particularly in comparison to his bandmate Sting, lies in the division of intellectual property.

While The Police’s sound was an alchemical blend of three distinct musicians, copyright law disproportionately rewards the “author” of a song’s melody and lyrics.²⁰

In The Police, the primary author was Sting.²¹

Copeland did contribute compositions, writing or co-writing tracks like the band’s first single “Fall Out,” “On Any Other Day,” “Miss Gradenko,” and “Peanuts”.⁷

He has confirmed that he retains his publishing rights for these works and continues to receive “nice royalty checks” from them.²²

However, the sheer financial power of owning the band’s biggest hits is best illustrated by the case of “Every Breath You Take.” When Sean “Puff Daddy” Combs sampled the song for his 1997 mega-hit “I’ll Be Missing You,” he did so without initial permission.

In the subsequent settlement, Sting, as the sole credited songwriter of the original, was awarded 100% of the publishing royalties from the sample.

This stream alone has reportedly earned Sting an estimated $2,000 per day for decades.²⁰

Copeland and Summers, despite creating the iconic drum and guitar parts that are integral to the song’s identity, receive no share of this specific, massive revenue stream.

This single example perfectly encapsulates the financial dichotomy within the band: musical architecture versus legal authorship.

The ultimate market valuation of this intellectual property came in February 2022, when Sting sold his entire songwriting catalog—both solo and with The Police—to Universal Music Group for a sum estimated to be between $250 million and $300 million.¹²

This transaction is the single largest driver of the wealth gap between him and his bandmates, providing a clear, quantifiable explanation for why his net worth is several multiples of Copeland’s.

III. The Composer: Building a Diversified Portfolio Beyond the Drum Kit

Following the dissolution of The Police in the mid-1980s, Stewart Copeland executed a shrewd and successful career pivot, transforming himself from a rock star into an acclaimed and in-demand composer.

This move was not merely a creative outlet but a strategic business decision that created a diversified and resilient financial portfolio.

He built a second major pillar of wealth across three distinct media sectors—film, television, and video games—each with its own unique financial model.

A. Scoring for Film: Estimating Earnings from Fees and Royalties in Hollywood

Copeland quickly established his credentials as a serious film composer, earning a Golden Globe nomination for his innovative score for Francis Ford Coppola’s 1983 film Rumble Fish.²⁵

He went on to build a prolific filmography, composing for major studio pictures such as Oliver Stone’s

Wall Street (1987), See No Evil, Hear No Evil (1989), and Highlander II: The Quickening (1991).²⁷

The financial model for a film composer of his stature involves two primary components.

The first is a significant upfront composing fee.

For major productions during the 1980s and 1990s, these fees could range from $75,000 to over $500,000 per film, depending on the budget and the complexity of the score.²⁹

The second component is backend royalties.

Composers earn performance royalties, collected by Performing Rights Organizations (PROs), whenever the film is broadcast on television or screened in theaters internationally.³¹

They may also negotiate a percentage of soundtrack album sales.

This structure creates a long-tail annuity, where a commercially successful film like

Wall Street continues to generate passive income for decades after its initial release.

B. The Television Annuity: Quantifying the Long-Term Value of Theme Music

Of all his composing work, Copeland’s contributions to television have likely created his most valuable and enduring post-Police assets.

He composed the theme music for several successful series, most notably the iconic theme for The Equalizer and the score for Showtime’s Dead Like Me, for which he received an Emmy nomination.²⁷

Writing the theme for a hit television show that enters syndication can be exceptionally lucrative, potentially generating millions of dollars over a lifetime.³³

The financial mechanism is performance royalties.

Every time an episode airs—on network television, cable, or streaming platforms, anywhere in the world—a royalty is generated and collected by a PRO.

Copeland is affiliated with BMI, having received awards from and spoken about his relationship with the organization, confirming he is structured to collect these earnings.³⁴

While a single broadcast may only generate a small amount, the sheer volume of airings from a widely syndicated show like

The Equalizer compounds into a substantial and remarkably consistent passive income stream, effectively functioning as a multi-decade annuity.

C. The Video Game Buyout: Analyzing the Spyro the Dragon Financial Model

In the late 1990s, Copeland entered the burgeoning video game industry, composing the celebrated soundtracks for the original, best-selling Spyro the Dragon trilogy for the PlayStation.²⁸

The financial model in video game music differs significantly from film and television.

The industry operates predominantly on a

work-for-hire or full buyout basis.³⁸

Under this model, the composer receives a large, one-time upfront fee for their work.

In return, the game developer owns the copyright to the music in perpetuity and does not pay backend royalties based on the number of games sold.

For a blockbuster “AAA” title like Spyro in the late 1990s, industry rates for a top-tier composer were estimated at £1,000 to £2,000 per minute of finished Music.³⁹

Given the dozens of tracks required for the trilogy, Copeland’s total buyout fee was undoubtedly a substantial lump-sum payment, likely in the high six or low seven figures.

While this model forgoes long-term royalties from game sales, composers can still earn ancillary income if the music is performed publicly outside of the game, such as in trailers or at live orchestral concerts.⁴⁰

The recent emergence of orchestral tours dedicated to video game music, including performances of the

Spyro score, represents an activation of this secondary revenue stream for Copeland.³⁷

IV. Analysis of Ancillary Ventures and Active Investments

Beyond the twin pillars of The Police and his composing career, Stewart Copeland’s financial profile is augmented by a variety of other musical projects and savvy investments.

These ventures demonstrate an ongoing entrepreneurial spirit and a strategic approach to managing and growing the wealth he has accumulated.

A. Side Projects and Collaborations: Assessing the Financial Impact of Oysterhead and Gizmodrome

Throughout his career, Copeland has engaged in numerous collaborations, most notably two supergroups.

The first, Oysterhead, formed in 2000 with bassist Les Claypool of Primus and guitarist Trey Anastasio of Phish, was a critical and fan favorite.²⁸

Their sole studio album,

The Grand Pecking Order (2001), achieved moderate commercial success, peaking at No. 41 on the Billboard 200 chart, but touring was limited.⁴¹

The second major project was Gizmodrome, formed with bassist Mark King of Level 42, guitarist Adrian Belew of King Crimson, and keyboardist Vittorio Cosma.²⁸

Their 2017 debut album saw modest chart action, reaching

No. 14 on the UK Independent Albums chart, with albums retailing for around $14 to $33.⁴³

While creatively fulfilling, these projects are best classified as passion ventures with modest financial returns, rather than primary wealth-building enterprises.

B. Current Revenue Streams: The ‘Police Deranged for Orchestra’ Tour

Unlike many legacy artists who rely solely on passive income, Copeland actively monetizes his catalog through his ongoing tour, Stewart Copeland’s Police Deranged for Orchestra.⁴⁵

This project involves Copeland performing rearranged Police hits on drums, accompanied by a rock ensemble and a full symphony orchestra in each city.³²

The tour has played to enthusiastic audiences and received glowing reviews across North America and Europe, with critics praising its high-energy fusion of rock and classical Music.⁴⁷

The presence of merchandise stands at venues and collaborations with major orchestras in cities like Nashville, Dallas, and Vancouver indicate that it is a commercially viable and profitable enterprise.⁴⁷

This tour represents a significant, ongoing active income stream, demonstrating a modern “active legacy” model where an artist continually reinterprets their work for new markets.

C. Tangible Assets: A Case Study of the Montecito Real Estate Investment

A clear example of Copeland’s strategy for wealth preservation and growth is his investment in high-value real estate.

In June 2021, he purchased a 2,367-square-foot single-family home in the exclusive celebrity enclave of Montecito, California, for $4,750,000.¹⁸

In August 2023, just over two years later, the property, named “Casita De Mariposa,” was listed for rent at a rate of $25,000 per month.⁵⁰

This move transforms the asset from a simple residence into an income-generating investment.

The potential gross annual rental income of

$300,000 represents a strong gross yield of approximately 6.3% on his purchase price.

This investment is a classic wealth management tactic: converting liquid capital, likely derived from the massive payout of the Reunion Tour, into a stable, appreciating hard asset that also produces a substantial passive income stream, further diversifying his portfolio beyond music-related holdings.

V. Concluding Assessment: Comparative Valuation and Future Outlook

Synthesizing the diverse revenue streams from a career spanning half a century, the $80 million valuation for Stewart Copeland emerges as both credible and well-supported.

A final analysis, placing his wealth in context with his bandmates and assessing his future prospects, solidifies this conclusion.

A. The Police Financial Hierarchy: A Comparative Analysis of Copeland, Sting, and Summers

The financial outcomes for the three members of The Police provide a stark lesson in the economics of the music industry, where different roles yield vastly different rewards.

• Sting (Net Worth estimated at over $300 million): As the primary songwriter for The Police and a successful solo artist, Sting’s wealth is on a different order of magnitude. His fortune is overwhelmingly derived from his ownership of his songwriting publishing catalog, a fact validated by its sale to Universal Music Group for an estimated $250-$300 million.¹² This asset, combined with earnings from touring and extensive real estate holdings ⁵², places him in the top echelon of musician wealth. His financial position is that of a “copyright owner.”
• Stewart Copeland (Net Worth estimated at $80 million): Copeland’s wealth is a composite of three major sources: his equal share of the band’s formidable artist royalties and touring income, most notably the massive payout from the 2007-2008 reunion; his own smaller but valuable publishing catalog from the songs he wrote; and, crucially, a highly successful and lucrative 30-plus-year career as a composer for film, television, and video games.¹ His position is that of a “diversified high-earning creative.”
• Andy Summers (Net Worth unknown, but likely comparable to or slightly less than Copeland’s): While no definitive public net worth is available for Summers, his financial trajectory would largely mirror Copeland’s in terms of artist royalties and touring income from The Police. He has maintained a solo career but has not had the same level of prolific, high-profile success as a composer for major media projects that Copeland has. Therefore, his net worth is likely in a similar range to Copeland’s, but potentially lower due to the absence of this significant secondary income pillar. The data regarding an “Andrew Summers” trading stock is considered irrelevant due to the commonality of the name and lack of corroborating evidence.⁵³

B. Final Valuation: Substantiating the $80 Million Figure and Projecting Future Stability

The $80 million valuation is a logical conclusion based on the evidence.

The analysis points to a foundational sum of over $50 million from The Police Reunion Tour alone.

When added to decades of accumulated artist royalties, millions in upfront fees from his composing career, a steady stream of backend royalties from his film and television scores, and the value of tangible assets like his Montecito property, the $80 million figure becomes not just plausible, but well-substantiated.

Stewart Copeland’s financial future appears exceptionally secure.

He has successfully engineered a portfolio of both passive and active income streams.

Passive income flows from his Police artist royalties and his decades of composing work, particularly the annuity-like royalties from syndicated television shows.

Active income is generated by his ongoing Police Deranged for Orchestra tour and any new commissions he undertakes.

His investment in high-value, income-producing real estate provides a non-correlated asset that hedges against volatility in the entertainment industry.

Through a combination of foundational success, shrewd diversification, and the active management of his own legacy, Stewart Copeland has built a durable and impressive financial empire.

Works cited

1. Stewart Copeland – News, Photos, Videos, Movies or Albums – Yahoo UK, accessed on August 6, 2025, https://uk.yahoo.com/topics/stewart-copeland/
2. Stewart Copeland Net Worth – One Of The Richest Drummers | eCelebritySpy – Pinterest, accessed on August 6, 2025, https://www.pinterest.com/pin/stewart-copeland-net-worth-one-of-the-richest-drummers–396387205495724904/
3. 15 Richest Drummers of All Time, Ranked by Their Net Worths, accessed on August 6, 2025, https://www.workandmoney.com/s/best-drummers-all-time-net-worth-e65ba7ede5ee46e8
4. Stewart Copeland (The Police) – Broken Record Podcast – YouTube, accessed on August 6, 2025, https://www.youtube.com/watch?v=Mp6X_UpmvEo
5. Andy Summers recalls how much money he made with The Police reunion, accessed on August 6, 2025, https://rockandrollgarage.com/andy-summers-recalls-how-much-money-he-made-with-the-police-reunion/
6. The Police albums and songs sales as of 2022 – ChartMasters, accessed on August 6, 2025, https://chartmasters.org/the-police-albums-and-songs-sales/
7. Stewart Copeland – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/Stewart_Copeland
8. I.R.S. Records – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/I.R.S._Records
9. Synchronicity (The Police album) – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/Synchronicity_(The_Police_album)
10. Tilleke & Gibbins – Ownership of Master Recordings in the Music Industry: Swift Winds of Change?, accessed on August 6, 2025, https://www.tilleke.com/wp-content/uploads/2019/09/Tilleke-Ownership-of-Master-Recordings-in-the-Music-Industry.pdf
11. Who owns the master recording rights to a song? : r/musicindustry – Reddit, accessed on August 6, 2025, https://www.reddit.com/r/musicindustry/comments/1heenyj/who_owns_the_master_recording_rights_to_a_song/
12. UNIVERSAL MUSIC PUBLISHING GROUP ACQUIRES STING’S SONG CATALOG – UMG, accessed on August 6, 2025, https://www.universalmusic.com/universal-music-publishing-group-acquires-stings-song-catalog/
13. The Police Reunion Tour – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/The_Police_Reunion_Tour
14. Andy Summers Says Police Reunion Made Him Highest Paid …, accessed on August 6, 2025, https://www.discoverdade.com/rock/andy-summers-says-police-reunion-made-him-highest-paid-guitarist/
15. Do Musicians Make Most Of Their Money From Touring? – Inside The Industry, accessed on August 6, 2025, https://insidetheindustrycom.wordpress.com/2023/04/25/do-musicians-make-most-money-from-touring/
16. The Reality of Touring Revenue From Someone Who Has Done It For 32 Years, accessed on August 6, 2025, https://thetrichordist.com/2016/02/16/the-reality-of-touring-revenue-from-someone-who-has-done-it-for-32-years/
17. Economics of Touring : r/Music – Reddit, accessed on August 6, 2025, https://www.reddit.com/r/Music/comments/17ntt3w/economics_of_touring/
18. Stewart Copeland (The Police) Acquires Montecito SFR For $4.75M …, accessed on August 6, 2025, https://traded.co/deals/california/single-family/sale/berkshire-hathaway-homeservices-california-properties-brokers-deal-for-4750000-in-montecito/
19. There is a commonality of themes in these posts: that the real money is in the touring whereas sound recording sales are minor, accessed on August 6, 2025, https://personal.utdallas.edu/~liebowit/concert_revenues.htm
20. Andy Summers Says The Police ‘Didn’t Get Anything’ From Puff Daddy Sample, accessed on August 6, 2025, https://wmgk.com/2021/11/12/andy-summers-says-the-police-didnt-get-anything-from-puff-daddy-sample/
21. The Police – rockportraits – WordPress.com, accessed on August 6, 2025, https://rockportraits.wordpress.com/2014/10/02/the-police/
22. The Police: Stewart Copeland – Dean Goodman, accessed on August 6, 2025, https://deangoodman.com/the-police-stewart-copeland/
23. Sting sells entire songwriting catalog to Universal Music for $300 million – Consequence.net, accessed on August 6, 2025, https://consequence.net/2022/02/sting-the-police-entire-songwriting-catalog/
24. Sting Sells Song Rights for The Police and Solo Catalogue – Synchedin Blog, accessed on August 6, 2025, https://synchedin.com/blog/sting-sells-song-rights-to-universal/
25. Stewart Copeland Songs, Albums, Reviews, Bio &… | AllMusic, accessed on August 6, 2025, https://www.allmusic.com/artist/stewart-copeland-mn0000074878
26. Stewart Copeland biography, accessed on August 6, 2025, https://www.stewartcopeland.net/701/official-biography
27. en.wikipedia.org, accessed on August 6, 2025, https://en.wikipedia.org/wiki/Stewart_Copeland#:~:text=As%20a%20composer%2C%20Copeland’s%20work,Alone%20in%20the%20Dark%3A%20The
28. Stewart Copeland – Reservoir Media, accessed on August 6, 2025, https://www.reservoir-media.com/listing/stewart-copeland/
29. Film Composer Rates: From Independent Films to Major Productions – Twine Blog, accessed on August 6, 2025, https://www.twine.net/blog/film-composer-rates-from-independent-films-to-major-productions/
30. Music, Money, Success & the Movies: Part Three – ASCAP, accessed on August 6, 2025, https://www.ascap.com/help/music-business-101/music-money-success-movies/movies-part3
31. Composer Royalties – Media Music, accessed on August 6, 2025, https://mediamusicforum.com/articles/composer-royalties
32. Stewart Copeland: legendary drummer of The Police and brilliant composer – CANNESERIES, accessed on August 6, 2025, https://canneseries.com/en/online/stewart-copeland-legendary-drummer-of-the-police-and-brilliant-composer/
33. How much do TV theme songwriters earn? – Marketplace, accessed on August 6, 2025, https://www.marketplace.org/story/2015/06/22/how-much-do-tv-theme-songwriters-earn
34. Stewart Copeland Videos – Kollected Works -Stewart Copeland – Free, accessed on August 6, 2025, http://stewartcopeland.free.fr/stewart-copeland-videos-1994-2005.html
35. BMI Composer Stewart Copeland Fills in the Thundering Silence of ‘Ben-Hur’ | News, accessed on August 6, 2025, https://www.bmi.com/news/entry/bmi_composer_stewart_copeland_fills_in_the_thundering_silence_of_ben_hur
36. Stewart Copeland Interview – The 2005 BMI Film/TV Awards | Video, accessed on August 6, 2025, https://www.bmi.com/video/entry/Stewart_Copeland_BMI_Film_TV_Awards_2005_Talks_about_composing_music_for
37. THE MANCHESTER VIDEO GAME ORCHESTRA PLAYS SPYRO 2 – Stewart Copeland, accessed on August 6, 2025, https://www.stewartcopeland.net/news/3291/the-manchester-video-game-orchestra-plays-spyro-2
38. houseoftracks.com, accessed on August 6, 2025, https://houseoftracks.com/faq/do-video-games-pay-royalties-for-music
39. A GUIDE FOR COMPOSERS IN THE VIDEO GAMES INDUSTRY – PCAM, accessed on August 6, 2025, https://www.pcam.co.uk/a-guide-for-composers-in-the-video-games-industry/
40. Six ways video game composers are missing out on money | GamesIndustry.biz, accessed on August 6, 2025, https://www.gamesindustry.biz/six-ways-video-game-composers-are-missing-out-on-money
41. The Grand Pecking Order – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/The_Grand_Pecking_Order
42. Oysterhead – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/Oysterhead
43. Gizmodrome – Tunnel Records, accessed on August 6, 2025, https://tunnelrecordssf.com/products/gizmodrome-gizmodrome
44. Gizmodrome – Wikipedia, accessed on August 6, 2025, https://en.wikipedia.org/wiki/Gizmodrome
45. Stewart Copeland / The Police Deranged for Orchestra – Super Deluxe Edition, accessed on August 6, 2025, https://superdeluxeedition.com/news/stewart-copeland-the-police-deranged-for-orchestra/
46. Stewart Copeland: Police Deranged | Louisville Orchestra, accessed on August 6, 2025, https://www.louisvilleorchestra.org/events/detail/stewart-copeland-24332
47. Music review: Stewart Copeland and the VSO rock the Orpheum …, accessed on August 6, 2025, https://www.createastir.ca/articles/stewart-copeland-the-police-deranged-vso-review
48. Review/Gallery: Stewart Copeland Police Deranged with The …, accessed on August 6, 2025, https://www.americanbluesscene.com/2022/04/stewart-copelands-police-deranged-for-orchestra-is-a-sensory-immersion/
49. Stewart Copeland Brings High Energy to Dallas for ‘Police …, accessed on August 6, 2025, https://www.dallasobserver.com/music/stewart-copeland-brings-high-energy-to-dallas-for-police-deranged-19145844
50. Coolest ‘Landlord’ Ever: Drummer Stewart Copeland Renting Out …, accessed on August 6, 2025, https://www.realtor.com/news/celebrity-real-estate/drummer-stewart-copeland-puts-montecito-home-up-for-rent/
51. Sting: Police Front Man Says Kids Aren’t Getting Any of His Net Worth | TIME, accessed on August 6, 2025, https://time.com/2909805/sting-inheritance-trust-fund-kids/
52. The Police’s Stewart Copeland and RPO are teaming up for a night of derangement – WXXI News, accessed on August 6, 2025, https://www.wxxinews.org/across-the-universe/2023-03-13/stewart-copeland-police-rochester-philharmonic-orchestra
53. Andrew Summers Net Worth (2025) – Quiver Quantitative, accessed on August 6, 2025, https://www.quiverquant.com/insiders/1571767/Andrew-Summers