1. One Vision (9.5/10) - The time has come to do one of the ‘big ones’, meaning one of Queen’s best show of the decade, maybe even ranging into the ‘best of the best’ category and it’s certainly no coincidence that it happened early into the Magic tour in Leiden, a place where the crowd makes more noise BEFORE the show than some audiences at their best! As soon as the band enter the stage, all hell breaks loose and the cheering has no boundaries. Clearly elevated by this atmosphere, Freddie yells more high notes while Brian adds some SUPERB licks during the intro, holy SMOKES! Freddie again messes up some of the lyrics during the first verse but the way he embellishes each and every line in absolute euphoria more than makes up for that! A strong first chorus is proceeded by a fantastic second verse, seeing Freddie demolish these notes like he was back in the studio to record some overdubs. The bridge sounds great with Freddie NAILING “a DREAAAAM of sweet illusion”, “visions of ONE sweet union” as well as “look WHAT they’ve done to MY DREAAAMS” in utter perfection. Unfortunately, the third verse is plagued with Freddie missing lines and messing up the words while still adding embellishments left and right. Brian’s guitar work is once again outstandingly creative. The breakdown is absolutely mind-bending as Brian’s guitar work is out of this WORLD, how did he even DO all of that jesus LORD! Unfortunately, the cue out of it is a mess with all members being confused and Roger not being able to prevent at least a minor car crash there. The outro sounds INSANE with both Freddie and Roger belting out those notes in great spirits. The finale is energetic although Freddie doesn’t add any crazy adlibs this time. 2. Tie Your Mother Down (10/10) - “HELLO!”, Freddie yells in the fifth octave before nailing a superb A4 sustain! The first verse sounds great with Freddie again nailing EVERY SINGLE A4, INCLUDING “GET MY ACT ALL TIGHT” WHAAAAAAAAAAAAAAAAT!!! THIS WAS INSANE, INCREDIBLE, INFATHOMABLE! The first chorus is great with tight harmonies, Freddie embellishing his line and nailing the full A4 sustain in falsetto. The second verse has both A4s dodged but I’ll excuse it, especially since Freddie embellishes lines to notes just as high, at least for my untrained ears. The second chorus is great with the front singer nailing a strong double A4. Brian’s guitar solo begins with awesome licks and is an absolutely incredible combination of creative licks, fantastic riffs and energy. Freddie sings a great bridge afterwards, hitting an A4 on “they don’t under-STAND it”. The final chorus sees Freddie again nailing “daddy out the DOOR” and “TOOOONIGHT” in FULL voice. This absolute BEAST! The outro is absolutely awesome with Brian and Freddie both going all out. The fanfare is great. 3. Ole Ole (10/10) - “Hello! How are you bunch of cocks?”, Freddie screams, again in the high fourth or even fifth octave. “Wait, hang on. Why don’t you sing that football song for us? What’s that, Ole Ole? Sing it! SING IT!”. The audience follow Freddie’s command immediately. After a few bars, Freddie joins them for a while before simply screaming “GOOD!” and then inviting the band into his little shenanigans: “Let’s do a beat to this!” They also follow his command and for a while, there is a whole jam going on with the audience having taken Freddie’s spot as lead singer. “Beautiful!”, he rightfully says halfway through. 4. In the Lap of the Gods… Revisited (10/10) - Brian suddenly starts off a riff that sounds very similar to ‘Rock It’ but is in the wrong key for the actual song they wanna play next, as Freddie rightfully points out. Brian corrects himself and off we go into another brilliant first verse, where Freddie nails all falsetto notes up to “it’s so funny” before belting out “my MONEY” and nailing that B4 on “that’s all you wanna talk a-BOUT” strongly again. The chorus begins with Freddie singing his lines strongly but he wants to hear this amazing crowd sing, so he urges: “Take it!”. Of course, not too many audience members are that familiar with this song anymore so Freddie is forced to help them out a bit for a while, not losing his voice once despite a whole row of choruses being played again. Brian adds some lovely licks here and there while Freddie once again sings the chorus endings all in falsetto as heard on the studio version. 5. Seven Seas of Rhye (7/10) - The medley continues with ‘Seven Seas of Rhye’ where Freddie messes up the lyrics during the first verse as no one really cares about this song anymore (within the band). 6. Liar / Tear It Up (8.5/10) - The ‘Liar’ intro is tight as usual with Brian even adding a few licks. Just before the first chorus, Freddie adlibs a fantastic “YEAH!” and then obviously sings the chorus almost as good as the studio version, only cracking after the “as you go a-LONG” line. The harmonies reveal different lyrics being sung as well lol. The bridge is sung loosely by Freddie which works really well for this song. The second chorus is a bit less smoother as Freddie dodges one A4 and comes in quite awkwardly afterwards, even giving out towards the end. Maybe it’s time to cool down just a little now… The outro sounds fantastic though. 7. A Kind of Magic (11/10) - The intro is great as some audience members are singing along with Freddie before everyone starts clapping to the beat. Things get even better afterwards as EVERYONE in the audience seems to join in with Freddie, giving me my first case of goosebumps on this tour. The first verse sounds GREAT with Freddie DEMOLISHING that B4 on “the beeeeell THAT rings” and hitting some great A4s around it. The first chorus is great in every single way with Freddie again nailing those notes like they’re nothing to him, absolutely NOTHING. The second verse seems him nail “the bell THAAAT rings” again (!). He then speaks “is challenging” to then NAIL “THE DOORS OF TIME” EVEN BETTER THAN IN THE STUDIO MY GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOD THAT WAS GOOD! Brian goes into the solo with some INCREDIBLE licks and plays his heart out bare one bum note towards the end of the solo. The second chorus again sounds great but is that really news at this point. Roger adds some great fills after the “there can be only one” line. The breakdown is fantastic with the vibes being all there and Freddie adding some great adlibs before the bridge where he absolutely NAILS EVERYTHING?!?!? This surely can’t be the case but I don’t hear anyone dodge anything. This would be absolutely insane! The following jam is insane with Brian going all out, playing absolutely FIRE licks and riffs throughout and turning this into a case of Leeds ‘Back Chat’, turning this jam into his own song, this is SO GOOD YOU HAVE NO IDEA HOW GOOD IT IS AND IT KEEPS GOING AND GOING I DON’T WANT IT TO END NOOOO! The final chorus is strong with Freddie BELTING OUT INCREDIBLE HIGH NOTES ON BOTH “will soon be GONE” HOLY MR KRABS! 8. Ay-Oh (unrated) - The audience again start singing ‘Ole Ole’, this time without Freddie telling them to do so. They quiet down just before Freddie starts off a super creative vocal exchange, coming up with superb melodies and phrasings that sound fantastic and show off all of Freddie’s incredible range tonight. It almost seems like Freddie and the crowd are driving off of each other with phenomenal outcome. At the end of a REALLY long sustain, Freddie says “Beautiful!” and thus ends tonight’s Ay-Oh. 9. Under Pressure (7/10) - The intro is strong and leads into a SUPERB first verse where the entire audience are once again singing along word for word, turning this song into something of higher worth. The second verse sees Freddie speaksinging “these are the days it never rains but it pours” which is a quite unnecessary and unwelcome call back to 1982. The “Higher” sustain is once again nothing but a F#4. The bridge features tight harmonies and ends with a strong and very raspy A4 sustain by Freddie. The outro is great with Freddie obviously holding up and the band playing very tightly on top.
10. Another One Bites the Dust (8.5/10) - “I must say, without a doubt you must be the best singers around, really. I don’t say… You want a beer, darlings? Don’t drop the fucking thing. Pass it around you buggers! There’s enough for everybody, hahaha”. Roger starts up the beat without waiting for Freddie’s proper introduction and we go into an energetic intro, featuring fierce drumming and some nice guitar work. The first verse is strong with Freddie and the audience nailing everything aggressively. The first chorus sees Freddie singing the first line in the third octave for some reason. He then hits the A4 and says “Sing it!” although singing along as well, hitting both the A4s and a great B4 at the end of it, Brian ends the chorus with a pretty nasty bum chord though. The second verse is great with both A4s nailed and additional embellishments. The second chorus sees Freddie letting the crowd take over and repeating the same at the end of it although slightly cracking on the A4s. The jam is still quite short which means there’s not a single second without anyone going crazy! Brian’s guitar work in particular is simply fantastic and some of the best guitar work I’ve heard during this song! The audience then catch the bridge before Freddie, singing the whole thing one time before Fred joins in, nailing the B4 at the end with Brian adding an INSANE lick that goes on for quite a while! The final verse sees Fred cracking on the first A4 but still nailing the next one. The last chorus has Fred letting the crowd sing before singing the semi-conservative “Yeaaaaaand another one gone” phrasing from Birmingham 1984 and dodging the B4. 11. Who Wants to Live Forever (6/10) - “Listen. A lot of… a lot of the papers, the press have been saying one thing. And that is, they think we are gonna… Queen are gonna split up. It is not true, okay? And that’s the honest truth. So from now, don’t believe anything you read IN THE FUCKING PAPERS! This is a new song from our new album, written by Brian May”. The first verse begins slightly off-key but Freddie quickly shifts the note into the right key and sings a gorgeous first verse and chorus from there on. During the second chorus, some audience members start joining Freddie, making this even more touching. The bridge begins strongly but sees Freddie attempt the sustain in this AWFUL sounding falsetto, sounding very unstable on top before switching back to full voice. You gotta stop doing that, Freddie! After Brian playing a great and tight guitar solo, Freddie unfortunately does everything but stop doing that, again trying to hit that crazy studio harmonies in falsetto, sounding worse than he ever did while attempting to hit anything in falsetto. This even affects his pitch as he’s finishing the entire chorus a bit off and has to take more breaks in between notes afterwards. 12. I Want to Break Free (8.5/10) - Brian changes up his solo quite a bit, playing some gorgeous licks before Freddie yells “LET’S GO!” at the top of his lungs to let the audience know he wants them to sing for him. He rewards them with a couple of great A4s. Following the same structure for the second verse, Freddie manages to basically get all A4s during that one. The bridge is strong bar one small crack. I’m not sure if Freddie wants the audience to take over on the sustain at the end or if it’s just a microphone malfunction but anyway, we don’t hear him sing there at all! Brian then lays down a fantastic guitar solo, certainly the BEST he’s ever played for the song! The final verse is absolutely fantastic with Freddie nailing everything, including “I DON’T WANT TO LIVE ALONE” and the new, even harder ending in the higher octave! 13. Impromptu (8.5/10) - Thankfully, ‘Bohemian Rhapsody’ does not follow and instead we jump straight into the Impromptu which now again starts off with Spike playing a few ominous sounding chords on the keyboard before Freddie almost gets to do his vocal solo from before with minimal input by the band, showing a much better sounding falsetto than during ‘Who Wants to Live Forever’. Roger starts adding a beat to all of it, giving Freddie something to base his really unique improvising on. Once the rest of the group join in, they start increasing the tempo a LOT until Roger has to drum up a literal STORM there while Freddie minimises his adlibs to some chirping while the band take over a bit. Once they reach other one of these climaxes, Roger’s drumming is INSANE with Spike cleverly embellishing the jam with his input. Freddie the ends off the Impromptu with some bluesy chords by Brian which also work as a clever transition into the… 14. Guitar Solo (7/10) - To make the transition complete, Brian keeps on doing these same awesome chords for a bit before switching over to a few sustained chords a la ‘Ogre Battle’ which then again lead into some fast paced riffing, leading the audience to clap along with Brian who’s completely turning over his usual very calm solo riffing, adding a lot of finesse, pace and energy to it, using several techniques like sustained tremolos (if that’s what you call it, I’m unfortunately no expert in this area and don’t wanna pretend like I am) which excites the audience quite a bit. They give him a big cheer before Brian plays a few chords, every single one being amplified and echoed before it all resolves in a big chording succession which smoothly transitions into another energetic riffing section. It only lasts for a few seconds as Brian now enters something close to the pre-riffing bit from Jazz tour ‘Brighton Rock’ jams, having a slightly more energetic approach and various different additions from later years sprinkled in to almost make a “best of” kinda solo. The following section is not very easy to describe but it’s leaning into a fast executed quiet section, flowing incredibly well with very nice melodies. The audience clap along to most of these sections. He ends it off by letting his guitar scream a little, finishing the entire solo off with a few rather standard Brian riffs, making for an overall enjoyable solo with nothing mindblowing going on either. The transition into ‘Now I’m Here’ just follows after a sustained chord. 15. Now I’m Here (7.5/10) - Brian embellishes the main riff quite a bit and the entire audience sing along with Freddie once the lead singer enters the stage. He belts out a very high “I’M just” and nails a SUPERB A4 on “MADE me live again” in studio phrasing. The first verse is very energetic with everyone participating in one way or another. Freddie sounds great but Brian suddenly faces some issues, playing some really weird off chords for a while. Freddie can’t be bothered about guitar issues and simply nails the second A4 just as well as the first. The second verse is pretty solid but just as Freddie sustains a G4 on “my eye”, Brian plays another bum chord. Roger leads the band into the jam via some great drum fills and keeps adding them throughout. Brian could thankfully resolve whatever issues he’s had and turns in a great solo, playing great licks and riffs. Freddie adds a few “Go, Johnny, go!” adlibs, again sounding very powerful before Brian lets off a SUPERB segment of energetic riffing. The jam ends off with another superb row of licks by Brian who really managed to save this version guitar wise. He’s still not entirely clear as indicated by his guitar suddenly cutting off as soon as Freddie starts the vocal bridge with the audience and not playing anything until the very end of it. Freddie yells out “Down in the city just-ah you and me!” in a really stupid way, I didn’t like that at all! He then nails an A4 sustain during the musically superb fanfare. 16. Love of My Life (9/10) - Some acoustic noodling can be heard before Brian says a few words: “I wanna say a huge thank you. Thank you Holland! Thank you for believing in us, we love ya!”. The audience go crazy and replicate Freddie’s adlib from the ‘Live Killers’ version in unison! Freddie sings ONE word of the entire first verse and chorus before letting this bombastic crowd take over for the rest of it. Wow, they’re absolutely heavenly… The second verse sees Brian stopping to play while Freddie sings along with them and they swap roles again during the following chorus. The bridge is gorgeous but Freddie again does this stupid barking voice on “I still love you!” before ending it off with a few more gentle adlibs. Brian nails his guitar solo note for note. The audience almost sing the final verse better than Freddie, but that shouldn’t be a surprise anymore, right? 17. Is This the World We Created…? (7/10) - Freddie keeps being kinda stupid and again starts off some upbeat clapping despite the acoustic set still featuring one more emotional number, making for another awkward transition from energetic screaming to the sombre guitar preamble by Brian, followed by the intro. The first verse is actually quite beautiful, but interestingly enough, barely anyone in the audience is heard singing along but that changes as soon as we reach the first chorus where the crowd nails the studio harmonies while Freddie is doing the usual live treatment. The second verse also sounds gorgeous. The second chorus begins with a few nice licks by Brian and sees Freddie again yell out the “If there’s a god…” line instead of choosing a fitting melody.
18. Oldies Medley (8.5/10) - The positive energy of the Oldies Medley is never better than during these early shows and it makes up for a few sloppier moments like Freddie slipping across the lyrics here and there some harmonies being off as in members singing different lyrics. Freddie keeps adlibbing, telling the audience to participate or making jokes to his bandmates. ‘Tutti Frutti’ features a few awesome embellishments by Freddie early on and really tight harmonies. Even though the start of the main section is a bit sloppy, Roger’s tight drumming is absolutely PHENOMENAL and my god Brian is SHREDDING along like it was their own song. Unfortunately, there is another quite off moment just before the song ends and in the end I do have to take this into account as well. 19. Bohemian Rhapsody (7.5/10) - “This is what happens when you get too old. Your fucking energy runs out halfway through the set!” Quite the spine-chilling comment, considering the circumstances of this tour being the last. Freddie then straight jumps into a really upbeat piano intro, hitting one bum note in the process and ending it off with two downward scales similar to the Works tour. The first verse gets a BIG cheer and my god I LOVE everyone singing along here! Freddie nails “life had JUST begun”, hits a bum key and then nails a very strained but powerful STRAIGHT Bb4 phrasing! Of course “Mama Ooh” as well as the rest of the Ab4s are no issue for him afterwards. The second verse also features a great A4 before Fred AGAIN GOES FOR THE STRAIGHT Bb4s WHAT?! He strains even more this time and even cracks on “FACE the truth” and Brian hits a quite nasty bum chord right during “Mama Ooh”. That’s a literal bummer. Lol. Fred dodges “born AT all” and cuts the sustain quite short. Brian plays an AWFUL solo, completely messing up towards the end. The rock section sees Freddie nail all Ab4s strongly. The transition into the outro is surprisingly tight and the sound of the audience and Freddie singing it together is nothing short of brilliant. Brian finishes the song with a few nice licks. 20. Ole Ole / Hammer to Fall (6.5/10) - The audience again start singing Ole Ole at the end of the big one and Freddie even joins them again before yelling “’HAMMER TO FALL’!” at the top of his lungs. The first verse is great with the crowd singing along and Freddie hitting some brief but strong A4s. The first chorus is quite gutsy overall. The second verse sees Freddie almost falling apart on “LIFT YOUR FACE” which leads to a more conservative chorus afterwards. The bridge isn’t much better as Freddie has to drop “for your truth is all the same”, dropping it WAY too low into a really flat territory for some reason. The guitar solo isn’t the smoothest and sees Brian playing some really strange and off licks throughout and I have absolutely no idea why he’s struggling so much all of a sudden. The final verse sees Freddie cracking on “convinced OUR voices” which doesn’t prevent him from going all out during the first half of the chorus. He then completely skips the following line which reveals AWFUL vocals by Roger who’s just yelling each word out one by one! Freddie then again cracks during his A4 sustain and cuts it short. Brian has FINALLY got his shit together again, turning in a SUPERB solo during this jam and going ALL out. Thankfully, this goes for the entire jam and Freddie even hits a solid but kinda short A4 sustain towards the end of it. 21. Crazy Little Thing Called Love (8.5/10) - “You know what this guitar means, right? It can only mean one song because that’s the only one I know on this damn guitar. But let’s try and do it”. The last song of the main set again very much shows Freddie to be out of breath as he’s also almost just speaking out each word on its own. Thankfully, the rest of the band make up for it with some really great embellished musicianship this early on already. Brian adds some really funky licks during the first bridge and then changes up the melody of his telecaster solo a little but again, it doesn’t sound intentional! The second bridge is great due to the amount of audience participation. The jam is great for Brian who again tries to save some of his late sloppiness and oh my god it’s working. Working BIG TIME! The jam is fantastic with the guitarist popping off really nicely and the rest of the band following his leadership basically. I love how Spike starts using the main riff for his piano improvising before going off the rails which always sounds phenomenal! Roger adds a few fills as well and I love how smooth Freddie takes over while the band continues jamming, hitting a brief A4 in form an embellishment during this extended outro. 22. Radio Ga Ga (7/10) - Let’s hope that the long first encore break helped Freddie regain his voice. We start off strongly with Freddie nailing that first verse, sounding strong tonally and quite confident. All three A4s are attempted but the first attempt is flat while the other two come out quite roughly. Freddie goes for a few A4s during the first pre-chorus and gets them solidly, probably being covered up by Roger. The first chorus is great with lots of audience participation. The second verse again sees Freddie having a few off moments but they’re not as bad. “ALL this visual” is dodged completely. The pre-chorus is more conservative as well, leading to fewer A4 attempts but more successful ones. The second chorus is strong as well. A tight breakdown is followed by Freddie very daringly going for pretty much all key notes during the final pre-chorus, hitting most of them decently. The vocoder harmonies are very prominent during the final chorus and Freddie is definitely struggling by the end of it. 23. We Will Rock You (7.5/10) - The audience actually chant “We will, we will rock you!” before the song starts so ten points for guessing it right! Unfortunately, the clapping is very off-beat, just like with Live Aid’s audience recording but the actual intro sounds phenomenal, featuring some of the best guitar work Brian has provided for this song! Just before Freddie goes into the one verse (it’s still only one), he plays along with Roger’s drums and it sounds AWESOME! Freddie again does the G4 and E3 phrasing and I still feel like it’s a weird choice to only play one verse here but anyway, that’s what they did. Brian again changes up his solo drastically and it sounds great too. 24. Friends Will Be Friends (5/10) - Welcome to the setlist, last new song! Freddie’s vocals start off a bit pitchy but thankfully he fixes that quickly. The first verse sounds decent with a strongly nailed “IT’S SO EASY LOVE” but rough attempts at “but you GOT friends you can TRUST”, the last note definitely being flat. The first chorus is solid apart from Freddie AGAIN doing that awful falsetto in the end, only to drop the entire thing in the third octave as his voice completely disintegrates. The second verse is again mostly solid with nailed lyrics, some nailed A4s and two flat “GOT…TRUST” like before. Freddie then raps through the second chorus with the exact same ending as before… The band have decided to play the full song tonight and the instrumental section isn’t really tight except for a pretty solid and somewhat bluesy solo by Brian. Freddie nails the high notes during the next pre-chorus and sings along with the high harmonies in the third octave. Unfortunately, the band now struggle to find the point to end off the song, similar to Inglewood 1980’s Play the Game with a much bigger problem: Freddie could barely hold up with the original amount of choruses and naturally sounds even worse for the next round. While the band try to save this car crash with some more sloppy jamming, Freddie tries to cue them out by shouting “One more time!” and singing an actually solid chorus. Roger finishes the song with a drum triplet. Wowzers… 25. We Are the Champions (7/10) - The first verse (it feels like a huge relieve to have finally reached another song) is pretty strong and Freddie, despite all the odds, goes for the Bb4 sustain and completely airs out. The first chorus features a strong double A4 drop phrasing, a dodged “NO time” and solid harmonies by Freddie apart from a cut short “of the WORLD” sustain. The second verse is sweet with a strong “bed of RO-ses” embellishment and studio phrasing on “no pleasure cruise”. The pre-chorus sees Freddie literally shout out a singular Bb4 on “I ain’t gonna LOSE!”. The second chorus has a strong double G4 sustain as well as Freddie again dodging “NO time” while strongly nailed the following A4s. Brian plays a simplified studio lick during the final chorus while Freddie again hits a strong double G4 sustain. The third “NO time” is also dodged but Freddie finishes the song decently. God Save the Queen - “Goodnight! Goodnight, thank you!” I’m not sure if Freddie said anything more since he was very low in the mix during this “song”. Highlights: One Vision, Tie Your Mother Down, Ole Ole, In the Lap of the Gods… Revisited, Tear It Up, A Kind of Magic, Another One Bites the Dust, Love of My Life, Oldies Medley, Crazy Little Thing Called Love Lowlights: Hammer to Fall (technically, the rating is a bit too high to makes this song considered as a lowlight but Idc, I make the rules lol), Friends Will Be Friends Average Rating: 8.02/10
You really think Brian messed up at the end of the BohRhap guitar solo? I alwas liked the overexaggerated guitar screams. Always thought he did it on purpose for dramatic effect.
3:32 one of the best performances of the bridge of One Vision for sure 5:35: C5s 6:33: C5/B4 6:48: goated 1st verse 10:18: enthusiastically shouting at the crowd at the top of his lungs, such a change from some of the Works tour! 12:17: rare instance of this line sung in falsetto 12:26: insane line 16:00: C5 or so 19:18: B4 20:25: B4 20:36: Insane B4 and A4 31:43: C5 33:21: a rare 4th octave chorus 36:51: The only version I'm aware of with the same lyric as the studio version here. 37:40: excellent 38:21: very good 39:50: good first verse 40:15: pretty damn good second verse 41:35: nicely done difficult ending lines from here on out, despite being a bit flat at the very end of the ritardando. 54:45: an almost comical bit of guitar playing 55:01: the only known time on the entire tour of Freddie nailing the second chorus 1:13:51 pretty insane final instance of this quadruple Bb4 phrasing 1:14:10 very nicely done drop phrasing for this tour. 1:14:48: intense series of Bb4s and a C5. 1:43:18: not all bad by any means 1:45:11: pretty well nailed 1:46:20: really should've let them end it there lmao 1:46:33: By far the best chorus vocal we have from any live version of this song. 1:46:40: Roger's on the drums like "END THIS FUCKING THING PAL!!" lmao
We can openly say that the concerts in Leiden are simply pure art, the best that Queen could do on the magic tour, especially Freddie, in these concerts his voice and incredible
He definitely blows out his voice halfway through the show, it becomes super noticeable during songs like Hammer to Fall, Radio Ga Ga and Friends Will Be Friends so while the first half is truly amazing, I wouldn't call this his best show of the tour. Similarly, the band have absolutely fantastic moments but especially Brian has lots of sloppy or technically unfortunate moments from BoRhap onwards. These shows definitely have a very special and unique atmosphere and are great for that alone, but I think this night gets a bit overrated overall
@@mymelancholyboots if this is not the best night that I agree xd , listening to the whole I realized what you mean , but for me the best of leiden certainly is the next day , the 12 , especially his impromptu , freddie does one of the best falsetes of his career (in my opinion)
Spike Review: 1. One Vision | 3:50, N/A yet (I think) pretty sure that was Brian that time, 4:40 very slightly cuts out but grand all the same 😅 2. Seven Seas of Rhye | 15:04> pretty fucking clear to say z least 😅 3. A Kind of Magic | 19:02, 19:17, 19:52, 20:10> 20:39, if ur listening out u can hear it, doesn’t really cut thru till 20:29… 20:44, 21:21 not really audible (it’s as if his voice broke 😂) 21:46 bit too low in the mix 4. Under Pressure | 27:33 N/A, it’s either they experimented to see how it was without it or they forgot to turn him up or some other Reason 🤷♂️ 5. Now I’m Here | 54:08 reasonably Clear but cuts out near End, 54:56 not audible at all really, 58:17 not audible really 6. Bohemian Rhapsody | 1:17:35 is not audible at all, the following synths are also quite low until 1:17:44 7. Hammer to Fall | 1:20:18 decently audible no complaints at all 8. Radio Ga Ga | 1:33:09, 1:33:24 (decently powerful), 1:33:58, 1:34:50, 1:35:24 (kinda quite going into Chorus), 1:36:33 (semi quite) 1:37:08> very audible during Chorus and 1:37:24 is very Audible, one of the top versions of the tour 2nd night is better tho 😂 7. Friends Will Be Friends | Starting off at 1:43:32 (Very Clear), 1:44:21 (Quiter), 1:44:27 (Quite Loud), 1:45:18 (Little Quite), 1:45:24 (Decent), 1:45:32 (Quite), 1:45:41 (Very Clear), 1:45:46 (Very Clear), 1:45:54 (little quite), 1:46:38 (DECENT😅) 8. We Are the Champions | 1:47:28 isn’t too bad (slightly weak) 1:48:40 again the same as the first, 1:49:36 is not too bad, could be louder but it’s there so that’s good enough (I’m looking at you QAL 😅😂)
For the first half maybe, yeah (although Tear It Up is quite rough in a few spots) but from BoRhap onwards he's getting a lot weaker, Hammer to Fall and Friends Will Be Friends are almost bad for him
Some people say that this is the best BoRhap in '86, but there are quite some instrumental errors, and the 2nd verse Bb4s are super strained (plus no “born AT all”) to make it the best '86 version… Frejus still takes the place for best BoRhap in 1986 (and imo the best version since HS tour)!
1. One Vision (9.5/10) - The time has come to do one of the ‘big ones’, meaning one of Queen’s best show of the decade, maybe even ranging into the ‘best of the best’ category and it’s certainly no coincidence that it happened early into the Magic tour in Leiden, a place where the crowd makes more noise BEFORE the show than some audiences at their best! As soon as the band enter the stage, all hell breaks loose and the cheering has no boundaries. Clearly elevated by this atmosphere, Freddie yells more high notes while Brian adds some SUPERB licks during the intro, holy SMOKES! Freddie again messes up some of the lyrics during the first verse but the way he embellishes each and every line in absolute euphoria more than makes up for that! A strong first chorus is proceeded by a fantastic second verse, seeing Freddie demolish these notes like he was back in the studio to record some overdubs. The bridge sounds great with Freddie NAILING “a DREAAAAM of sweet illusion”, “visions of ONE sweet union” as well as “look WHAT they’ve done to MY DREAAAMS” in utter perfection. Unfortunately, the third verse is plagued with Freddie missing lines and messing up the words while still adding embellishments left and right. Brian’s guitar work is once again outstandingly creative. The breakdown is absolutely mind-bending as Brian’s guitar work is out of this WORLD, how did he even DO all of that jesus LORD! Unfortunately, the cue out of it is a mess with all members being confused and Roger not being able to prevent at least a minor car crash there. The outro sounds INSANE with both Freddie and Roger belting out those notes in great spirits. The finale is energetic although Freddie doesn’t add any crazy adlibs this time.
2. Tie Your Mother Down (10/10) - “HELLO!”, Freddie yells in the fifth octave before nailing a superb A4 sustain! The first verse sounds great with Freddie again nailing EVERY SINGLE A4, INCLUDING “GET MY ACT ALL TIGHT” WHAAAAAAAAAAAAAAAAT!!! THIS WAS INSANE, INCREDIBLE, INFATHOMABLE! The first chorus is great with tight harmonies, Freddie embellishing his line and nailing the full A4 sustain in falsetto. The second verse has both A4s dodged but I’ll excuse it, especially since Freddie embellishes lines to notes just as high, at least for my untrained ears. The second chorus is great with the front singer nailing a strong double A4. Brian’s guitar solo begins with awesome licks and is an absolutely incredible combination of creative licks, fantastic riffs and energy. Freddie sings a great bridge afterwards, hitting an A4 on “they don’t under-STAND it”. The final chorus sees Freddie again nailing “daddy out the DOOR” and “TOOOONIGHT” in FULL voice. This absolute BEAST! The outro is absolutely awesome with Brian and Freddie both going all out. The fanfare is great.
3. Ole Ole (10/10) - “Hello! How are you bunch of cocks?”, Freddie screams, again in the high fourth or even fifth octave. “Wait, hang on. Why don’t you sing that football song for us? What’s that, Ole Ole? Sing it! SING IT!”. The audience follow Freddie’s command immediately. After a few bars, Freddie joins them for a while before simply screaming “GOOD!” and then inviting the band into his little shenanigans: “Let’s do a beat to this!” They also follow his command and for a while, there is a whole jam going on with the audience having taken Freddie’s spot as lead singer. “Beautiful!”, he rightfully says halfway through.
4. In the Lap of the Gods… Revisited (10/10) - Brian suddenly starts off a riff that sounds very similar to ‘Rock It’ but is in the wrong key for the actual song they wanna play next, as Freddie rightfully points out. Brian corrects himself and off we go into another brilliant first verse, where Freddie nails all falsetto notes up to “it’s so funny” before belting out “my MONEY” and nailing that B4 on “that’s all you wanna talk a-BOUT” strongly again. The chorus begins with Freddie singing his lines strongly but he wants to hear this amazing crowd sing, so he urges: “Take it!”. Of course, not too many audience members are that familiar with this song anymore so Freddie is forced to help them out a bit for a while, not losing his voice once despite a whole row of choruses being played again. Brian adds some lovely licks here and there while Freddie once again sings the chorus endings all in falsetto as heard on the studio version.
5. Seven Seas of Rhye (7/10) - The medley continues with ‘Seven Seas of Rhye’ where Freddie messes up the lyrics during the first verse as no one really cares about this song anymore (within the band).
6. Liar / Tear It Up (8.5/10) - The ‘Liar’ intro is tight as usual with Brian even adding a few licks. Just before the first chorus, Freddie adlibs a fantastic “YEAH!” and then obviously sings the chorus almost as good as the studio version, only cracking after the “as you go a-LONG” line. The harmonies reveal different lyrics being sung as well lol. The bridge is sung loosely by Freddie which works really well for this song. The second chorus is a bit less smoother as Freddie dodges one A4 and comes in quite awkwardly afterwards, even giving out towards the end. Maybe it’s time to cool down just a little now… The outro sounds fantastic though.
7. A Kind of Magic (11/10) - The intro is great as some audience members are singing along with Freddie before everyone starts clapping to the beat. Things get even better afterwards as EVERYONE in the audience seems to join in with Freddie, giving me my first case of goosebumps on this tour. The first verse sounds GREAT with Freddie DEMOLISHING that B4 on “the beeeeell THAT rings” and hitting some great A4s around it. The first chorus is great in every single way with Freddie again nailing those notes like they’re nothing to him, absolutely NOTHING. The second verse seems him nail “the bell THAAAT rings” again (!). He then speaks “is challenging” to then NAIL “THE DOORS OF TIME” EVEN BETTER THAN IN THE STUDIO MY GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOD THAT WAS GOOD! Brian goes into the solo with some INCREDIBLE licks and plays his heart out bare one bum note towards the end of the solo. The second chorus again sounds great but is that really news at this point. Roger adds some great fills after the “there can be only one” line. The breakdown is fantastic with the vibes being all there and Freddie adding some great adlibs before the bridge where he absolutely NAILS EVERYTHING?!?!? This surely can’t be the case but I don’t hear anyone dodge anything. This would be absolutely insane! The following jam is insane with Brian going all out, playing absolutely FIRE licks and riffs throughout and turning this into a case of Leeds ‘Back Chat’, turning this jam into his own song, this is SO GOOD YOU HAVE NO IDEA HOW GOOD IT IS AND IT KEEPS GOING AND GOING I DON’T WANT IT TO END NOOOO! The final chorus is strong with Freddie BELTING OUT INCREDIBLE HIGH NOTES ON BOTH “will soon be GONE” HOLY MR KRABS!
8. Ay-Oh (unrated) - The audience again start singing ‘Ole Ole’, this time without Freddie telling them to do so. They quiet down just before Freddie starts off a super creative vocal exchange, coming up with superb melodies and phrasings that sound fantastic and show off all of Freddie’s incredible range tonight. It almost seems like Freddie and the crowd are driving off of each other with phenomenal outcome. At the end of a REALLY long sustain, Freddie says “Beautiful!” and thus ends tonight’s Ay-Oh.
9. Under Pressure (7/10) - The intro is strong and leads into a SUPERB first verse where the entire audience are once again singing along word for word, turning this song into something of higher worth. The second verse sees Freddie speaksinging “these are the days it never rains but it pours” which is a quite unnecessary and unwelcome call back to 1982. The “Higher” sustain is once again nothing but a F#4. The bridge features tight harmonies and ends with a strong and very raspy A4 sustain by Freddie. The outro is great with Freddie obviously holding up and the band playing very tightly on top.
10. Another One Bites the Dust (8.5/10) - “I must say, without a doubt you must be the best singers around, really. I don’t say… You want a beer, darlings? Don’t drop the fucking thing. Pass it around you buggers! There’s enough for everybody, hahaha”. Roger starts up the beat without waiting for Freddie’s proper introduction and we go into an energetic intro, featuring fierce drumming and some nice guitar work. The first verse is strong with Freddie and the audience nailing everything aggressively. The first chorus sees Freddie singing the first line in the third octave for some reason. He then hits the A4 and says “Sing it!” although singing along as well, hitting both the A4s and a great B4 at the end of it, Brian ends the chorus with a pretty nasty bum chord though. The second verse is great with both A4s nailed and additional embellishments. The second chorus sees Freddie letting the crowd take over and repeating the same at the end of it although slightly cracking on the A4s. The jam is still quite short which means there’s not a single second without anyone going crazy! Brian’s guitar work in particular is simply fantastic and some of the best guitar work I’ve heard during this song! The audience then catch the bridge before Freddie, singing the whole thing one time before Fred joins in, nailing the B4 at the end with Brian adding an INSANE lick that goes on for quite a while! The final verse sees Fred cracking on the first A4 but still nailing the next one. The last chorus has Fred letting the crowd sing before singing the semi-conservative “Yeaaaaaand another one gone” phrasing from Birmingham 1984 and dodging the B4.
11. Who Wants to Live Forever (6/10) - “Listen. A lot of… a lot of the papers, the press have been saying one thing. And that is, they think we are gonna… Queen are gonna split up. It is not true, okay? And that’s the honest truth. So from now, don’t believe anything you read IN THE FUCKING PAPERS! This is a new song from our new album, written by Brian May”. The first verse begins slightly off-key but Freddie quickly shifts the note into the right key and sings a gorgeous first verse and chorus from there on. During the second chorus, some audience members start joining Freddie, making this even more touching. The bridge begins strongly but sees Freddie attempt the sustain in this AWFUL sounding falsetto, sounding very unstable on top before switching back to full voice. You gotta stop doing that, Freddie! After Brian playing a great and tight guitar solo, Freddie unfortunately does everything but stop doing that, again trying to hit that crazy studio harmonies in falsetto, sounding worse than he ever did while attempting to hit anything in falsetto. This even affects his pitch as he’s finishing the entire chorus a bit off and has to take more breaks in between notes afterwards.
12. I Want to Break Free (8.5/10) - Brian changes up his solo quite a bit, playing some gorgeous licks before Freddie yells “LET’S GO!” at the top of his lungs to let the audience know he wants them to sing for him. He rewards them with a couple of great A4s. Following the same structure for the second verse, Freddie manages to basically get all A4s during that one. The bridge is strong bar one small crack. I’m not sure if Freddie wants the audience to take over on the sustain at the end or if it’s just a microphone malfunction but anyway, we don’t hear him sing there at all! Brian then lays down a fantastic guitar solo, certainly the BEST he’s ever played for the song! The final verse is absolutely fantastic with Freddie nailing everything, including “I DON’T WANT TO LIVE ALONE” and the new, even harder ending in the higher octave!
13. Impromptu (8.5/10) - Thankfully, ‘Bohemian Rhapsody’ does not follow and instead we jump straight into the Impromptu which now again starts off with Spike playing a few ominous sounding chords on the keyboard before Freddie almost gets to do his vocal solo from before with minimal input by the band, showing a much better sounding falsetto than during ‘Who Wants to Live Forever’. Roger starts adding a beat to all of it, giving Freddie something to base his really unique improvising on. Once the rest of the group join in, they start increasing the tempo a LOT until Roger has to drum up a literal STORM there while Freddie minimises his adlibs to some chirping while the band take over a bit. Once they reach other one of these climaxes, Roger’s drumming is INSANE with Spike cleverly embellishing the jam with his input. Freddie the ends off the Impromptu with some bluesy chords by Brian which also work as a clever transition into the…
14. Guitar Solo (7/10) - To make the transition complete, Brian keeps on doing these same awesome chords for a bit before switching over to a few sustained chords a la ‘Ogre Battle’ which then again lead into some fast paced riffing, leading the audience to clap along with Brian who’s completely turning over his usual very calm solo riffing, adding a lot of finesse, pace and energy to it, using several techniques like sustained tremolos (if that’s what you call it, I’m unfortunately no expert in this area and don’t wanna pretend like I am) which excites the audience quite a bit. They give him a big cheer before Brian plays a few chords, every single one being amplified and echoed before it all resolves in a big chording succession which smoothly transitions into another energetic riffing section. It only lasts for a few seconds as Brian now enters something close to the pre-riffing bit from Jazz tour ‘Brighton Rock’ jams, having a slightly more energetic approach and various different additions from later years sprinkled in to almost make a “best of” kinda solo. The following section is not very easy to describe but it’s leaning into a fast executed quiet section, flowing incredibly well with very nice melodies. The audience clap along to most of these sections. He ends it off by letting his guitar scream a little, finishing the entire solo off with a few rather standard Brian riffs, making for an overall enjoyable solo with nothing mindblowing going on either. The transition into ‘Now I’m Here’ just follows after a sustained chord.
15. Now I’m Here (7.5/10) - Brian embellishes the main riff quite a bit and the entire audience sing along with Freddie once the lead singer enters the stage. He belts out a very high “I’M just” and nails a SUPERB A4 on “MADE me live again” in studio phrasing. The first verse is very energetic with everyone participating in one way or another. Freddie sounds great but Brian suddenly faces some issues, playing some really weird off chords for a while. Freddie can’t be bothered about guitar issues and simply nails the second A4 just as well as the first. The second verse is pretty solid but just as Freddie sustains a G4 on “my eye”, Brian plays another bum chord. Roger leads the band into the jam via some great drum fills and keeps adding them throughout. Brian could thankfully resolve whatever issues he’s had and turns in a great solo, playing great licks and riffs. Freddie adds a few “Go, Johnny, go!” adlibs, again sounding very powerful before Brian lets off a SUPERB segment of energetic riffing. The jam ends off with another superb row of licks by Brian who really managed to save this version guitar wise. He’s still not entirely clear as indicated by his guitar suddenly cutting off as soon as Freddie starts the vocal bridge with the audience and not playing anything until the very end of it. Freddie yells out “Down in the city just-ah you and me!” in a really stupid way, I didn’t like that at all! He then nails an A4 sustain during the musically superb fanfare.
16. Love of My Life (9/10) - Some acoustic noodling can be heard before Brian says a few words: “I wanna say a huge thank you. Thank you Holland! Thank you for believing in us, we love ya!”. The audience go crazy and replicate Freddie’s adlib from the ‘Live Killers’ version in unison! Freddie sings ONE word of the entire first verse and chorus before letting this bombastic crowd take over for the rest of it. Wow, they’re absolutely heavenly… The second verse sees Brian stopping to play while Freddie sings along with them and they swap roles again during the following chorus. The bridge is gorgeous but Freddie again does this stupid barking voice on “I still love you!” before ending it off with a few more gentle adlibs. Brian nails his guitar solo note for note. The audience almost sing the final verse better than Freddie, but that shouldn’t be a surprise anymore, right?
17. Is This the World We Created…? (7/10) - Freddie keeps being kinda stupid and again starts off some upbeat clapping despite the acoustic set still featuring one more emotional number, making for another awkward transition from energetic screaming to the sombre guitar preamble by Brian, followed by the intro. The first verse is actually quite beautiful, but interestingly enough, barely anyone in the audience is heard singing along but that changes as soon as we reach the first chorus where the crowd nails the studio harmonies while Freddie is doing the usual live treatment. The second verse also sounds gorgeous. The second chorus begins with a few nice licks by Brian and sees Freddie again yell out the “If there’s a god…” line instead of choosing a fitting melody.
18. Oldies Medley (8.5/10) - The positive energy of the Oldies Medley is never better than during these early shows and it makes up for a few sloppier moments like Freddie slipping across the lyrics here and there some harmonies being off as in members singing different lyrics. Freddie keeps adlibbing, telling the audience to participate or making jokes to his bandmates. ‘Tutti Frutti’ features a few awesome embellishments by Freddie early on and really tight harmonies. Even though the start of the main section is a bit sloppy, Roger’s tight drumming is absolutely PHENOMENAL and my god Brian is SHREDDING along like it was their own song. Unfortunately, there is another quite off moment just before the song ends and in the end I do have to take this into account as well.
19. Bohemian Rhapsody (7.5/10) - “This is what happens when you get too old. Your fucking energy runs out halfway through the set!” Quite the spine-chilling comment, considering the circumstances of this tour being the last. Freddie then straight jumps into a really upbeat piano intro, hitting one bum note in the process and ending it off with two downward scales similar to the Works tour. The first verse gets a BIG cheer and my god I LOVE everyone singing along here! Freddie nails “life had JUST begun”, hits a bum key and then nails a very strained but powerful STRAIGHT Bb4 phrasing! Of course “Mama Ooh” as well as the rest of the Ab4s are no issue for him afterwards. The second verse also features a great A4 before Fred AGAIN GOES FOR THE STRAIGHT Bb4s WHAT?! He strains even more this time and even cracks on “FACE the truth” and Brian hits a quite nasty bum chord right during “Mama Ooh”. That’s a literal bummer. Lol. Fred dodges “born AT all” and cuts the sustain quite short. Brian plays an AWFUL solo, completely messing up towards the end. The rock section sees Freddie nail all Ab4s strongly. The transition into the outro is surprisingly tight and the sound of the audience and Freddie singing it together is nothing short of brilliant. Brian finishes the song with a few nice licks.
20. Ole Ole / Hammer to Fall (6.5/10) - The audience again start singing Ole Ole at the end of the big one and Freddie even joins them again before yelling “’HAMMER TO FALL’!” at the top of his lungs. The first verse is great with the crowd singing along and Freddie hitting some brief but strong A4s. The first chorus is quite gutsy overall. The second verse sees Freddie almost falling apart on “LIFT YOUR FACE” which leads to a more conservative chorus afterwards. The bridge isn’t much better as Freddie has to drop “for your truth is all the same”, dropping it WAY too low into a really flat territory for some reason. The guitar solo isn’t the smoothest and sees Brian playing some really strange and off licks throughout and I have absolutely no idea why he’s struggling so much all of a sudden. The final verse sees Freddie cracking on “convinced OUR voices” which doesn’t prevent him from going all out during the first half of the chorus. He then completely skips the following line which reveals AWFUL vocals by Roger who’s just yelling each word out one by one! Freddie then again cracks during his A4 sustain and cuts it short. Brian has FINALLY got his shit together again, turning in a SUPERB solo during this jam and going ALL out. Thankfully, this goes for the entire jam and Freddie even hits a solid but kinda short A4 sustain towards the end of it.
21. Crazy Little Thing Called Love (8.5/10) - “You know what this guitar means, right? It can only mean one song because that’s the only one I know on this damn guitar. But let’s try and do it”. The last song of the main set again very much shows Freddie to be out of breath as he’s also almost just speaking out each word on its own. Thankfully, the rest of the band make up for it with some really great embellished musicianship this early on already. Brian adds some really funky licks during the first bridge and then changes up the melody of his telecaster solo a little but again, it doesn’t sound intentional! The second bridge is great due to the amount of audience participation. The jam is great for Brian who again tries to save some of his late sloppiness and oh my god it’s working. Working BIG TIME! The jam is fantastic with the guitarist popping off really nicely and the rest of the band following his leadership basically. I love how Spike starts using the main riff for his piano improvising before going off the rails which always sounds phenomenal! Roger adds a few fills as well and I love how smooth Freddie takes over while the band continues jamming, hitting a brief A4 in form an embellishment during this extended outro.
22. Radio Ga Ga (7/10) - Let’s hope that the long first encore break helped Freddie regain his voice. We start off strongly with Freddie nailing that first verse, sounding strong tonally and quite confident. All three A4s are attempted but the first attempt is flat while the other two come out quite roughly. Freddie goes for a few A4s during the first pre-chorus and gets them solidly, probably being covered up by Roger. The first chorus is great with lots of audience participation. The second verse again sees Freddie having a few off moments but they’re not as bad. “ALL this visual” is dodged completely. The pre-chorus is more conservative as well, leading to fewer A4 attempts but more successful ones. The second chorus is strong as well. A tight breakdown is followed by Freddie very daringly going for pretty much all key notes during the final pre-chorus, hitting most of them decently. The vocoder harmonies are very prominent during the final chorus and Freddie is definitely struggling by the end of it.
23. We Will Rock You (7.5/10) - The audience actually chant “We will, we will rock you!” before the song starts so ten points for guessing it right! Unfortunately, the clapping is very off-beat, just like with Live Aid’s audience recording but the actual intro sounds phenomenal, featuring some of the best guitar work Brian has provided for this song! Just before Freddie goes into the one verse (it’s still only one), he plays along with Roger’s drums and it sounds AWESOME! Freddie again does the G4 and E3 phrasing and I still feel like it’s a weird choice to only play one verse here but anyway, that’s what they did. Brian again changes up his solo drastically and it sounds great too.
24. Friends Will Be Friends (5/10) - Welcome to the setlist, last new song! Freddie’s vocals start off a bit pitchy but thankfully he fixes that quickly. The first verse sounds decent with a strongly nailed “IT’S SO EASY LOVE” but rough attempts at “but you GOT friends you can TRUST”, the last note definitely being flat. The first chorus is solid apart from Freddie AGAIN doing that awful falsetto in the end, only to drop the entire thing in the third octave as his voice completely disintegrates. The second verse is again mostly solid with nailed lyrics, some nailed A4s and two flat “GOT…TRUST” like before. Freddie then raps through the second chorus with the exact same ending as before… The band have decided to play the full song tonight and the instrumental section isn’t really tight except for a pretty solid and somewhat bluesy solo by Brian. Freddie nails the high notes during the next pre-chorus and sings along with the high harmonies in the third octave. Unfortunately, the band now struggle to find the point to end off the song, similar to Inglewood 1980’s Play the Game with a much bigger problem: Freddie could barely hold up with the original amount of choruses and naturally sounds even worse for the next round. While the band try to save this car crash with some more sloppy jamming, Freddie tries to cue them out by shouting “One more time!” and singing an actually solid chorus. Roger finishes the song with a drum triplet. Wowzers…
25. We Are the Champions (7/10) - The first verse (it feels like a huge relieve to have finally reached another song) is pretty strong and Freddie, despite all the odds, goes for the Bb4 sustain and completely airs out. The first chorus features a strong double A4 drop phrasing, a dodged “NO time” and solid harmonies by Freddie apart from a cut short “of the WORLD” sustain. The second verse is sweet with a strong “bed of RO-ses” embellishment and studio phrasing on “no pleasure cruise”. The pre-chorus sees Freddie literally shout out a singular Bb4 on “I ain’t gonna LOSE!”. The second chorus has a strong double G4 sustain as well as Freddie again dodging “NO time” while strongly nailed the following A4s. Brian plays a simplified studio lick during the final chorus while Freddie again hits a strong double G4 sustain. The third “NO time” is also dodged but Freddie finishes the song decently.
God Save the Queen - “Goodnight! Goodnight, thank you!” I’m not sure if Freddie said anything more since he was very low in the mix during this “song”.
Highlights: One Vision, Tie Your Mother Down, Ole Ole, In the Lap of the Gods… Revisited, Tear It Up, A Kind of Magic, Another One Bites the Dust, Love of My Life, Oldies Medley, Crazy Little Thing Called Love
Lowlights: Hammer to Fall (technically, the rating is a bit too high to makes this song considered as a lowlight but Idc, I make the rules lol), Friends Will Be Friends
Average Rating: 8.02/10
You really think Brian messed up at the end of the BohRhap guitar solo? I alwas liked the overexaggerated guitar screams. Always thought he did it on purpose for dramatic effect.
@@mymelancholyboots Giving Bo Rhap a 7.5 is criminal, the C5 is so good.
@@RobbbbbbbboI can understand 7.5, cause of his tone on these high notes and ofc rating is not only Freddie. Brian’s solo ain’t good as well
3:32 one of the best performances of the bridge of One Vision for sure
5:35: C5s
6:33: C5/B4
6:48: goated 1st verse
10:18: enthusiastically shouting at the crowd at the top of his lungs, such a change from some of the Works tour!
12:17: rare instance of this line sung in falsetto
12:26: insane line
16:00: C5 or so
19:18: B4
20:25: B4
20:36: Insane B4 and A4
31:43: C5
33:21: a rare 4th octave chorus
36:51: The only version I'm aware of with the same lyric as the studio version here.
37:40: excellent
38:21: very good
39:50: good first verse
40:15: pretty damn good second verse
41:35: nicely done difficult ending lines from here on out, despite being a bit flat at the very end of the ritardando.
54:45: an almost comical bit of guitar playing
55:01: the only known time on the entire tour of Freddie nailing the second chorus
1:13:51 pretty insane final instance of this quadruple Bb4 phrasing
1:14:10 very nicely done drop phrasing for this tour.
1:14:48: intense series of Bb4s and a C5.
1:43:18: not all bad by any means
1:45:11: pretty well nailed
1:46:20: really should've let them end it there lmao
1:46:33: By far the best chorus vocal we have from any live version of this song.
1:46:40: Roger's on the drums like "END THIS FUCKING THING PAL!!" lmao
you went through this entire concert labeling everything and get almost no recognition
Best crowd ever
We can openly say that the concerts in Leiden are simply pure art, the best that Queen could do on the magic tour, especially Freddie, in these concerts his voice and incredible
He definitely blows out his voice halfway through the show, it becomes super noticeable during songs like Hammer to Fall, Radio Ga Ga and Friends Will Be Friends so while the first half is truly amazing, I wouldn't call this his best show of the tour.
Similarly, the band have absolutely fantastic moments but especially Brian has lots of sloppy or technically unfortunate moments from BoRhap onwards.
These shows definitely have a very special and unique atmosphere and are great for that alone, but I think this night gets a bit overrated overall
@@mymelancholyboots if this is not the best night that I agree xd , listening to the whole I realized what you mean , but for me the best of leiden certainly is the next day , the 12 , especially his impromptu , freddie does one of the best falsetes of his career (in my opinion)
Stockholm is easily his best night on the tour.
these Leiden concerts are certainly the best on this tour. In my opinion, of course.
I was there 🤘. Good times, fond memories 😊
better than Wembley !! incredible voice and incredible guitar in that show ! it's blow my mind !!! thanks a lot friend !
Wembley isnt even in my top 10 MT concerts ;-)
Tbh, all songs after BoRhap won't sound out of place in the Wembley gigs xD
@@JesonWu-z9d haha, agree. He blows out his voice till BoRhap
My first concert ever! So glad I was able to see Queen live. Thank you for sharing this!!
1:37:24> one of my favourites of the tour (vocoder wise) wished they played like that nowadays 😅😂
Spike Review:
1. One Vision | 3:50, N/A yet (I think) pretty sure that was Brian that time, 4:40 very slightly cuts out but grand all the same 😅
2. Seven Seas of Rhye | 15:04> pretty fucking clear to say z least 😅
3. A Kind of Magic | 19:02, 19:17, 19:52, 20:10> 20:39, if ur listening out u can hear it, doesn’t really cut thru till 20:29… 20:44, 21:21 not really audible (it’s as if his voice broke 😂) 21:46 bit too low in the mix
4. Under Pressure | 27:33 N/A, it’s either they experimented to see how it was without it or they forgot to turn him up or some other Reason 🤷♂️
5. Now I’m Here | 54:08 reasonably Clear but cuts out near End, 54:56 not audible at all really, 58:17 not audible really
6. Bohemian Rhapsody | 1:17:35 is not audible at all, the following synths are also quite low until 1:17:44
7. Hammer to Fall | 1:20:18 decently audible no complaints at all
8. Radio Ga Ga | 1:33:09, 1:33:24 (decently powerful), 1:33:58, 1:34:50, 1:35:24 (kinda quite going into Chorus), 1:36:33 (semi quite) 1:37:08> very audible during Chorus and 1:37:24 is very Audible, one of the top versions of the tour 2nd night is better tho 😂
7. Friends Will Be Friends | Starting off at 1:43:32 (Very Clear), 1:44:21 (Quiter), 1:44:27 (Quite Loud), 1:45:18 (Little Quite), 1:45:24 (Decent), 1:45:32 (Quite), 1:45:41 (Very Clear), 1:45:46 (Very Clear), 1:45:54 (little quite), 1:46:38 (DECENT😅)
8. We Are the Champions | 1:47:28 isn’t too bad (slightly weak) 1:48:40 again the same as the first, 1:49:36 is not too bad, could be louder but it’s there so that’s good enough (I’m looking at you QAL 😅😂)
44:12 wow G5
44:36 G5
25:29 boaaaaaaaa
22:01
FIRST!!!.
*FREDDIE*
*FOREVER*
Mine too :) \|||/
the photo on the right comes from the first show in Stockholm, it was taken by Ilpo Musto 💛
Thanks a lot, I've credited him now :)
I was there
What is the reason why Freddie Mercury, in this concert, on his last tour, is in one of the best moments of his life?
Is it a kind of magic?
For the first half maybe, yeah (although Tear It Up is quite rough in a few spots) but from BoRhap onwards he's getting a lot weaker, Hammer to Fall and Friends Will Be Friends are almost bad for him
1:13:50 First time the whole verse was nailed since Montreal July 21st '82
Edit: First time since Milton Keynes
he doesn't nail it at Montreal 82
@@stef0469 I think he did, he didn't crack on it
@@chewymew the Bb4s are completely flat, so no he didn't nail them.
@@stef0469 Oh yeah, upon listening to it again, you're right. I guess that makes Milton Keynes the previous time he nailed it
This is one of the first concerts that he first performed friends will be friend
Some people say that this is the best BoRhap in '86, but there are quite some instrumental errors, and the 2nd verse Bb4s are super strained (plus no “born AT all”) to make it the best '86 version… Frejus still takes the place for best BoRhap in 1986 (and imo the best version since HS tour)!
Yeah, and the other two Leiden versions come in before this one imo.
I think frejus best borhap since sun city
I was there .........!!!!!!!!!!!!!!!!!!!!
goated show
Ryan Newton!!!😮
@ryannewton1202
Hi!
LEGEND.
Goat❤
Did a he play lick bring back that leroy brown before bohemian rhapsody?
33:22 last time?
I mean yeah but that phrasing was only done twice if I remember correctly
Hartford, Birmingham, and here have it.
write all freddie's improvised lines pls 😭😭😭😭 it's my dream to know the different things he says in each show
I‘ve written down all banter in my review
@@mymelancholyboots THANK YOU!!! you are the salvation of my roblox show
Ata
Ata
@@MrPanda-fq7rn ave