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Interview: "I am really still a student of blues and soul" – the remarkable return of Paul Rodgers

A singer's singer, Paul Rodgers continues to resonate with generations 54 years on from his debut album with Free ; the remarkable young bluesmen with old souls and timeless songs. He's written, recorded and toured with guitar greats and his voice today still commands respect, but he also remains a humble Middlesborough man at heart. Nearly 25 years on from his last solo album he's back with another powerful statement on Midnight Rose. What we didn't know is just how remarkable it is that Paul Rodgers was able to return to music at all. 

We talked to Paul before the news surfaced of the significant health challenges he's overcome in recent years. In 2016 the 73-year-old Bad Company frontman suffered a major stroke, and another in 2019, in addition to 11 minor strokes. At one point he was unable to speak and had to undergo major endarterectomy surgery – removing plaque clogging a carotid artery. It makes his rehabilitation to return to play guitar and sing again on the highly personal, uplifting album Midnight Rose nothing short of miraculous.  

Produced by Paul's wife Cynthia Rodgers – who we also talked to – alongside Bob Rock and released on legendary label Sun Records, Midnight Rose sees Paul back to where he thrives; as a singer, songwriter and storyteller.

Sun Records must be something you have a lot of memories connected with growing up, with artists that inspired you and now you're on the label yourself.

"It's certainly an iconic label. And I'm very, very proud to be on it. I was in conversation with Primary Wave, who has actually bought Sun Records, and when they asked what I was doing, I replied that I was in the studio working on some new tracks, which I was with Todd [Ronning, bass] and Ray [Roper, guitar]. And they said, 'Well, Sun Records would be really interested in those tracks.' And that gave us a boost."

Had you been writing and recording the songs with a solo album in mind?

"No, actually. The idea was, I was sitting around at home, under lockdown. You know, I suppose I've got to thank the virus for this album in some way. Because it brought everything to a screeching halt, we had to cancel everything; all the shows and everything and sit at home with an acoustic guitar . 

"I thought, 'Well I've got lots of songs here, I should probably go in the studio and see what I can do'. So I called a couple of guys up and we got together, and the idea was, let's just noodle around and see what we come up with. And very quickly, it caught fire, it was great."

So it was creating music for the sake of creating, without a deadline or anything like that.

"Exactly. I wanted to take the time to do this – to do new songs. I've always wanted to for some 20 years, but just hadn't got around to it because I was doing too many live shows. And that was my focus – playing live solo, with Bad Company, with various things that I was doing. And I just didn't have the time to get focused on it. Then I suddenly had the time. I thought, Right now, let's go – let's do it. Let's see what we come up with. 

"And actually Todd Ronning, my bass player, sent me a track and he said, 'Do you have any ideas for this – can you write some lyrics on this?' It turned into Living It Up [the album's first single]. With Living It Up I thought, 'Well, what's this song about? What is it to me?' And I thought that it is probably about my story and the influence that American music has had on my life, and and the whole world really. Then it occurred to me that, you know what? Blues, soul, rock'n'roll, jazz and country – all from America. I mean, they've drawn from all parts of the world, but it's come from America. And I wanted to say thank you in many ways as well. That's my story and I'm sticking to it! From Middlesborough to America."

The song Take Love dates back to your time playing it with Queen live and it's great to finally hear it on a record – did you always know you would record and release it one day?

"Yes, I did, and I kept it back for such an album if ever I got the chance to do it. And so yes we played it with Queen and it was very good. We did a version, but it was still in the process of formulating in many ways."

Cynthia Rodgers: "Paul played it with Bad Company as well in soundcheck – it was all percolating. One thing about that song Take Love is we had a rescue cat. We do rescues; cats, dogs, you know, elephants, whatever. Although we don't have one in our backyard – I must say no elephants are back here… 

Paul: "Well not many…"

Cynthia: "We had this one cat and she was hell on four paws. The SPCA [Societies for the Prevention of Cruelty to Animals] did not like her – they wanted her out, gone. So we fostered her. And she had a lot of problems and so I couldn't get near her. And one day I was trying to stroke her and I just got fed up. And I said, 'Sheriday' – she came named – 'Sherry, I can't love you if you keep running away'. And Paul heard that and…

Paul: "I was sitting there with acoustic guitar and I thought that's a great opening line for a song because I can relate that to human beings too. You can't love them if they run away. And so that's where the song came from."

Cynthia: " You'll hear Leslie Page's beautiful voice singing 'Miss Sheriday' [in the song]. Now you'll know why. And your readers will know why. In the CD artwork, there's actually a beautiful picture of her. She's gone now. but she was a gorgeous girl."

You mentioned that you were writing a lot of these songs on an acoustic guitar during lockdown, how fully formed were they going into the studio?

Paul: "Pretty much there to be honest. We did kick them around a bit arrangement-wise, but pretty much the structure, the chorus and the verses [were there] so it was just a question of how many chourses, how many verses and middle-eight. Sometimes it didn't have a middle eight – often it's the case that you don't have a middle-eight, and then when in the studio you realise it needs to go somewhere before it goes back."

What was your experience like working with Bob Rock on this album?

"He brought a lot of expertise. But I must say that we did the bed tracks at Ray Roper's place – Ray is the guitar player throughout, but not the only one. And he's the engineer as well on the bed tracks. He has a studio in his house right close to where I live, and I had Todd Ronning on bass and Rick Fedyk on the drums. So us four got together and we put all the bed tracks down. Then Bob Rock came in."

Cynthia: "We were about three-quarters done [with the album]. We were done with Midnight Rose, the track – I love that track. I'm really tied to it. I sent it off for mastering and when it came back I didn't know whether my ears were gone. because we'd been working on it for a year and a half, or whether the magic had been mastered out of it. 

"So I sent it to Randy Staub who works with Bob Rock. He's a very good friend of ours and he's an engineer. And I said, 'Can you please listen to these two tracks and adjudicate them for me? Because I think I think I've been listening too much.' He came back and he said, 'No, one of the tracks has more magic to it. I said, 'Ok, we're three-quarters of the way through. I think I need some help'. 

So he called Bob Rock – he lives in Maui with his family. And he said, 'Bob, I got a call from Cynthia Rogers. Paul's wife' and Bob cut him off and said, 'Yes, yes, yes, yes.' And he said, 'Don't you want to know what he wants you to do first?' And he said, 'No I have been training my entire life to work with Paul Rogers.'

Paul: "Did he say that? What a guy!"

Cynthia:" So we spent about five days with them in Vancouver at Brian Adams' studio, The Warehouse. [Bob] added some little diamonds here and there. He was very open, because at the end of the song Melting I really wanted the last thing that the fans heard was Paul's voice acapella. I said, 'I'd really like to end this song acapella'. And he went, 'I don't know about that'. And everyone in the studio went, 'Yeah, we don't know'. I said, 'Well, can we just try it?' And so we tried it, and they all turned around and said, 'Yeah, you were right, Cynthia, that's beautiful'. The album really is a gift to the fans for all the years. Very personal – it's raw and real."

Paul: "Cynthia has made it personal with the artwork as well – she did the artwork. And she included a lot of things that were close to me, that I've used over the years – bracelets and images."

Cynthia: "Images from his mum, things he's painted – people don't realise Paul paints. The fans have been so personal all these years, and given so much of their lives and shared so much, that we wanted to give back. 

"On my 50th birthday, Paul had said to me, 'What would you like for your 50th?' Now this is 13 years ago, so it's quite a while ago now. But I said, 'I would like bird seed, I would like a glass blender and I would like a butterfly bush to attract butterflies', and he said, 'It's your 50th! I can't possibly give you bird seed!' I said, 'Well, ok, then paint for me.' And he said, 'Well, what kind of bird seed?' [laughs] So he had to paint and we shared the painting, Midnight Rose [on the cover]. And the track became Midnight Rose too."

There's also three guitars pictured on the cover – and they were played by three players that loom large in your career; Mick Ralphs, Jimmy Page and Paul Kossoff

Paul: "Great players I have to thank for lifting me up."

And Bryan Adams guitarist Keith Scott performs on the album, too? 

"Bob Rock brought him in, and Chuck Leavell is on there too from the Stones – just a little band called the Stones! Jimmy Mattingly from Garth Brooks. Leslie Page is singing on there as well – it almost turns into a duet on Take Love, well it is a duet."

How do you tend to direct the guitarists in the studio – do you give them quite a free reign or do you have specific ideas in mind for the parts?

"With Keith Scott, he's such a natural when we played Melting, it's just a beautiful blues groove that opens up and builds. And he was just a natural. I just let him run with that, do his thing ."

Cynthia: "It was interesting with [pianist] Chris Gestrin, he has a funk band in Vancouver. He trained at the Berklee School of Music. He's so brilliant – he had not heard any of the tracks. Bob Rock brought him in and Bob sent him into the studio said, 'Get on the Hammond, I want to hear what you what you've got'. And I looked around the room and I said, 'He hasn't heard the tracks. Chris, are you okay with that?' And he goes, 'Yeah, they do this to me all the time'. And you know, he played along and we used it. I couldn't believe this guy."

Paul, I've read that in the past you were a first-take guy when it came to tracking your vocals in the studio in the past, and you would get takes down quickly. Is that true and is that still the case?

"It is sort of true. I like to capture a live moment is what I like to do – I like to capture a vocal live. So what I tend to do is, when you go into the studio, if you do it 1,000 times, with the best will in the world, it gets a bit stale. So I like to capture that first one. But it isn't necessarily the one I use, because you have to warm up too. I've been warming up for a while before I go into the studio, but you have to warm up to the moment. 

"What I tend to do, is, when I'm gonna do a take, I get really serious about it. No matter where I am, I go, 'Okay, it's Madison Square Garden. It's a big night. And we're at the end of the set. And here we go'. So I psyche myself up for performance, really. And that's what I try and capture."

Has that always been your headspace, even back in the early days?

"I remember in the early days when I was doing Free tracks. it was very difficult to get the vocals down because I was so nervous. I remember Chris Blackwell [Island Records found], he said, 'Okay, let's just let's just go out and have a drink, but not too much – just a little. He wouldn't let me get drunk or anything. And so I'd have a glass of wine or two, come back and knock off [takes], as it were.

"I think there were quite a few vocals like that. I said, 'Well, thanks, Chris. That's a good way of doing it'. But he said, 'Don't look at it as the way to get a good lyric or a good vocal, because you don't want to go down the drink route', which is one of the things that happens to a lot of people. Because your confidence is challenged, so you take something to pick you up and all that stuff."

How have you maintained your voice so well over the years – is it clean living, warming up and warming down?

"Clean living is what it is now, that's for sure. In the early days I was like every young guy I suppose – fairly abusive to my system. And I've learned that it doesn't really work if you want you know if you want to keep singing, and also I keep doing shows – I keep using the voice. I don't let it go to sleep, which it would if you stop singing. So I try not to overdo it. 

"Also what I tend to find is helpful is gargling a little bit of salt water – just body temperature water. Just a half teaspoon of salt, swirl it around and gargle that. It's very good for the throat.

"I should mention as well about warming up, because I hear it a lot in the corridors backstage you know – a lot of singers will warm up by going [screams] 'Yeah, yeah, yeah' and screaming. But you wouldn't want to do that to a car engine, would you? You wouldn't sit there [revving a car hard]. And you don't really do that to a human voice – you just sort of warm up [sings softely], you warm up your voice like that.

"I take it to different levels. Before a tour I will warm up for weeks before. I'll play a bit of acoustic and then we get into a soundcheck I'll step it up a little bit, but not too much because you really want to save it for the show. But I step it up a little bit and then the first night I kind of do hit it and then the next night you'll feel that, 'Oh god I sang [hard]' so you've got to take you've got to manage it as you go along."

You're obviously viewed as a great vocalist but guitar has always been part of your career. Do you have go-to writing guitars and is it always writing with acoustic? Do you ever write with electric guitar ?

"Oh yes, I write on whatever I happen to be playing, but really I'm not like a great guitarist, or a great piano player, bass player or a great drummer. But I do all of those things because I want to know what it's like from the point of view of the drummer, or the point of view of the bass player, etc. 

"But then again, the structure of the song is very often written on acoustic guitar, although having said that, I have written songs like Silver, Blue & Gold on the piano, Some instruments are specific to their task. When you play a piano, for instance, I do find that there's a percussive element to left and right, left and right – that sort of thing. And the structure, you can feel a piano-written song by the structure very much, I feel." 

"I wrote Wishing Well on bass, funnily enough. The main thing about a song is its structure, and however you get that structure, that's what you've got to do. And so that's what I did. Having said all of the above, I still like working on acoustic guitar for the structure of a song. Midnight Rose, for instance, I found that when I showed the guitar to a chord, like an E major, if you hold the bar just lightly on the 12th fret, you'll get a harmonic, which is a really cool sound. And you'll get one of the seventh fret, on the B chord [of the song]. So I had those two chords to work with if I wanted to keep the harmonics in the song . So with Midnight Rose that's what I used. It's the same tuning as the bottleneck [slide] tuning. You use an open chord basically."

You've seen music technology change over the years, are there any things that you miss about the old days in the ways you used to make records and tour?

There are lots of things, to be honest – it's all changed. It's really changed. For instance, I was talking to someone the other day, and I mentioned the fact that I met Mick Ralphs when I was touring with Mott The Hoopl e and I had called Peace. Mick and I used to meet in what we called then, the tuning room. Which was a room separate to the band rooms backstage. You've got a tuning room and you've got amps in there, you'd take your guitar and tune it before the show. I would often meet Mick in there. And we'd be tuning together and he'd played me a song and I'd play him a song and that's how we kind of made a connection. 

"We don't do that anymore. We've all we've got tuners. Now you can tune it without going to a specific room you know anything and I remember when we first got tuners, Clive Coulson, our tour manager with Bad Company, brought these tuners in – big boxy things at the time. And we said, 'Oh we don't need those - we've got good ears, we can tune ourselves'. But then after a while, you get that needle right in the centre and you're smack in tune and it's so great that you actually become dependent on them. 

"So everything now is digital, very convenient, and it's okay – I suppose it's good. But I like the old way because I like analogue. I love analogue – you use a valve. I find that digital is a kind of assimilation of what you really want to sound like. It's not the actual thing. But that's maybe because I'm so old [laughs]."

Do you remember what mics you used back in the early days? 

"It's funny because the first mic I really got kicked off singing with was a Shure 57 . We'd just bought one when we were The Road Runners. I was 13, I think. And everybody was trying this mic. The manager of the time was Joe Bradley – Colin Bradley's [The Road Runners' original singer while Paul played bass] older brother. He said, 'You you try it out'. And I sang, 'Good golly Miss Molly'. Then he said, 'Okay, you're the singer'. That's how I became a singer – I was the bass player before then. Now I'm the singer. And we used to do a song called Everybody Needs Somebody To Love [sings] 'And I need you, you, you, you'. I loved the audience reaction to that, and I liked singing from then on."

You were a student of the blues from a young age, but one of the things that helped set you apart was the soul influence. When did you discover artists like Otis Redding?

"The same time as I was talking about the Shure mic, to be honest. Because we used to go to a nightclub in Middlesborough called The Purple Onion. And they had great bands there. There was a blues boom in England at that time that was growing very strong. And we used to get records, people would bring records by Howlin' Wolf, Muddy Waters, Albert King … the great, great players. I still love listening to those records even today. And I'm still learning a lot from blues. So it was it was both blues and soul. There's a lot of crossover between types of music. And I suppose I am really still a student of blues and soul. And so I think I definitely still learning."

You're a great collaborator – you've worked with so many iconic guitar players and musicians over the years, and it seems to me that is almost a skill in itself, that you can work with very different personalities musically.

"I love the players I've worked with, and they're still friends of mine, of course. And I try to I tried to lift them up and have them lift me up, which they often do – very much so. Brian May , Jimmy Page… I can think back at some of the shows are just amazing, as with Mick Ralphs and, of course, Paul Kossoff – the first guitar player that I really connected with. He was just so great, and he was so very soulful. He used to rip out his heart to play the solos. It was just amazing how much he put into it. I think the thing is to appreciate them and then they will appreciate you – it's a kind of mutually uplifting thing. And the audience hopefully benefits from that."

A lot of musicians are now able to record at home – people can be quite self sufficient with technology now. But it feels like the role of the producer has been really important and shouldn't be overlooked. What's your experience been like working with producers, and how important have they been to elevate your own work?

"Very good question. I did a solo album [1983's Cut Loose], and I played all the instruments, because I was thinking exactly the same thing. I wonder what would happen if one person played it all. What I did find, though, is it's about people. And although you can make an ok album like that, actually you can make a great album like that because some people are so talented, but I find that it's about people and relationships, and movement of emotion. That's part of it. 

"I like a producer who understands the whole picture, and can keep you focused on where the muse should be going. Because it's very easy to get a bit spaced out when you're doing an album, and go on for days. And each song needs needs to be three or four minutes of focused intention that will reach another person, or reach out to the people, I guess. So I think the idea with a producer is to keep your focus. And it's basically about people. It really is about people and uplifting each other."

Do you have any kind of recording setup at home for working on demos?

"No, because I did have a studio in my house in Kingston in London, but I found that every time you're not in, you feel guilty. It was sitting there, not doing anything. So I like to close the door and just [imagine] like I'm around a campfire. And that's the kind of feeling I like to build songs from – not just the sterile environment that you have to have in the studio, because you don't want noises all over the place. You want it sterile. So it's got to come from the place you go to when you sit around a campfire looking at the stars in the sky. That's where you want it to be from.

"But I put the tracks down in a studio nearby but it's separate – you can close the door on it and drive away."

What technology has made the creative process in the studio easier now for you?

"Sometimes in the old days, we wish we could put that solo onto that track. And you couldn't do that in those days. Editing is so precise now as well. In the old days, if you wanted to take something out to connect two bits, you'd have to cut it – you'd have to actually remove the tape the tape. You'd line it up the point where that's where the drumbeat is and hope when you put that razor on – I didn't do this by the way, it was done for me – but when they put the razor down and slashed it, it had to be in the right spot.

"So you have to be very careful. If we were going to edit it, we had to mix it in such a way that the part was editable. Now you can just go to drums, bass – everything just clean as a whistle like that. Those kinds of things, technical things, I suppose, are very much easier now with digital."

The new album has more of an old-school approach.

"Well, that's what I definitely went for. That's why I got four guys in the studio, just eyeball-to-eyeball playing together. We went for the take that's got that spark, it's got that little magic. It's got that spontaneity. And that's what I think we've tried to achieve on this album."

It's an organic way of doing things.

"Absolutely. Yes, like the food I eat. Well, I tried to!"

Going back to the blues, it's amazing what a deep well it continues to be for musicians after all these years, especially 12-bar blues. 

"Well, when you think about a 12-bar blues, I remember Colin Bradley, the guitarist in school, taught me the twelve-bar blues, and it was so amazing. You can that structure and you can write a million songs on it, which people have done – probably more. And you can still write another million or another billion. How many song structures have that quality but the 12-bar blues? it's amazing , right? 

"It's a structure you can hang your soul on, and wherever you're at in that particular time. It's amazing."

To someone who is picking up a guitar, or any instrument, for the first time and wants to write their own songs, do you have a piece of advice to pass on from your wealth of experience?

"I would say keep it simple. Don't try to get too complicated. Just keep the structure simple. That's it. And from the heart. Even Mozart, you know, is reputed to have said, 'From the heart to the heart'. And I thought wow, that applies to all music. You know, it applies to everything. What comes from the heart goes to the heart." 

• Midnight Rose is out now on Sun Records. Visit paulrodgers.com for more information. 

QUEEN + PAUL RODGERS Announce U.S. Dates

Legendary rock icons Brian May and Roger Taylor of QUEEN , and Paul Rodgers of BAD COMPANY and FREE , just off a sold-out, 32-date arena tour of Europe under the banner of QUEEN + PAUL RODGERS , are headed for the U.S. later this year. They will bring their acclaimed show to the U.S. for two rare performances this fall, touching down on each coast before heading out for a stadium tour of Japan.

QUEEN + PAUL RODGERS today confirmed much-anticipated shows for October 16 at Continental Airlines Arena (The Meadowlands) in East Rutherford, N.J., and October 22 at the Hollywood Bowl in Hollywood, Calif.

Tickets for the Continental Arena date will go on sale at 10 a.m. EST on Saturday, July 30, and for the Hollywood Bowl date at 10 a.m. PST on Sunday, July 31. Tickets can be purchased via Ticketmaster or www.queenpluspaulrodgers.com, www.queenonline.com, or www.paulrodgers.com. (Check the Web sites for information on pre-sales and special VIP ticket opportunities.)

Following the pair of U.S. dates, QUEEN + PAUL RODGERS will continue on to Japan, where their dates include the Super Arena in Saitama on October 26 and 27, the Dome in Nagoya on November 1, and The Dome in Fukuoka on November 3.

It's been 23 years since QUEEN played concerts in the United States — in 1982 they sold out a 30-date arena tour. During the following four years, the band defined stadium rock around the world, with mega-shows throughout Europe, Japan, South America and Australasia.

The glory that was QUEEN during those record-breaking years — at Brazil's Rock in Rio Festival (January 1985) the band reached a record-setting audience of more than 350,000 in a single show — would never again be seen in the U.S. In 1986 lead vocalist Freddie Mercury was stricken with the then-relatively unknown HIV/AIDS virus. Without the benefit of modern retroviral treatments, Mercury died of an AIDS-related illness, in 1991. Since QUEEN stopped touring North America in 1982, an entire era of subsequent QUEEN anthems has been lost to those audiences, only now to be discovered, with the 2005 dates.

"I never thought I would be doing this again," said May . 'I was always against the idea of putting someone in there trying to impersonate Freddie in any way. Then suddenly I'm looking at this guy who doesn't in any sense try to take the place of Freddie . He comes from his own place musically and we can reinterpret these songs with someone who understands us — the songs would mean something new."

The collaboration was cemented last fall when May , Taylor and Rodgers performed in public together for the first time, bringing the house to its feet at the first annual U.K. Music Hall of Fame Awards in London. They served up blistering versions of "We Will Rock You" , "We Are The Champions" and the finale, "All Right Now" .

"There was a natural chemistry between us when we performed together in London," said Rodgers . "The idea took hold for us to do something together after that, and the momentum has taken on a life of its own."

Taylor noted: " Paul is one of the people who's influenced so many of the singers out there at the moment, and Freddie was a great fan of his. I always hoped we would tour again, and I'm thrilled we're doing it. After all, it's our profession; it's what we do and what we're good at."

The Independent in London commented in a review: "All right now — even without their killer queen. There was a kind of magic in the air when QUEEN played their first concert since 1986…. Rodgers gives good front-man…. QUEEN remains a right royal treat."

" ... a marvelous night that ranks as one of the gigs of the year," added The Guardian newspaper in the U.K.

QUEEN was formed in 1971 and spent the next 20 years writing and recording such multiplatinum albums as "News of the World" , "The Game" (#1 for five weeks), "A Night at the Opera" , "Classic Queen" and "Live Killers" . According to the book of "British Hit Singles & Albums," published by Guinness World Records , QUEEN recently overtook THE BEATLES as the most successful albums artist in U.K. chart history. They scored 1,322 weeks on the U.K. albums chart, 29 weeks more than THE BEATLES and 42 weeks more than Elvis Presley .

As of June 2005, according to the RIAA , QUEEN had sold more than 31.5 million albums in the United States, ranking them the 50th-biggest-selling artist in the States. FOO FIGHTERS ' Dave Grohl and Taylor Hawkins inducted QUEEN into the Rock and Roll Hall of Fame in 2001.

Paul Rodgers ' voice is one of rock's platinum assets. As a multi-instrumentalist and songwriter, Rodgers has written, produced and recorded some of radio's biggest hits. He first exploded onto the music scene at 18 with "All Right Now" , written by Rodgers / Fraser , then in FREE . The song became a #1 hit in 20 territories and in the 1990s was awarded the Multi Million Award by the British music industry for reaching two million radio plays in the U.K. ASCAP recognized "All Right Now" for passing one million radio plays in the U.S. The members of QUEEN have long cited FREE 's "Fire and Water" album as "one of our bibles when we were starting off."

In 1973 Rodgers formed BAD COMPANY with guitarist Mick Ralphs . They wrote, produced and recorded six multiplatinum albums in five years, including such global hits as "Feel Like Makin' Love" , "Can't Get Enough" , "Rock and Roll Fantasy" , "Shooting Star" and "Bad Company" . Rodgers played guitar and piano on several of these recordings.

Rodgers partnered with guitarist Jimmy Page in the mid-'80s as THE FIRM . They released two CDs, with singles "Satisfaction Guaranteed" and "Radioactive" written by Rodgers , and had two top-grossing world tours.

Since the '90s, as a solo artist, Rodgers has been honored with a Grammy nomination for his "Muddy Water Blues" album and worked with Jeff Beck , Joe Walsh and, most recently, Aretha Franklin , THE TEMPTATIONS and THE FOUR TOPS for their TV/DVD special, "From the Heart" , which celebrated the TOPS ' 50th anniversary.

Between them, QUEEN and Paul Rodgers have released more than 50 albums during their long careers and sold in excess of a staggering 200 million records.

QUEEN + PAUL RODGERS concerts will feature songs from both catalogs. The set list has showcased such QUEEN mega-hits as "Crazy Little Thing Called Love" and "Another One Bites the Dust" , plus "We Are the Champions" and "We Will Rock You" , both anthems in the sports world, and the six-minute opus "Bohemian Rhapsody" , which cracked the Top 10 twice: first on its initial release, in 1976, and again in 1992 when it appeared in a memorable scene from the comedy film "Wayne's World" . The shows have also featured such Rodgers classics as "All Right Now" , "Can't Get Enough" , "Feel Like Makin' Love" and "Wishing Well" .

May (guitar and vocals), Taylor (drums and vocals) and Rodgers (vocals and guitar) are joined on tour by Danny Miranda (ex- BLUE OYSTER CULT ) on bass, Jamie Moses (former Brian May band member) on second guitar, and Spike Edney , longtime QUEEN sideman on keyboards. (Though supportive of his band mates, QUEEN bassist John Deacon has elected to retire from touring.)

QUEEN + PAUL RODGERS concluded their European tour this month with large outdoor concerts in Portugal, Germany and the Netherlands, and returned to London's Hyde Park, where QUEEN performed a free show before a then-record crowd of 150,000 in 1976. This time their show, postponed a week by terrorist bombings, was dedicated to the city's emergency workers.

Over the past four years, QUEEN has also successfully developed and launched their musical, "We Will Rock You" , around the world, in partnership with Robert De Niro 's Tribeca Productions . Now in its fourth sold-out year in London, it has also enjoyed successful runs in Spain, Australia and Russia, and is packing them in nightly in Las Vegas, Tokyo and Cologne, where it is the #1 German theatrical show. More than four million people have seen the production.

A double-sided QUEEN + PAUL RODGERS single of "Reaching Out" / "Tie Your Mother Down" b/w "Fat Bottomed Girls" was released to radio earlier this month by Hollywood Records . It was recorded live May 9, 2005, at Sheffield Arena, in Sheffield, England.

The U.S. dates will be topped and tailed by the release of a live, two-CD set, "Return of the Champions" , released on Hollywood Records September 13, and a DVD set of the show filmed by renowned director David Mallet , released on October 24. They were also recorded and filmed, respectively, during the May 9 Sheffield Arena performance.

The DVD set will contain extensive bonus material, including rehearsal and backstage footage, and highlights of their European shows.

Hollywood Records is also issuing a QUEEN tribute album — "Killer Queen" – on August 9, 2005. Artists performing QUEEN songs include GAVIN DEGRAW ("We Are the Champions"), JASON MRAZ ("Good Old Fashioned Loverboy"), FLAMING LIPS ("Bohemian Rhapsody"), ELEVEN featuring Josh Homme ("Stone Cold Crazy"), JOSS STONE ("Under Pressure"), LOS LOBOS ("Sleepin' on the Sidewalk"), SUM 41 ("Killer Queen"), ROONEY ("Death on Two Legs"), JON BRION ("Play the Game"), BE YOUR OWN PET ("Bicycle Race"), INGRAM HILL ("'39"), BREAKING BENJAMIN ("Who Wants to Live Forever"), ANTIGONE RISING ("Fat Bottomed Girls"), SHINEDOWN ("Tie Your Mother Down") and "American Idol" finalist Constantine with the cast of "We Will Rock You" , from the Las Vegas production (on a second version of "Bohemian Rhapsody" ).

At the end of the year, QUEEN will commemorate the 30th anniversary of their two-time hit, "Bohemian Rhapsody" (first released in the U.S. December 7, 1975),with a special anniversary DVD and CD of the band's classic album "A Night at the Opera" .

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Paul Rodgers

Official Site

November 9th Cancelled

The Bad Company Show scheduled on November 9th at Hard Rock Live at Etess Arena in Atlantic City, NJ has been cancelled. Thank you.

Rock Legends Cruise VIII

Paul Rodgers joins a group of rock and roll icons, including his son Steve Rodgers, on the Rock Legends Cruise VIII presented by the Native American Heritage Association. Find out more information or get tickets here or by calling 888.666.1499

Bad Company & ZZ Top Hit The Road Together With Cheap Trick

ZZ Top & Bad Company are going on a 50th anniversary Texas Bash Tour together with Cheap Trick. The festivities will begin May 17 in Dallas at Dos Equis Pavilion. Visit the Tour Page for tickets. Read the full press release here: http://www.blabbermouth.net/news/zz-tops-50th-anniversary-texas-bash-to-feature-bad-company-and-cheap-trick/

Steve Vanzandt & Paul Rodgers Deuling Tamborines

Paul Rodgers and Steve Vanzandt duel tambourines on “Rock n Roll Fantasy” at the PNC in Holmdel, NJ

Paul Rodgers Stars Align Tour Instant Live Recordings

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George Thorogood Comes to See the Stars Align Show

George Thorogood visits us on the Stars Align Tour 2018. Photographed is Paul Rodgers, Deborah Bonham and George Thorogood photo: Karen Alvarez

Stars Align Tour Kick-off

Free Spirit - Paul Rodgers & The Music of Free Live at the Royal Albert Hall, London. Available Everywhere Now!!

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Paul Rodgers Tour 2024 : Unveiling The Spectacular Concert Journey

Paul Rodgers is embarking on a tour in 2024. The tour will feature his classic hits and new material.

Paul Rodgers, the renowned rock singer-songwriter, is set to electrify audiences with his powerful vocals and timeless music during his upcoming tour in 2024. With a career spanning over five decades, Rodgers has cemented his place as a living legend in the rock music scene.

Fans can expect an unforgettable experience as the tour promises to showcase the best of his illustrious career, including hits from his days with Free, Bad Company, and beyond. Whether you’re a long-time fan or new to his music, Paul Rodgers’ 2024 tour is not to be missed. Get ready to rock out to the iconic tunes of this legendary performer when he hits the road next year.

Credit: regenttheatre.com

The Enigmatic Music Journey

Paul Rodgers is a legendary rock musician known for his powerful vocals and captivating performances. With a career spanning over five decades, he has gained a reputation as one of the most influential artists in the industry. His music journey has evolved through various genres, showcasing his versatility and passion for creating timeless tunes. Paul Rodgers’ previous successful tours have garnered immense praise, leaving audiences in awe of his electrifying stage presence. As anticipation builds for the upcoming Paul Rodgers Tour 2024, fans eagerly await the opportunity to witness his enigmatic performance style once again, cementing his status as a true icon of rock music.

Destination And Dates

The 2024 Paul Rodgers tour will cover a range of exciting locations , including major cities such as New York, Los Angeles, Chicago, and London, as well as a selection of intimate venues for a more unique concert experience.

The concert dates for the Paul Rodgers tour in 2024 will be revealed soon, offering fans the opportunity to secure their tickets for the highly anticipated shows. Be sure to keep an eye out for the announcement to ensure you don’t miss out on this incredible musical experience.

Among the tour highlights, fans can look forward to special performances at iconic venues such as the Royal Albert Hall in London and the Hollywood Bowl in Los Angeles. These unique settings are sure to make the 2024 Paul Rodgers tour an unforgettable experience for all who attend.

Unforgettable Concert Experience

Paul Rodgers Tour 2024 promises to deliver an unforgettable concert experience filled with electrifying energy and timeless music. As the legendary artist takes the stage, expect to be captivated by his mesmerizing performance insights that showcase his unparalleled talent and passion for music. Take a glimpse behind the scenes to uncover the intricate details of creating a live music spectacle that transcends boundaries. Immerse yourself in the unique perspectives and emotions of devoted fans as they share their fan experiences and reviews , providing firsthand accounts of the magic that unfolds during this extraordinary tour.

Frequently Asked Questions Of Paul Rodgers Tour 2024

What are the tour dates for paul rodgers tour 2024.

The tour kicks off on June 15, 2024, and spans across 15 cities in North America, including New York, Los Angeles, and Chicago.

What Can Fans Expect From Paul Rodgers’ 2024 Tour?

Fans can anticipate an electrifying performance showcasing Rodgers’ timeless classics and new tracks from his latest album, creating an unmatched live music experience.

How Can I Purchase Tickets For The Paul Rodgers Tour 2024?

Tickets are available for purchase on the official website, partnering ticket platforms, and authorized resellers. Don’t miss out on securing your spot for this unforgettable musical journey.

The Paul Rodgers Tour 2024 is a can’t-miss event for fans of classic rock and soulful performances. Featuring iconic hits and new tracks, this tour is set to be a memorable experience for all attendees. Don’t miss out on the opportunity to see Paul Rodgers live in action.

Mark your calendars and secure your tickets now!

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Paul Rodgers is breaking free. The great British rock vocalist and frontman will relive his days in the groundbreaking blues-rock band Free , when he embarks on the Free Spirit tour of the UK in May. The tour will start in Glasgow on 5 May and culminates on the 28th with a show at the Royal Albert Hall in London.

“It was 50 years ago in 1967 when Paul Kossoff and I met and later formed Free,” said Rodgers in a statement about the tour. “We first jammed together at the Fickle Pickle Blues Club in Finsbury Park, we wanted exactly that, to be free to play the music that we loved, blues and beyond.

“We knew we had something special between us when people told us that when we played time stood still. He brought in the rhythm section, Simon Kirke from his band the Black Cat Bones and found the advertisement at the Nags Head Battersea for a “bass player ex- John Mayall looking for a gig” Andy Fraser.

“Not only was Koss the soul of the band, playing every note deeply…from his very soul he also had great organisational skills, everybody loved him and rightly so. The first song that Koss and I wrote together was ‘Moonshine.’ I remember him playing the music and he asked if I could write the melody and lyrics. In fact it was that song we were playing when Alexis Corner walked in to our rehearsal and gave us the suggestion for a band name ‘Free At Last.’ We went with just Free and I am still reeling from the memories.”

Rodgers concluded: “It was so inspirational playing Free material with [late Led Zeppelin drummer John’s younger sister] Deborah Bonham’s band, led by guitarist Pete Bullick, when we played charity gigs to support Willows Animal Sanctuary and Assisted Therapy Unit , which my wife Cynthia and I plus Deborah Bonham and Pete Bullick are patrons of, that I promised myself that someday we would tour the UK with this band. Well…that someday has come.”

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BRIAN MAY LOOKS BACK ON PAUL RODGERS FRONTING QUEEN

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Queen 's Brian May remains grateful for the four years in which the legendary Paul Rodgers sang with the band. Paul Rodgers — a hero of May and Roger Taylor 's since his days singing for Free and Bad Company — fronted the Queen + Paul Rodgers lineup to great success bridging the gap between the late, great Freddie Mercury and today's sold out tours with Adam Lambert .

Brian May admitted to Classic Rock magazine that Queen thought the death of Freddie Mercury meant the end of the band: "We thought it was over. Roger and I were convinced it would be impossible to carry on. As soon as we lost Freddie, the spirit was gone. We didn’t even have the desire, to be honest. (The posthumous) Made In Heaven (album) was supposed to be the final chapter, then we both plugged into our solo work. And then completely by accident we met Paul Rodgers, and we thought: 'Maybe let’s work with this guy who was a hero to us and see what happens.'"

Although the trio toured the globe to sold out audiences — they only recorded one studio set together — 2008's The Cosmos Rocks . Despite hitting the Top Five in the UK, the collection stalled at a disappointing Number 47 on the Billboard 200 album list.

Brian May is still a vehement defender of The Cosmos Rocks , saying, "I am proud of that album. I think it has some really good stuff and it is underestimated. We had fun and Paul had fun. It was great. Not just him flexing his muscles on the Queen material, but also, us playing 'All Right Now' and his songs. I loved going around the world playing that stuff, boys with a new kind of toy. It was great for a while, then eventually it ran its course, and it was obvious that Paul needed to get back to his own career. But we parted on very good terms and keep in touch."

Today, Queen remains bigger than ever, with Adam Lambert bringing some of the drama, pomp and circumstance back to Queen's live act. Brian May explained, "I can’t see that it would have worked with anybody else. He’s a voice in a billion and a presence in a billion; the showmanship, the personality, the range, his ability to reinterpret stuff . Plus he’s nice person to have around. He’s a gift from God."

As of 2022, Queen + Paul Rodgers' The Cosmos Rocks stands as the band's final studio statement. We asked Roger Taylor if he thinks that had the album been a worldwide hit, Paul Rodgers would’ve extended his tenure with Queen: ["I’m not sure. I think it — I mean, I would’ve been happy — definitely, a lot happier if it had. I don’t know. I think there was some in-built resistance to that record, which I think has some very good points to it. But, what would’ve happened, I haven’t got a clue. But, I really don’t think it would’ve, um. . . I don’t think it would’ve continued."] SOUNDCUE (:22 OC: . . . it would’ve continued)

Queen + Adam Lambert kick off their European dates over two nights — May 27th and 28th — in Belfast, Northern Ireland at the SSE Arena.

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Past Events

Here are the most recent UK tour dates we had listed for Paul Rodgers. Were you there?

• Sat 25 Apr Online / Streaming Events All Together Now Smokey Robinson, Carole King, Mike Love, Paul Rodgers, Joe Bonamassa…
• Sun 28 May London, Royal Albert Hall Paul Rodgers
• Sat 27 May Birmingham, Symphony Hall Paul Rodgers
• Thu 25 May Portsmouth Guildhall Paul Rodgers
• Tue 23 May Ipswich, Regent Theatre Paul Rodgers
• Mon 22 May Southend-on-Sea, Cliffs Pavilion Paul Rodgers
• Sat 20 May Nottingham, Theatre Royal and Royal Concert Hall Paul Rodgers
• Fri 19 May Sheffield City Hall and Memorial Hall Paul Rodgers
• Wed 17 May Leicester, De Montfort Hall Paul Rodgers
• Sun 14 May New Theatre Oxford Paul Rodgers
• Fri 12 May Plymouth Pavilions Paul Rodgers
• Wed 10 May Bristol Beacon Paul Rodgers
• Mon 8 May O2 Apollo Manchester Paul Rodgers
• Sun 7 May Newcastle upon Tyne, O2 City Hall Newcastle Paul Rodgers
• Fri 5 May Glasgow, SEC Paul Rodgers

November 2014

• Mon 3 Nov London, Royal Albert Hall Paul Rodgers
• Sat 30 Mar Chichester, The Venue Paul Rodgers, Deborah Bonham

December 2011

• Sat 3 Dec Chichester, The Venue Paul Rodgers, Deborah Bonham
• Thu 28 Apr Utilita Arena Birmingham Paul Rodgers
• Wed 27 Apr London, Royal Albert Hall Paul Rodgers
• Mon 25 Apr Southend-on-Sea, Cliffs Pavilion Paul Rodgers
• Sun 24 Apr The BIC, Bournemouth Paul Rodgers
• Fri 22 Apr Nottingham, Theatre Royal and Royal Concert Hall Paul Rodgers
• Thu 21 Apr O2 Apollo Manchester Paul Rodgers
• Tue 19 Apr Glasgow, SEC Paul Rodgers
• Mon 18 Apr Newcastle upon Tyne, O2 City Hall Newcastle Paul Rodgers
• Mon 18 Apr Newcastle upon Tyne, Utilita Arena Newcastle Paul Rodgers
• Sat 16 Apr Sheffield City Hall and Memorial Hall Paul Rodgers

November 2009

• Fri 6 Nov London, Eventim Apollo Paul Rodgers

Queen + Paul Rodgers: "Freddie Would Love It..."

As Brian May, Roger Taylor and Paul Rodgers prepared to hit the UK as Queen + Paul Rodgers, Classic Rock got the inside story on the collaboration that divided the fans...

Queen and Paul Rodgers? Compared to Queen and Freddie Mercury, it’s a combination that’s like chalk and cheese. Or fire and water, if you will. And to Rodgers’ credit, it’s a fact that’s acknowledged freely – pun most definitely intended – by the veteran frontman himself.

WE WILL ROCK YOU

As Classic Rock wrote this story in mid-March 2005, Rodgers had been rehearsing with Queen stalwarts guitarist Brian May and drummer Roger Taylor for a little over a month. But by the time anyone read this, the new band – officially dubbed ‘Queen + Paul Rodgers’ – had played their first show, an Aids Awareness Concert in South Africa on March 19. They’d performed a special preview concert for their European tour, at London’s Brixton Academy on March 28. (The group’s line-up was augmented by keyboardist Spike Edney, New York bassist Danny Miranda and guitarist Jaimie Moss.)

So, what could fans expect when the British leg kicked off officially, at Newcastle- upon-Tyne Metro Arena on May 3 2005?

“I’m not supposed to tell you,” laughs May. “It’s still slightly fluid, to be honest. We’ve rehearsed more songs than we’re actually going to be playing. But if you really want to know, I suppose it’s about 65 per cent Queen and, and… erm, hang on a minute… 35 percent Paul,” he says, doing the maths. “Something like that. But really we haven’t solidified the set yet. It’s close.”

Rodgers: “It’s largely Queen, I think people will expect to see that. Brian and Roger tell me they’ve always been big fans of Free. They want to do particular songs in the set that I wrote with Andy Fraser in Free, and a couple of the numbers I wrote with Mick [Ralphs] in Bad Company. There’s going to be a sprinkling of my songs throughout.”

Rodgers refers again to Freddie Mercury, who – incredibly – had been dead for 14 years that following November. “I think Freddie would be happy,” Paul insists, “because I feel his spirit throughout the music. I’ve been listening to so much of Queen generally, and Freddie’s singing specifically. Just studying his vocal style, really. Getting into the spirit of the man. And I feel, actually, quite close.”

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It’s easy to be critical about May and Taylor linking up with Rodgers. (The other surviving member of Queen, bassist John Deacon, is retired from the stage.) But the fact is, the tickets for their tour sold out like stone-cold-crazy. The band had recently announced a massive outdoor show at London’s Hyde Park on July 8.

WE ARE THE CHAMPIONS - www. youtube .com/watch?v=PuGcjM1SowM

Rodgers, in particular, was amazed by the turn of events – particularly as that summer marked the 35th anniversary of when Free played the Isle Of Wight festival, in 1970.

“I was thinking today that I’ve lived about eight lifetimes. Here I am, I’m 55 years old, and I feel like I’m 17 again, starting a brand new career. It is quite incredible. We put the Hyde Park show in because the UK tour had sold out so quickly. A lot of people didn’t get the opportunity to buy tickets; it took them – and us – by surprise. It’ll be a great thrill; it’ll be the first time I’ve played Hyde Park.”

Talking to Rodgers and May, Classic Rock had little doubt that this alliance was for real. Yes, there were probably truckloads of money to be made by all parties. Yes, fervent Freddie fans might be sceptical about the entire shebang. And yes, it remained to be seen if Bohemian Rhapsody would be included in the band’s set. (Let alone songs from The Firm, Rodgers’ collaboration with Led Zeppelin’s Jimmy Page.)

But May, for one, remained defiant: “I’m not in the business of persuading anybody – if it doesn’t suit their palate, if they don’t like the idea, then that’s fine. I’m perfectly comfortable with that. To be truthful with you, we’ve dealt with cynicism our whole career. There’s always been people grousing and sniping. I don’t really have anything to say to the cynics except, fine, just stay away. I won’t say the negativity doesn’t affect you, but in a way it also makes you stronger.”

Rodgers urges: “Just come and see us play. The only way you’re going to know if this works or not is to go and see it. Quite honestly, I don’t think people can pre-judge anything at all.”

The whole Q+PR (calm down, Loftus Road fans) thing kicked off when Brian May and Paul Rodgers appeared together on stage in September 2004, at the Fender Stratocaster 50th anniversary show in London.

ALL RIGHT NOW

May: “We’d just finished playing All Right Now , and we both realised that it felt incredibly right. The chemistry was there, and there were sparks flying. Paul and me looked at each other and we went: ‘Hmmm…’ We both had the same thought in our minds. Then Paul’s girlfriend, Cynthia, said: ‘All you need is a drummer, don’t you?’ And I said: ‘Well, I might know a drummer…’

“That’s kind of where it came from. I got the tape of our performance and sent it to Roger, and he said: ‘Why didn’t we think of this before?’”

The trio’s relationship was cemented when Rodgers, May and Taylor played together at the UK Hall Of Fame Awards, belting out Queen’s We Will Rock You and We Are The Champions , and finishing off with another version of Free’s All Right Now .

“Roger has always been the one who’s been keen to get back out on tour, “ May reveals. “It was me who was holding things back, because I didn’t think things felt right. There was no one on the horizon who I thought could do the job of singing with us. And then suddenly we’re looking at this man [Rodgers], who can not only do the job, he can do a lot more besides – he brings something completely new to it, and that’s what turned me around.

“To be honest with you, if you’d spoken to me even nine months ago, I would’ve said no, I’m never going out again – as far as Queen is concerned, that’s it.”

May speaks a lot about the ‘chemistry’ between him and Taylor, and Rodgers. Can he be more specific?

“There’s a reason for it, insofar as we both really grew up with Free’s music. Paul Rodgers is a very big influence on us, because Free were out there while we were still at college. Free’s Fire & Water album is one of our real inspirations and influences. Paul has been part of our history all along – and Freddie was a huge fan of Paul’s; he was one of the few singers he really looked up to.”

May adds: “Freddie used to give me a hard time if I wrote something that didn’t really suit him, and he’d say: ‘Look, Brian, you’re fucking writing this for Paul Rodgers, I can’t do this.’ It became a joke between us, because Paul had that blues edge and Freddie was something different – something very exceptional, as we know. So yes, Paul and Freddie might be poles apart, but there is an overlap because they can both sing Tie Your Mother Down , and it suits them both down to the ground – as we’ve discovered.”

REACHING OUT/TIE YOUR MOTHER DOWN

Did Rodgers ever meet Freddie?

“Not properly,” Paul says, his Middlesbrough accent still very much in evidence. “I passed him on the stairs once – I passed the whole band on the stairs – when Queen were auditioning managers one time, and they went to see Peter Grant [who used to manage Rodgers and well as Led Zeppelin]. I happened to be visiting Peter as well. And we just said a quick hello, hey, how’re you doing… and that was it, really. But I got a very nice vibe from Freddie indeed. He seemed really, really cool.”

Rodgers has an active solo career. How does this collaboration with Queen fit in?

“I must say my solo band have been incredibly nice and understanding about it all. Howard Leese from Heart and the guys, they’ve just been great about it. There will be some solo dates in the future but for the moment I’m putting that to one side.

“I recently worked with the Four Tops. They made a DVD for their 50th anniversary in Detroit, and they invited me up. Aretha Franklin was there, and Sam from Sam & Dave, The Temptations were there as well… and I was actually the only white guy on that stage. Which was a real compliment. I didn’t even know that the soul family, if you like, had heard of me. So it was a terrific thing.”

Rodgers continues: “As a result of that, the company that was making the DVD, Omni Broadcasting, asked me to do my own DVD along the same lines. But I’ve had to put that on hold as well because this is a huge learning curve for me. I’ve got to learn pretty much the entire Queen catalogue in a short space of time, and well enough to be able to deliver it on stage. So it’s been my total focus.”

These are, obviously, extremely hectic times for May and Rodgers. We spoke to the duo separately: May was on the car phone in the back of a limo, speeding off to God-knows-where; Rodgers was holed up in a posh hotel in Bray, Berkshire, close to Queen’s secret rehearsal location.

** I’M READY – PAUL RODGERS + BRIAN MAY **

The Queen + Paul Rodgers project – which was originally mooted as just a couple of isolated dates in London – had now taken on a seemingly unstoppable momentum, which had taken both May and Rodgers by surprise. The last full set of Queen shows, after all, was the Magic Tour way, way back in 1986.

May: “We’re already at the point of signing on the line for a tour in America, which we plan to do in the autumn. It makes me nervous. Well, being on stage doesn’t make me nervous, but it makes me nervous to realise that I am now in the process of giving away my life again. Being in hotel rooms, flying on planes here, there and everywhere… it’s quite tough, and I know Paul feels the same way. We’ve had lots of home time to enjoy in recent times… and this involves a sacrifice.”

Rodgers: “From my point of view, I hadn’t really planned on doing any full-on major tours whatsoever this year. In fact, the only reason I can actually do this venture with Brian and Roger is because I planned to pull back from my own shows in 2005, and just take it easy. So I didn’t quite realise this was such a huge undertaking. It’s taken my breath away.”

Prior to their encounter at the Fender Stratocaster anniversary show, May and Rodgers had collaborated sporadically in the past.

May: “We did a record together called Reaching Out , which was written by Andy Hill and Don Black, for the Rock Therapy charity. I’ve also played on one or two or Paul’s solo records. I played on a track called I’m Ready, which is on his blues album, and the other time when we worked together significantly was when I did this concert in Seville [Spain] called The Guitar Legends .

“I was hired to do the rock night and we had some of the world’s greatest guitarists there. But I didn’t want to have them all up there widdling on stage the whole time, so I rang up Paul and he came down. Of course, guitarists love to do all this highly technical stuff, but give them a chance to do the riff to All Right Now and they’re in seventh heaven. So Paul and me have been loosely in contact since then. It goes back some years.”

BOHEMIAN RHAPSODY

So, is Queen + Paul Rodgers a short- or long-term thing?

May: “It’s too early to say. We’re enjoying ourselves an awful lot, I have to say, so the signs are that we might want to take it further. But equally, we may have had enough of it after we’ve done this fairly intense tour. It’s a pretty serious tour, I have to say. It’s not the sort of thing I envisioned myself doing at this time of life, ha-ha!”

Rodgers: “We’re going along with how it feels – at the moment it’s wide open. We’re all songwriters, we’ve three pretty good songwriters in the band, so the chances are that we’ll start writing, given the opportunity. There are other things I’d like to do, obviously – I’d like to do that DVD, and I’ve been asked to do a solo album of acoustic material, which interests me too – but one can only do so much at a time.”

So is there, potentially, is the prospect of a Queen + Paul Rodgers album some time in the future?

“I wouldn’t say it was out of the question but it’s early days yet,” stresses Rodgers. “Really, the live shows are the main focus right now.”

Even though the spirit of Freddie Mercury still looms large, May has no qualms about teaming up with Rodgers: “I’m absolutely sure Freddie would love it. You might think it strange for me to say that, but I feel very tuned in to Freddie every day of my life. He was virtually a family member, and that’s partly why I haven’t wanted to do something like this up until now – I’ve never felt comfortable about any of the ideas that people came to us with.

“But I know that Freddie would be so happy to hear we’re doing something with Paul. I know Freddie would be very excited, and the other thing I know is that his mum’s excited, which means a lot to me. I’m in touch with her quite often. We’ve got the Bulsara family seal of approval. Absolutely. She said to me that she knows we’ll make her proud. That’s lovely. That’s all I can ask for.”

Brian May’s Favourite Paul Rodgers Track

“Apart from All Right Now , obviously, Can’t Get Enough by Bad Company has always been a big favourite of mine. They’re all favourites, to be honest. The entire Fire & Water album has never left me. We’ll be doing some of that on tour, and it’s a joy beyond compare. Every time we come to play one of Paul’s songs, everybody starts smiling. We just love it – it’s a sort of recreation for us.”

CAN’T GET ENOUGH – BAD COMPANY

Paul Rodgers’ Favourite Queen Track

“There’s a song called The Show Must Go On , which is incredibly dramatic. In my early years as a singer, I listened a lot to Otis Redding. I still do, in fact. Otis has a great spirit and a great soul to his voice; his whole approach to music is very soulful. I’m trying to apply those things – that heart and that soul – to The Show Must Go On . Even though it’s early days, it’s sounding just monstrous.”

THE SHOW MUST GO ON – QUEEN

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Bad Company  

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Bad Company is a british hard rock band with strong blues influences. They rose to prominence in the mid 70s, but have a career, which spans over 4 decades. The band derived it’s name from a 70s Western film and are in many ways considered a supergroup.

Bad Company’s roots spread across 4 different bands. Two of it’s members Paul Rodgers (singer) and Simon Kirke (drummer) made up half of Free, the group’s guitarist Mick Ralphs was previously in Mott the Hoople and their bassist Boz Burrell was recruited from King Crimson. Their manger Peter Grant also managed Led Zeppelin, a group who is one of Bad Company’s greatest influences. Bad Company also drew inspiration from proto-metal bands like Steppenwolf as well as formative electric blues figures such as Muddy Waters and Howlin’ Wolf; however, their sound was more akin to acts like Nazareth or Thin Lizzy.

The group formed in 1973 and shortly after signed to Led Zeppelin’s Swan Song vanity label, making them the first group to do so. Their self-titled debut came out in 1974 and did exceptionally well in the market. It topped the US Billboard 200 and since it’s release has been certified platinum 5 times over, becoming the 46th best selling album of the 70s. The album also made a big impact in the UK, staying on the charts for 25 weeks peaking at No. 3.

This album boosted Bad Company into stardom and seemingly spawned a growth of creativity as they produced 3 more albums at a yearly rate. Their sophomore release “Straight Shooter” entered both the UK and US charts at No. 3, their 3rd album “Run With the Pack” peaked at No. 4 in the UK and No. 5 in the US and their 4th album “Burnin’ Sky” did significantly worse comparative to it predecessors but nevertheless entered the charts at an impressive No.15 in the US and No.17 in the UK.

The group’s 1979 album “Desolation Angeles” abandoned the hard edge sound and grit of their previous releases, swapping sharp distorted guitars for string arrangements and synthesizers. This marked the band’s return to chart domination as the album rose to No. 3 in the US and No. 10 in the UK.

Bad Company had a rough start in the 80s. They lost interest in touring and their longtime manager Peter Grant quit managing after the passing away of Led Zeppelin drummer John Bonham. The group took a break from recording, but returned 3 years later with “Rough Diamonds”, which would be the last album they recorded together as the original lineup. Despite the audience’s anticipation of their return “Rough Diamonds” was the worst selling album the band had yet released.

Not long after this release, Rodgers and Burrell left the band. It was later revived by Ralphs and Kirke and featured a new lineup, featuring Ted Nugent’s vocalist Brian Howe. It took a while for the revisionary group to catch on. Their album “Fame & Fortune” was commercially unsuccessful, sporting a title that seemed to mock them. However they picked up momentum with their follow up album “Dangerous Age” and were back on track with their 1990 release “Holy Water”, which featured the top 20 hit “If You Need Someone”. Bad Compony’s success seemed to be on an exponential incline as their next album “Here Comes Trouble” reached platinum status and produced the hit “How About That”. A year later the band added bassist Rick Willis and rhythm guitarist Dave Coldwell.

After the group issued their live album “Best of Bad Company Live...What You Hear Is What You Get” they put out 2 more studio albums in the 90s: 1995s “Company of Strangers” and 1996s “Stories Told & Untold”.

Though Bad Company has not released any albums in the 2000s they continued touring, many dates alongside acts like David Lee Roth, Styx, Billy Squier, and Lynyrd Skynyrd.

Live reviews

In full disclosure both Joe Walsh and Bad Company are a little "before my time" by just a bit.

As I came up thru the 80's more so than the 70's heyday.

I'm very familiar with both Musicians/ Bands body of work but they were not necessarily ingrained in me as much let's say?

That being said. There is something about the music from that period that was/ is just "better"?

Better song writing, better hooks, better vibe, better musicianship in general etc etc... and though you may have heard "Jukebox Hero" or "Rocky Mountain way" a few hundred times on the Radio you still find yourself clapping and singing along when the opening chords strike like greeting an old friend!

The problem with Bands that have been around for damn near 40yrs (or longer) is that sometimes, they can turn into a mockery of themselves or some deranged "lounge Act" version.

Not the case with Joe Walsh who not only has put together a top notch back up Band, including among others long time Stevie Knicks guitarist Waddy Wachtel, but also is a very funny (if sometime incoherent) storyteller!

Hearing him intro "Rocky Mountain Way" as "a love song I was writing on a beach in Jamaica that went horribly wrong" and "that if I knew I would be playing this the rest of my life I wouldn't have finish it"! was comedic genius!

And He doesn't rest on his back catalog either with the fantastic "Analog Man" from his latest album fitting perfectly into his classic set without missing a beat.

throw in some James Gang gems like "Funk #49 & Walk Away" plus some Eagles in the form of

"Take it to the limit" (dedicated to the late Glen Frey) and "Life in the Fast Lane"

You got a pretty well rounded career spanning set.

And the man can still play guitar like nobodies business don't worry!

Bad Company was a bit tricky for me.

The show was solid and the sound was mixed very well and basically BAD Co. was a Radio hit machine so... the songs!

And everyone was on no question!

Simon Kirk is still a Monster drummer and pushes the songs forward the most live.

Paul Rodgers still has a great voice but I felt He was maybe holding back a bit here and there?

Todd Ronning who replaced original Bass Player Boz Burrell who passed away in 2006 does a fine job and was the most energetic on stage I thought.

Howard Reese has been with Bad Co since 2008 and does a fine job on Guitar.

Rich Robinson who is filling in for original guitarist Mick Ralphs due to medical issues is a great guitarist but really is not a "showman" and I think smiled twice all night?

On the face of it Bad Company gave a great performance but, for me anyway, I felt like they were maybe playing it a bit too safe? You could use the age excuse I guess but I have the feeling that really isn't it and I felt they could have turned it up one or two notches in the energy Dept is all (off night maybe).

All and all it was a great night out listening to classic rock songs from the Golden era of Rock N' Roll so... Money well spent.

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Well, I have seen BAD COMPANY last year @ the Fantasy Springs Resort and Casino and no doubt about it that Paul Rodgers is one amazing singer and his band is truly remarkable. This is perhaps the third time I have seen a concert in an open setting. The only problem is that you have to walk half a mile to get to the venue. I ended up listening to 5 songs and almost did not make it for the bus that was to take me there was about to leave. From where I was dropped, here comes the walking a half mile that felt like it was a never ending one and to top it all, I forgot to bring with my lighter and had to ask people a favor if they had one. The weather was great and I was able to find the right spot to watch this awesome band. The highlight of them all is that when Paul introduced his grandchildren to all of us jam packed crowd. With that being said it reminded me of my grandchildren too. A great concert and I will never stop watching BAD COMPANY every time they are here in the desert. The lesson of this message is that if you are watching a concert in an open area like PGA, make sure you make it on time and give yourself an extra hour for parking and walking. More power to your music Paul and BAD COMPANY. Hope to see you again next year. God bless BAD COMPANY.

Check out Bad Company while you still can. Last year they celebrated their 40th anniversary tour and killed it. They dusted off a string of hits including 'Moving On', Feel Like Making Love', Can't Get Enough' and more. They have energy, their chops and can rock a crowd like back in the day. Paul Rogers' voice has earned its way into Rolling Stones' Top One Hundred Best Rock Vocalists, and for good reason. He still has and has always had a golden voice with an incredible dynamic range. Mick Ralph's guitar is as impressive as ever and Simon Kirke's drumming is as rock solid as the first downbeat of their debut album in 1974. The first band to be signed to Led Zeppelin's newly formed Swan Song Records, they were solid rockstars that came from Free and King Crimson and were out on a mission to get back to simpler more driving rock music. I love these guys!

Sad to say i didn't attend .Bad Company is my FAVORITE all time band ! And so i know they were Awesome as Always ! Being a Grandmother, my grandson had a appendicitis attack 2am Friday morning,so couldn't leave him . Gave 2 tickets away...ate the other 2.So only thing i can suggest...get Insurance on ur tickets ! My friend suggested it to me...but i said hell No...Nothing is keeping me from seeing Bad Company !!! Who wud have known...so my Suggestion...think about getting Insurance on ur Tickets...u Never no ....! I LOVE YOU BAD COMPANY TO THE MOON and Back!!!

I went to The Joint in Catoosa, Oklahoma on the 26th of October to see Bad Company. The venue was great and the show was FANTASTIC!!! Paul Rodgers sounds as good as he did the first time I saw them back in 1974. He sang all of their hits. It brought back so many memories. I would highly recommend to anyone to go see this show. It will be worth it.

Connie Allen

I took my brother hadn't sen a concert in a long time.. Yet alone be town town on the lake front.. We had the most amazing time the sound was amazing the music was hot on a nice cool lake front breeze.. Bad Compamy once again had my heart pounding.. Paul Rogers has the voice if a god!!!! Next stop hall of frame for that awesome man...

The show was so good, I just had to write another review. I enjoy going to concerts. And this one is right up there on top of my list. Paul Rogers still sounds exactly the same. This show is worth seeing again and again. Thank you Bad Company for making me feel young again. So many memories!

All I can say is wow! Bad Company is still amazing. Paul Rodgers is an exciting entertainer who has one of the best voices in rock n' roll. Simon Kirke plays the drums with power and passion and is a joy to watch perform.

Their 80 minutes set was full of non stop music and kept us on our feet the entire show.

I LOVE BAD COMPANY!!!!

I have seen A lot of concerts and this one was by far the best I had seen. Paul Rogers you are so multi talented and a voice of a King..

You as a band only get better and better. I seen them in Lincoln CA.

Thanks S.B.:)

Show started on time and they came out hot and rocking. The show was up tempo and the band sounded great. Paul’s voice was strong and awesome, music was spot on And fans were kept standing all night. Bad Company still tops for pure rock and roll.

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Hard Rock Live at Etess Arena

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Bad Company tour dates and tickets 2024-2025 near you

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Bad Company is not due to play near your location currently - but they are scheduled to play 1 concert across 1 country in 2024-2025. View all concerts.

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• Berlin, Germany

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• Bad Company (1398)
• BROODS (1399)

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Most played:

• London (14)
• Los Angeles (LA) (13)
• Birmingham (9)
• Dallas - Fort Worth (8)
• Chicago (8)

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• Lynyrd Skynyrd (42)
• Billy Squier (41)
• Joe Stark (41)
• Steve Rodgers (33)

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QUEEN And PAUL RODGERS - More Tour Dates Confirmed

January 28, 2005, 19 years ago

queen news rock hard paul rodgers

As previously reported, QUEEN (with PAUL RODGERS) have announced a string of dates for this spring.

Queen guitarist Brian May comments, “I never thought I would be doing this again. I was always against the idea of putting someone in there trying to impersonate (the late) Freddie (Mercury) in any way. Then suddenly I'm looking at this guy who doesn't in any sense try to take the place of Freddie. He's nothing like Freddie because he comes from his own place.

Says drummer Roger Taylor, “Paul is not someone trying to be Freddie. He's someone trying to take this somewhere else, in his own direction. Freddie was a great fan of his - we saw FREE loads of times at The Marquee. He is one of the people who have influenced all of the singers who are out there at the moment and I'm very excited about working it all out."

Paul Rodgers states, “POWERFUL and REAL, EXPLOSIVE and DYNAMIC. That's how it felt when Queen and I played together in London. With the chill factor off the scale! Let's do more was the unanimous feeling."

Queen and Paul Rodgers will be performing Queen songs, plus several familiar songs made famous by Rodgers. Taylor says that the creative decisions will be made between the three of them, each of them carrying equal weight in the decision-making. "The problem we have is

in the embarrassment of riches in material to choose from; there's the whole Queen catalogue, and then you have so many great songs from Paul's catalogue.

For May, the new line-up presents "so many new possibilities. Freddie never sang, for instance, 'Can't Get Enough Of Your Love' on any Queen tour, though he might have enjoyed it!  And, of course, there were many of our songs which Freddie was never able to perform because

of the way things turned out towards the end - for instance, 'Innuendo', 'I Want It All', 'The Show Must Go On'. The thought occurred: Wouldn't it be great if, just supposing, we did it now?! Personally, I can't wait!"

The idea originally sprang from May's performance with Rodgers at the Fender Strat's 50th Anniversary show in London last September. "We were both so amazed at the chemistry that was going on in 'All Right Now' that suddenly it seemed blindingly obvious that there was 'something happening here'."

Says Roger Taylor: "After the Fender gig Brian got on the phone to me and said 'You really have to look at what we just did'. And he sent over a tape. And I could see what he was talking about. Paul had been one of our role models in the late 60's and 70's with Free, a singer we aspired to be. When I saw the tape he was fantastic, and it set Brian and I thinking."

The idea only really took hold, however, after May and Taylor together with Paul Rodgers played in public for the first time together just a few weeks later, bringing the house to its feet at the televised first annual UK Hall of Fame Awards in London, with blistering versions of 'We Will Rock You', 'We Are The Champions', and the finale, 'All Right Now'.

Says May: "It just came up out of the blue. Apparently we had won one of the categories and the request was there for us to play. I had already had the conversation with Roger at this point, about how brilliant Paul was, and, since, very conveniently, he had also been asked to perform, we agreed we would ask Paul if he would team up with us at this event. The rest in a way is already history. The show went so incredibly well from our point of view, and we got so many rave reactions from out there, we decided almost then and there that we would look at a tour together."

Roger Taylor: "A lot of our music is blues based and Paul is really a very soulful blues singer and at that point we thought this would be a very good direction to go in."

They immediately began "looking at venues", says May, "discussing how we might approach our collective material, etc. It's very exciting. Ever since the run-up to that Awards show, I felt in my waters that something big and scary was happening. Scary because as soon as you press the button for something like this you set a massive juggernaut into motion which cannot be stopped! So bang goes the home life, and anything else we might have planned for the coming months. Suddenly the Queen Phoenix is rising again from the ashes!"

As for the inevitable cynics, May simply has this to say: "How about just letting yourselves enjoy the fun? Life is too short to be mindlessly negative because of feeling left out, or fearful of 'not being cool'. The only reason to go out there and be away from my family on tour is because we love it, and want to create, maybe just once more, what thousands of people tell us they would like to see. Finally, here is an opportunity for us to do once again what we do best -- play rock for real!"

Roger Taylor: "I always hoped we would tour again and I'm thrilled we're doing it. It feels good and it smells good, and I know we're doing it with the right singer for the right reasons."

Queen And Roger Taylor tour dates include:

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