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| Bad (tour) | |
|---|---|
| Concert tour name | Bad Tour |
| Artist | Michael Jackson |
| Album | Bad |
| Start date | September 12, 1987 |
| End date | January 27, 1989 |
| Number of shows | 123 |
| Attendance | 4.4 million |
| Gross | $125 million |
Bad (tour) was the first solo concert tour by Michael Jackson, supporting his seventh studio album, Bad. Spanning venues across North America, Japan, Europe, Australia, and Latin America, the tour featured collaborations with producers and choreographers from Motown Records alumni and contemporary figures from Epic Records and CBS Records. It set attendance and box office records, involving concert promoters such as Clear Channel Entertainment, SFX Entertainment, and international partners including AEG Presents and Live Nation predecessors.
Following the global success of Thriller and the international acclaim of singles like "Beat It" and "Billie Jean", Jackson worked with producer Quincy Jones and songwriter Rod Temperton to craft Bad. Tour planning involved executives from Epic Records and Sony Music Entertainment, with tour management drawn from personnel experienced on the Victory Tour and Victory Tour (1984) alumni. Choreography consultations included figures associated with The Jackson 5 era and collaborators such as Vincent Paterson and Jeffrey Daniel, while musical direction incorporated arrangements referencing performances at Grammys ceremonies and television specials produced by Motown Productions.
Logistics were coordinated with stadium operators like Dodger Stadium management, arena chains including Madison Square Garden and Wembley Stadium stakeholders, and transportation firms used by touring acts such as Paul McCartney and Madonna. Rehearsals took place at facilities linked to A&M Studios and private rehearsal spaces used by Prince and Bruce Springsteen.
The tour opened in Tokyo and included legs in major markets tied to tours by U2, The Rolling Stones, and Guns N' Roses. Typical setlists combined tracks from Bad with hits from Thriller and earlier Jackson repertoire associated with The Jacksons and Off the Wall (album)|Off the Wall. Songs frequently performed included "Bad", "The Way You Make Me Feel", "Man in the Mirror", "Smooth Criminal", and "Beat It", interspersed with dance numbers referencing routines from Motown 25: Yesterday, Today, Forever.
Special appearances and guest artists mirrored joint performances long seen on stages with Diana Ross, Paul McCartney, and Stevie Wonder, while encore choices sometimes echoed work with producers from Quincy Jones and songwriters like Rod Temperton. Venues ranged from arenas affiliated with Madison Square Garden Sports to outdoor stadiums managed by entities such as MetLife Stadium and historic sites like Wembley Stadium.
Stage design incorporated effects and set pieces influenced by concert productions for Pink Floyd, U2 and theatrical designs seen on Broadway tours. Lighting rigs used technology developed by companies that serviced tours by Genesis and Phil Collins. Costuming was designed by stylists who had worked with Éric Tibusch and ateliers linked to designers for Madonna, while wardrobe maintenance drew on practices from stage productions at Royal Albert Hall.
Choreography integrated signature Jackson moves alongside ensemble work reminiscent of routines for The Temptations and stagecraft employed rotating risers and video screens similar to those used on The Who and Rolling Stones tours. Sound systems matched specifications used on tours by The Police and Bruce Springsteen and the E Street Band to accommodate an audience capacity comparable to shows staged by Michael Jackson contemporaries.
Critics from publications aligned with media conglomerates such as Time Warner and New York Times Company provided mixed-to-positive reviews, noting Jackson's vocal delivery and choreography while commenting on theatrical presentation. Box office results placed the tour among highest-grossing concert events of the 1980s, with promoters reporting comparable totals to tours by U2 and The Rolling Stones. Attendance records at stadiums like Dodger Stadium and arenas managed by MSG Entertainment reflected robust ticket sales, while merchandising partnerships echoed retail strategies used by Disney and MTV.
Award recognition and industry acknowledgment included mentions in end-of-year lists from organizations such as the Billboard charts and trade groups like the National Association of Broadcasters, paralleling accolades received by peers including Prince and Madonna.
The tour encountered controversies including disputes over ticket pricing and promoters' allocation practices similar to legal actions involving Ticketmaster and venue operators. Security incidents at select stops led to scrutiny by local authorities and comparisons to crowd-control measures used at events for The Who and The Rolling Stones. Media coverage occasionally referenced Jackson's public persona and legal matters that later involved institutions such as Los Angeles County Sheriff's Department and reporting by outlets affiliated with Rupert Murdoch's media holdings.
The tour influenced staging and choreography for subsequent global tours by artists like Madonna, Janet Jackson, Usher, and Justin Timberlake. Concert production firms and promoters adapted elements of the tour's theatrical sequencing, lighting, and costume integration in projects for Beyoncé and Kylie Minogue. Its commercial model informed revenue strategies used by Live Nation and inspired book-length studies and museum exhibits associated with institutions such as the Rock and Roll Hall of Fame and Grammy Museum.
Category:Michael Jackson concert tours