The simmering tensions within one of Britain’s most iconic bands have once again erupted into public view, as Andy Summers and Stewart Copeland, former members of The Police, have filed a lawsuit against frontman Sting in London’s High Court. The legal action, lodged on August 27, 2025, centers on unpaid royalties and disputed songwriting credits for the band’s 1983 megahit, “Every Breath You Take.” According to Rolling Stone and multiple other outlets, Summers (guitar) and Copeland (drums) allege they were never properly recognized as co-writers of the song, a fact that has cost them millions in royalty payments over the past four decades.
The Police, formed in London in 1977, quickly ascended the charts with their distinctive blend of punk, reggae, and jazz influences. Their second album, Reggatta de Blanc, was the first of four consecutive number-one records, but it was “Every Breath You Take”—from their final studio album, Synchronicity—that would become the band’s signature hit. The track topped the US charts and became the best-selling single of 1983, ultimately ranking as the fifth-best-selling song of the decade. Yet, as The Daily Mail reported, only Sting—born Gordon Matthew Thomas Sumner—has been credited as the songwriter, reportedly earning him an annual royalty income of around £550,000.
This latest lawsuit is far from the first sign of discord among The Police. Producer Hugh Padgham once recalled to Smooth Radio that, by the time recording for “Every Breath You Take” began at Air Studios in Montserrat, “Sting and Copeland hated each other.” The atmosphere was so fraught that the sessions nearly collapsed, only salvaged by a tense meeting with the band’s manager, Miles Copeland (Stewart’s brother). Despite their creative differences, the trio managed to finish the album, but the band dissolved soon after, officially disbanding in 1984 at the height of their fame. Sting went on to enjoy a celebrated solo career, while Summers and Copeland pursued their own musical ventures.
The current legal dispute, however, is not about personalities but about money—and lots of it. The financial stakes ballooned in 1997 when “Every Breath You Take” experienced a massive resurgence after being sampled by Puff Daddy and Faith Evans in the Grammy-winning tribute to The Notorious B.I.G., “I’ll Be Missing You.” This new version generated millions in additional royalties, a windfall from which Summers and Copeland say they received nothing. According to a source cited by The Sun, “Andy and Stewart decided there was no alternative but to court, so they pressed the button. They say they are owed millions in lost royalties.”
Efforts to resolve the dispute outside the courtroom proved fruitless. Lawyers representing both sides reportedly attempted to negotiate a settlement, but talks reached a stalemate. With no agreement in sight, Summers and Copeland took the step of filing their claim under the category of “general commercial contracts and arrangements”—a legal classification that suggests the heart of the matter lies in the original contractual obligations around songwriting credits and royalty distribution.
Adding another layer of complexity is Sting’s 2022 deal with Universal Music Group, in which he sold his entire songwriting catalogue—including both his solo work and all Police compositions—for an estimated $250 million. As reported by Rolling Stone, this blockbuster transaction means that any future royalties or rights associated with “Every Breath You Take” are now managed by Universal, potentially complicating the legal landscape for Summers and Copeland. Both Sting, under his legal name Gordon Matthew Sumner, and his publishing entity Magnetic Publishing Limited are named as defendants in the case.
The Police’s story has always been one of creative brilliance shadowed by internal strife. The band’s origins trace back to drummer Stewart Copeland, who recruited Sting after being impressed by his work with the jazz fusion outfit Last Exit. Guitarist Andy Summers joined soon after, solidifying the trio’s classic lineup. Despite—or perhaps because of—their clashing personalities, The Police produced a string of hits that defined an era. Yet, as numerous reports have noted, a “power struggle” simmered beneath the surface, culminating in the band’s breakup soon after their biggest commercial success.
“Every Breath You Take” remains a cultural touchstone, both for its haunting melody and its enduring popularity. But for Summers and Copeland, the song is now also a symbol of lost opportunity. Their lawsuit seeks not only financial compensation but also a formal acknowledgment of their creative contributions. As The Sun’s source put it, “This has been coming for quite some time. Lawyers tried repeatedly to reach an out-of-court settlement but hit a stalemate.”
Sting, for his part, has remained publicly silent on the specifics of the case. A spokesman denied a lawsuit related to “Every Breath You Take” when contacted by the press, but did not elaborate. It’s a terse response that leaves many questions unanswered, not least for fans who have long wondered about the true nature of the band’s creative process.
Meanwhile, the legal filings have drawn renewed attention to the mechanics of music royalties—a world where credits are everything and a single line on a contract can mean a lifetime of income. The Police’s catalogue, especially “Every Breath You Take,” continues to generate substantial revenue decades after its release. The song’s annual royalty income, reported by several outlets as approximately £550,000, is a testament to its staying power. For Summers and Copeland, being excluded from those earnings is not just a financial grievance but a professional slight.
The band’s saga has seen its share of reunions and reconciliations. In 2007–2008, The Police surprised the world by embarking on a global Reunion Tour, playing to sold-out arenas from Europe to South America. For a moment, it seemed the old wounds had healed. But as this latest courtroom drama shows, some disputes are harder to put to rest.
As the case proceeds in London’s High Court, music fans and industry insiders alike will be watching closely. The outcome could set a precedent for how long-standing royalty disputes are handled, especially in an age when catalog sales and sampling can revive old songs—and old grievances. For now, the legacy of The Police is once again being rewritten, not in the studio or on stage, but in the halls of justice.
No matter the verdict, “Every Breath You Take” will likely continue to echo across airwaves and playlists worldwide. But for the musicians who brought it to life, the fight over who gets credit—and compensation—shows no sign of fading away.
