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Bad World Tour

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The Bad World Tour is the first worldwide concert tour by Michael Jackson . It was launched in support of the artist's seventh studio album, Bad (1987) and lasted sixteen months, spanning from September 12, 1987 until January 27, 1989. The shows were sponsored by Pepsi .

The tour became the second highest grossing tour of the decade, as well as one of the most attended tours in history. As announced by Jackson himself during the last show of the tour, these were initially meant to be his last performances in history. However, the Bad World Tour was eventually followed by the Dangerous World Tour and HIStory World Tour .

• 1 Background
• 2 Awards and nominations
• 4.1 Cancelled dates
• 5.1 Live at Wembley July 16, 1988
• 5.2 Broadcasts
• 6.1 Creative Directors
• 6.2 Production
• 6.3 Dancers
• 6.5 Background Vocals
• 6.6 Stylists and Assistants
• 6.7 Sponsors

Background [ ]

For the longest time, while already releasing hit solo albums, Michael still toured with the Jacksons . At a December 1984 show of the Victory Tour , Jackson announced his departure from the group, stating it was the final show he was gonna play with them.

On June 29, 1987, Michael's manager, Frank DiLeo announced the singer was going to embark on his first solo concert tour. The shows would be sponsored by Pepsi, a company which previously got Jackson in hospital after a tragic pyrotechnics accident a few years prior.

The tour was originally going to finish in Tokyo, but Jackson suffered from swollen vocal cords after the first of six concerts in Los Angeles in November 1988. The remaining five shows were then rescheduled for January 1989. However, due to this decision, Greg Phillinganes had to leave the band in early January, as his schedule was busy as he was set to tour with Eric Clapton. Instead, John Barnes would be hired to take Phillinganes' place. With the tour ending, Michael sought medical care for vocal-chord nodules.

Awards and nominations [ ]

The Bad World Tour was nominated in 1988 for the Tour of the Year 1988 award at the now non-existent International Rock Awards.

Setlist [ ]

• " Wanna Be Startin' Somethin'
• " Things I Do For You "
• Off the Wall "
• " Human Nature "
• " Heartbreak Hotel "
• " She's Out of My Life "
• " Jackson 5 Medley " (" I Want You Back "/" The Love You Save "/" I'll Be There ")
• " Rock with You "
• " Lovely One "
• " Bad Groove " (Interlude)
• " Workin' Day and Night "
• " Beat It "
• " Billie Jean "
• " Shake Your Body (Down to the Ground) "
• " Thriller "
• " I Just Can't Stop Loving You "

1988-1989 [ ]

• " Wanna Be Startin' Somethin' "
• " Another Part of Me "
• " Smooth Criminal "
• " I Just Can't Stop Loving You " (duet with Sheryl Crow )
• " Dirty Diana "
• ' Thriller "
• " The Way You Make Me Feel "

Tour dates [ ]

Cancelled dates [ ], broadcasts & recordings [ ], live at wembley july 16, 1988 [ ].

On September 18, 2012, over two decades after the show took place, a DVD of the July 16, 1988 show at the Wembley Stadium was released as a part of the Bad 25 promo and box set. Additionally, the deluxe edition of Bad 25 includes audio from the show on the third disc as well. The full film was later uploaded to the official Michael Jackson YouTube channel.

Broadcasts [ ]

• Tokyo (September 12, 1987)
• Tokyo (September 13, 1987)
• Tokyo (September 14, 1987)
• Nishinomiya (September 1987)
• Osaka (October 1987)
• Melbourne (November 13, 1987)
• Sydney (November 1987)
• Brisbane (November 1987)
• Kansas City (February 1988)
• New York City (March 1988)
• St. Louis (March 13, 1988)
• Indianapolis (March 1988)
• Louisville (March 20, 1988)
• Hartford (March-April 1988)
• Houston (April 1988)
• Rome (May 1988)
• Vienna (June 2, 1988)
• Gothenburg (1988)
• Basel (June 16, 1988)
• West Berlin (June 19, 1988)
• Paris (June 1988)
• Cologne (July 3, 1988)
• Munich (July 8, 1988)
• Hockenheim (July 10, 1988)
• London (July 14, 1988)
• London (July 15, 1988)
• London (July 22, 1988)
• Cork (July 1988)
• Marbella (August 5, 1988)
• Madrid (August 7, 1988)
• Barcelona (August 9, 1988)
• Würzburg (August 21, 1988)
• Werchter (August 23, 1988)
• Leeds (August 29, 1988)
• Hannover (September 2, 1988)
• Milton Keynes (September 10, 1988)
• Liverpool (September 11, 1988)
• Pittsburgh (September 1988)
• Landover (October 1988)
• Los Angeles (November 13, 1988)
• Tokyo (December 1988)
• Los Angeles (January 27, 1989)

Personnel [ ]

Creative directors [ ].

• Michael Jackson (Lead Vocals, Show Director, Dancer and Choreographer)
• Peggy Holmes (Assistant Director)
• Vince Patterson (Choreographer)
• Tom McPhillips (Set Designer)
• Allen Branton (Lighting Designer)

Production [ ]

• Frank DiLeo (Personal Management)
• Sal Bonafede (Tour Coordinator)
• John Draper (Tour Manager)
• Benny Collins (Production Manager)
• Nelson Hayes (Production Coordinator)
• Rob Henry (Production Coordinator)
• Gerry Bakalian (Stage Manager)
• Tait Towers, Inc. (Set Construction)
• Clair Bros. (Sound)
• Kevin Elison (house sound engineer)
• Rick Coberly (Monitor Engineer)
• Ziffren, Brittenham and Branca (Attorneys)
• Gelfand, Rennert and Feldman (Business Management)
• Solters/Roskin, Friedman Inc.(Public Relations)
• Bob Jones (V.P. of Communications, MJJ)
• Glen Brunman (Media Relations, Epic Records)
• Gretta Walsh Of Revel Travel (Travel Agent)

Dancers [ ]

• Randy Allaire
• Evaldo Garcia
• Dominic Lucero
• LaVelle Smith
• Greg Phillinganes (Lead keyboards, synthesizers, musical director)
• Rory Kaplan (keyboards, synthesizers)
• Christopher Currell (Synclavier, digital guitar, sound effects)
• Ricky Lawson (Drums)
• Jennifer Batten (Rhythm and lead guitar)
• Jon Clark (Lead and rhythm guitar)
• Don Boyette (bass guitar, synth bass)
• John Barnes (lead keyboards, synthesizers) (1989 Los Angeles concerts only)

Background Vocals [ ]

• Kevin Dorsey (vocal director)
• Darryl Phinnessee
• Dorian Holley
• Sheryl Crow

Stylists and Assistants [ ]

• Karen Faye (Hair & Make-up)
• Tommy Simms (Stylist)
• Gianni Versace, Dennis Tompkins & Michael Bush (Costumes Designed)
• Jolie Levine (Michael's Personal Assistant)
• Meredith Besser (Assistant)

Sponsors [ ]

• Nippon Television (Japan only)

Gallery [ ]

• On this tour, Jackson performed " Thriller " live for the first time.
• During the concert in Brisbane on November 28, 1987, Stevie Wonder made a guest appearance during the song " Bad ."
• The set list would be changed around for shows in the European second leg, performing " Human Nature " & " Smooth Criminal " after " Rock with You ".
• " The Way You Make Me Feel " was sometimes taken out of the set list for time constraints or other unknown reasons, so " Man in the Mirror " was performed in the " Bad " jacket, instead of classic "The Way You Make Me Feel" blue shirt. During other shows, both "Man in the Mirror" and "The Way You Make Me Feel" were removed, leaving Jackson ending the show with "Bad", as he'd done in the first leg.
• During the last 1989 Los Angeles show Michael wore a white shirt for "The Way You Make Me Feel" instead of a blue one.
• Jackson would only wear the black shirt for the first show and only time wear he would wear it. He would not wear it again due to the costume & lighting obscuring his dancing.
• 1 List of unreleased songs
• 2 Bigi Jackson
• 3 Michael Jackson

Bad World Tour: 1987 – 1989

The Bad Tour was Michael’s first solo tour, which started on September 12th 1987 and ended on January 27th 1989. It consisted of 123 concerts and was seen by approximately 4.4 million people.

It was during this tour that Michael set his own record by performing to 120,000 people in one concert in Liverpool, England. It was also on the Bad Tour that Michael set the world record for playing the most concerts at the legendary Wembley Stadium, England. He performed 7 sell out concerts, beating the previous record of ‘just three’.

Set List – 1st Leg:

• Wanna Be Startin’ Somethin’
• Things I Do For You
• Off The Wall
• Human Nature
• Heartbreak Hotel
• She’s Out Of My Life
• Jackson 5 Medley
• Rock With You
• Workin’ Day And Night
• Billie Jean
• Shake Your Body (Down to the Ground)
• I Just Can’t Stop Loving You

Set List – 2nd Leg:

• Another Part Of Me
• Smooth Criminal
• Dirty Diana
• The Way You Make Me Feel
• Man In The Mirror

‘Just Good Friends’ was also performed in one concert during the first leg of the tour, due to a special appearance by Stevie Wonder.

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Founded in 2003, Who’s Bad’s live performance is an unrivaled celebration of pop music’s one true King. Their power-packed performance of Michael Jackson’s expansive catalog has united and ignited crowds on almost every continent, and can only be described as a jaw-dropping, musical must-see. As the longest-running Michael Jackson tribute, and the only one to predate his untimely passing, Who’s Bad is the World's #1 Michael Jackson Tribute.   Performing over 2500 shows worldwide, they have awed even the skeptics, selling out nearly 50 venues in the United Kingdom including London’s O2 in December of 2010, the venue where the King of Pop was slated to end his career with a 50-show “This Is It” concert series.​

"...a jaw-dropping, musical must-see.".

Beyond this unparalleled achievement, Who’s Bad has checked some of the world’s most famous pavilions off their ‘to-do’ list, selling out their first tour of China with stops at Ningbo’s Grand Theatre and Hunan Grand Theatre in Changsha. Since then, Who's Bad has made stops in Thailand, Abu Dhabi, Saudi Arabia, Mexico, Canada, Germany, Amsterdam and more. ​

Never neglecting michael’s u.s. fans, who’s bad has packed the house of blues franchise all across the united states; rocked dc’s 930 club and returned to their native chapel hill, nc boasting larger, more eagerly-awaited performances with every romp around the globe. sold-out shows from china to los angeles, romania to brazil tell the story: no corner of the earth is safe from this infectious party production..

"...the real deal."

Who’s Bad has earned its name by paying studious attention to Michael Jackson’s every original groove and gravity-defying dance move, boasting over 100 years of professional experience and a team of dancers with resumes that range from Broadway productions to Super Bowl halftime shows. Vamsi Tadepalli (Who’s Bad founder, producer, and original saxophonist) assembled a cast of premiere musicians and, from Who’s Bad’s inception, believed in the band’s boundless possibilities. The velvety vocals and pinpoint choreography of frontman Taalib York combined with the band’s grooves, down-deep rhythms and the dancer’s synchronized dance routines results in a performance delivered with soul and precision superseded by no one but the King himself.

They’ve shared stages with such mega stars as aretha franklin, the backstreet boys, the four tops, boys ii men, and hip hop superstar, pitbull. captivated fans include livenation’s anthony nicolaidis who calls who’s bad, “the real deal,” and michael jackson’s longtime friend and manager frank dileo who proclaimed after who’s bad show in nashville, tn, “the show was great….michael would have been proud”​.

"...Michael would have been proud."

Whether you idolized the Jackson 5, fell in love to Human Nature, or learned to moonwalk to Billie Jean, Who’s Bad is THE ULTIMATE music-and-dance driven Michael Jackson homage. This band of professionals relentlessly elevate the legacy of pop music’s King, always pushing themselves to be more precise, to raise the level of excitement and awe, while embodying Michael Jackson’s mission to bring people together of all races, genders, and cultures through live music.

As the curtain opens on a Who’s Bad performance, every MJ fan feels the adrenaline, screams at the sight of that unmistakable silhouette, and succumbs to a surefire Michael Jackson sing-along. The energy is purely magnetic, the musicianship is first-rate, the dance moves deftly inspired. Who’s Bad is a tribute befitting a King and their high- octane execution of MJ’s music and dance has catapulted them to the exclusive rank of Ultimate!

From Thriller to Bad, Michael Jackson's 15 greatest songs on the London debut of MJ The Musical

There's good reason Michael Jackson was crowned the King of Pop.

He was a true musical icon. The expression is often overused, but in terms of Jackson’s music, it was entirely deserved. His songs, his fashion, and his dance moves all had an unparalleled influence on pop.

For at least a decade-and-a-half, he dominated the airwaves: the albums he released from 1979 to 1995 – starting with the disco -tinged masterpiece of Off The Wall and ending with the 30-song behemoth HIStory – are all among the highest-selling albums of all time.

But of course his career was mired by disturbing allegations, and accusations of child molestation, the first of which was made against the singer in 1993 and settled out of court. And, after the release of the tremendously upsetting 2019 documentary Leaving Neverland, listening to Jackson’s music was complicated further.

Which is why MJ: The Musical, which opens in London tonight after wowing US audiences on Broadway, has been splitting theatre fans. “It's not OK to see the Michael Jackson musical in London, it's abhorrent,” said the Standard’s Anna van Praagh .

Others have found ways to separate the art from the artist: 1.1 million people went to see it in the US.

The musical, which follows the making of Jackson’s 1992 Dangerous World Tour, has won four  Tony Awards , been written by two-time Pulitzer Prize-winner Lynn Nottage, and has been directed and choreographed by  Royal Ballet  Associate Artist Christopher Wheeldon.

On the eve of the musical’s opening, we’ve put together a rundown of Jackson’s greatest-ever tracks, many of which appear in the musicial. We haven’t included any of his work from the Jackson 5 years – they surely deserve their own list – and have instead focused on the solo songs, from the earth-shaking ballads to the perennial dancefloor fillers.

15. The Way You Make Me Feel (1987)

A masterclass from producer Quincy Jones (the first of many on this list), the glossy RnB of The Way You Make Me Feel fully cemented the commercial success of Jackson’s 1987 album Bad. While the track doesn’t necessarily feature the most compelling chord progression or compulsive melody in Jackson’s back catalogue, Jones adds a vivacity that few else could. A great, stonking bass line and a drum sound more Eighties than Molly Ringwald holding a Rubik’s cube gave the track an unmistakable swagger and helped make it one of Jackson’s most enduring hits. HF

14. Leave Me Alone (1989)

Misanthropy has rarely sounded so catchy. For us mere mortals, Jackson’s angry battle cry to “leave me ALONE” covered all manner of sins (room tidying, homework completion), but the King of Pop was specifically fulminating against the press.

13. Bad (1987)

As the title song of his seventh album, Bad sharpened a new edge to Jackson’s music. Inspired by the story of a young boy’s attempt to escape poverty by attending a private boarding school, only to be killed when he returned home, Jackson originally wrote Bad to be a duet with Prince . While Prince passed on the collaboration, he reportedly said he knew it would be a hit without his input. With a West Side Story-esque short film as the video, directed by Martin Scorsese and starring a then-unknown Wesley Snipes, Prince was proved very much right. Musically, Jackson had far brighter moments, but the cinematic fanfare that surrounded it, symptomatic of his absolute stardom, marks it as one of his most iconic moments. ZP

12. They Don’t Really Care About Us (1996)

As someone who meant so many different things to so many different people, MJ was always going to be political. But it wasn’t until the mid-Nineties that his music became explicitly so. While Earth Song in its full duration is probably only enjoyed by climate change activists, the clattering drumbeat and eerie choir on They Don’t Really Care About Us made this one catchy diatribe.

“You know I do really hate to say it/ The government don’t want to see,” he snarled, before shouting out FDR and Martin Luther King . It was used as an anthem during the 2015 Black Lives Matter protests, indicating its lasting impact. JT

11. Black or White (1991)

The Nineties saw a definite shift in the pop music landscape. Following on the synth-driven sounds or the Eighties, this new decade brought grunge and rap. Rising to the occasion, MJ brought this banger. The song is composed and arranged by Jackson himself, but the rap lyrics are by Bill Bottrell. The song also has a powerful message for its time — he won’t be defined by race or background. In many ways its ahead of its time, both musically and culturally. Plus, it’s a absolute feel-good banger, one that will compel anyone to jump up and dance. LT

10. Rock With You (1979)

Rock With You is pure seduction, a lustrous piece of soulful disco that is as much a call to the dancefloor as it is to the bedroom. The breathtaking bridge, first arriving just after the 40-second mark, is the song’s fleeting, undeniable highlight — the brief ascension makes way for a drumbeat, reducing the song down to its bare dance-ability. It soon gives way to the divine romance of the chorus, but those few seconds of bliss are what you rewind the song for. JE

9. Human Nature (1983)

Human Nature was a last minute addition to Thriller and came very close to not being included at all. The ballad interestingly contrasts between Jackson’s breathy and vulnerable vocals and the lyrics, which tell of a man going out in search of a one night stand. It was actually written by Steve Porcaro from Toto (there are undoubtedly hints of the yacht-rock group’s biggest hit Africa in there), who sent in some ideas for the album. An unfinished version of Human Nature happened to be on the other side of the cassette and Jones snapped it up. Thank goodness for that — it’s a funky slow dance, doused in synths and gloriously smooth. ZP

8. Thriller (1983)

This was one of the seven top-10 singles from the the mega-selling Thriller album, a release which went 33-times platinum. Musically, this song’s conception was a swift one. It was written by English disco pioneer Rod Temperton in a taxi on the way to the studio and only took two takes to commit to tape. Still, the actual song is eclipsed by the enduring iconography of the video. It’s slightly shorter than the Bad film – just 13 minutes this time – but there are so many still-relevant pieces of pop culture here: the dancing undead, the overblown spookiness that's inspired countless Halloween parties and, of course, that red suit. JE

7. Smooth Criminal (1988)

Two words: that lean. MJ’s gravity-defying tilt in this video is iconic. But not only that: the flicks of the crisp white blazer, the toe points, the smooth, seductive brushes of the hat — it’s a choreographed work of art. Video aside, the song is outrageously catchy, especially the obsessive repetition of “Annie are you OK?”. It's another example of Jackson proving that pop music videos don’t need to be cheesy – they can be incredibly artistic and wonderfully theatrical instead. LT

6. Don’t Stop ‘Til You Get Enough (1979)

Jackson wasn’t given full creative control until 1979, but he proved himself more than capable from the off with this cut of glittering disco. The entire thing is driven by one incessant lyric that is heard in the guitars, the horns and the singing itself. Jackon’s performance is all falsetto, complete with o-hos and hiccups galore, but it’s the intricate, knotted guitar lines that chatter underneath it all which really get things going; that is, until the brass fires out a counter-rhythm that lifts the song and carries it into the six-minute mark. The song was proof Jackson was grown: in the video, dressed for prom night, this was his graduation: gone was the sweet child, replaced by a powerhouse of pop-funk. DE

5. P.Y.T. (Pretty Young Thing) (1983)

Light and shade: contrast is everything. The opening few seconds, complete with a shudder-inducing voiceover, are quiet, calm – then comes the bassline, a strutting piece of funk with its top lip curled. It’s faster than most of his other tracks and absurdly danceable: that Jackson never performed it live is a true shame – we can only imagine him spinning and moonwalking to it. It’s a song that layers and layers: by the end, when the chipmunk backing vocals kick in, they’re just another one of countless rhythms stacked up against each other. It’s flawless, but he didn’t sacrifice any soul. DE

4. Billie Jean (1983)

Billie Jean is all about the inexorably groovy bassline, played by legendary session musician Louis Johnson, which drives the track along and helps make it one of pop’s ultimate dancefloor-fillers – sure to be a regular fixture at weddings, birthday parties and bar mitzvahs until the end of time. It’s just one of the production masterstrokes from Quincy Jones on the song, which marks one of his slickest collaboration with Jackson. Song aside, take a minute to watch the music video again if you can – while the clip was synonymous with the success of MTV in the Eighties, it seems surprisingly low-budget, featuring a bizarre sequence showing the transformation of a homeless man and various shots of cats jumping around by bins. Still, this is one of Jackson's all-time great songs, and has to be considered among the finest of the decade. HF

3. Man in the Mirror (1988)

The fourth single from Bad, this is another Quincy Jones production marvel, a song that shape-shifts throughout but loses none of its essential essence. The opening is one of saccharine balladry, with descending synths that wouldn’t sound too out of place in a Christmas film, before moving into the world gospel and finishing with woozy, late-night drive of an outro. It’s the kind of song that could quite reasonably wrap up around the three-minute mark and sounds as if it might – but it doesn’t. The thematic effect of the key change – the one that hits like a punch to the stomach at 2:50 – is obvious in the context of the song, and transforms Man in the Mirror from very good to truly great. JE

2. Beat It (1982)

In the music video for Beat It, MJ tries to solve a gang war with the power of music and dance. Thank goodness he never ran for office. That aside, this thundering tune is a reminder of how unstoppable MJ was at the height of his powers. As the third single from his non-stop banger-fest Thriller, it’s a solid gold slice of brash pop. The riff is untouchable, the snares sound like a cracking whip, and Eddie Van Halen's guitar solo is an absolute face-melter. It was Jackson at his absolute boldest. JT

1. Wanna be Startin’ Somethin’ (1983)

Jackson was always at his best when he was grooving. His catalogue is hardly lacking for timeless dance tracks, but none pulled its listeners towards to beneath the disco ball quite as strongly as this, the opening track off Thriller. It’s a propulsive clash of hyperactivity – the clattering drumbeats, relentlessly funky bassline and bubble-popping vocals all have an irresistible gravity to them. The musical influence here is global – there are cuica drums from Brazil, the iconic “mama-say, mama-sa, ma-makossa” is taken directly Cameroonian musician Manu Dibango, and, of course, there is clear inspiration drawn from his own country’s disco era – but it’s crafted into something undeniably Jacko. It was a statement of intent, not just for the rest of Thriller, but for a career of pop music supremacy. JE

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Michael Jackson - Bad World Tour - Yokohama, Japan - September 26, 1987 (HappyLee Remaster)

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