London - Sting has drawn attention to the social costs of deindustrialization, arguing that the decline in manual labor opportunities, particularly for working-class men, has contributed to a crisis of identity and the rise of toxic masculinity. In an interview surrounding the West End return of his musical, The Last Ship, Sting connects the decimation of industries like shipbuilding to broader societal problems stemming from neoliberal economic policies.

The Last Ship, which premieres at the Theatre Royal Drury Lane this September, portrays the lives of shipyard workers in Wallsend, a community mirrored by Sting's own upbringing. The musical casts a critical eye on the shipyard closures during the 1970s and 80s, a period marked by devastating job losses and the erosion of working-class communities in northern England. Sting, the music writer and performer in the show, underscores the pivotal role of industries such as coal, steel, and shipbuilding in building Britain's prosperity. He decries the subsequent abandonment of these skilled trades in favor of a service-based economy, driven by Thatcherite policies.

Sting acknowledges the documented risks of manual labor, including exposure to hazardous materials like asbestos. However, he emphasizes the profound sense of community and purpose that these industries provided, particularly for men. Despite harsh conditions, workers gained satisfaction from contributing to tangible projects and sharing in a collective identity. The closure of these industries, he argues, has left a void that contributes to the rise of toxic masculinity.

“I work with my hands every day as a musician, and I’m lucky. It’s a rare thing for modern men to actually use their hands and use their strengths to do anything. We’ve lost something there,” Sting remarked.

He continues, “I don’t have any answers, but maybe the toxicity in society at the moment is [a result of the fact] that we’ve lost that direction for our energy, that male strength. It’s rare we have to use it.”

The musical features male characters grappling with the loss of their traditional roles and identities. One character poignantly asks: “For what are we men without a ship to complete?” This question encapsulates the crisis of purpose experienced by many working-class men in the wake of deindustrialization. The play does not romanticize the harsh reality of the industry, instead it humanizes the effects of its absence.