During his career, Mercury's flamboyant stage performances sometimes led journalists to allude to his sexuality. Dave Dickson, reviewing Queen's performance at Wembley Arena in 1984 for Kerrang!, noted Mercury's "camp" addresses to the audience and even described him as a "posing, pouting, posturing tart". In 1992, John Marshall of Gay Times opined: "[Mercury] was a 'scene-queen,' not afraid to publicly express his gayness, but unwilling to analyse or justify his 'lifestyle' […] It was as if Freddie Mercury was saying to the world, 'I am what I am. So what?' And that in itself for some was a statement." In an article for AfterElton, Robert Urban said: "Mercury did not ally himself to 'political outness,' or to LGBT causes."
During his career, Mercury's flamboyant stage performances sometimes led journalists to allude to his sexuality. Dave Dickson, reviewing Queen's performance at Wembley Arena in 1984 for Kerrang!, noted Mercury's "camp" addresses to the audience and even described him as a "posing, pouting, posturing tart". In 1992, John Marshall of Gay Times opined: "[Mercury] was a 'scene-queen,' not afraid to publicly express his gayness, but unwilling to analyse or justify his 'lifestyle' […] It was as if Freddie Mercury was saying to the world, 'I am what I am. So what?' And that in itself for some was a statement." In an article for AfterElton, Robert Urban said: "Mercury did not ally himself to 'political outness,' or to LGBT causes."
More InfoHis second album, Barcelona, recorded with Spanish soprano vocalist Montserrat Caballé, combines elements of popular music and opera. Many critics were uncertain what to make of the album; one referred to it as "the most bizarre CD of the year". The album was a commercial success, and the album's title track debuted at No. 8 in the UK and was also a hit in Spain. The title track received massive airplay as the official anthem of the 1992 Summer Olympics (held in Barcelona one year after Mercury's death). Caballé sang it live at the opening of the Olympics with Mercury's part played on a screen, and again before the start of the 1999 UEFA Champions League Final between Manchester United and Bayern Munich in Barcelona.
More InfoThroughout his career, Mercury performed an estimated 700 concerts in countries around the world with Queen. A notable aspect of Queen concerts was the large scale involved. He once explained, "We're the Cecil B. DeMille of rock and roll, always wanting to do things bigger and better." The band was the first ever to play in South American stadiums, breaking worldwide records for concert attendance in the Morumbi Stadium in São Paulo in 1981. In 1986, Queen also played behind the Iron Curtain when they performed to a crowd of 80,000 in Budapest, in what was one of the biggest rock concerts ever held in Eastern Europe. Mercury's final live performance with Queen took place on 9 August 1986 at Knebworth Park in England and drew an attendance estimated as high as 160,000. With the British national anthem "God Save the Queen" playing at the end of the concert, Mercury's final act on stage saw him draped in a robe, holding a golden crown aloft, bidding farewell to the crowd.
More InfoMercury played the piano in many of Queen's most popular songs, including "Killer Queen", "Bohemian Rhapsody", "Good Old Fashioned Lover Boy", "We Are the Champions", "Somebody to Love", and "Don't Stop Me Now". He used concert grand pianos (such as a Bechstein on "Bohemian Rhapsody") and, occasionally, other keyboard instruments such as the harpsichord. From 1980 onward, he also made frequent use of synthesisers in the studio. Queen guitarist Brian May claims that Mercury was unimpressed with his own abilities at the piano and used the instrument less over time because he wanted to walk around on stage and entertain the audience. Although he wrote many lines for the guitar, Mercury possessed only rudimentary skills on the instrument. Songs like "Ogre Battle" and "Crazy Little Thing Called Love" were composed on the guitar; the latter featured Mercury playing rhythm guitar on stage and in the studio.
More InfoIn the early 1970s, Mercury had a long-term relationship with Mary Austin, whom he met through guitarist Brian May. He lived with Austin for several years in West Kensington, London. By the mid-1970s, he had begun an affair with David Minns, an American record executive at Elektra Records. In December 1976, Mercury told Austin of his sexuality, which ended their romantic relationship. Mercury moved out of the flat they shared, and bought Austin a place of her own nearby his new address of 12 Stafford Terrace, Kensington. While the Stafford Terrace apartment was undergoing renovations, Mercury lived with Minns in Dovehouse Street, Chelsea, London.
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