The News Boy George Fabulous

Southend Concert JANVIER ET FEVRIER 2008 : DOWNLOADS!!!!!!! | 07 février 2008

Un petit cadeau pour les fans français :

le concert enfin à télécharger et à graver sur cd :

le 4 fevrier 2007 :

Part 1

http://www.mediafire.com/?atnz9sxhbn4

Part 2

http://www.mediafire.com/?8x19nyei9jv

le 1er fevrier 2007 :

the Glasgow concert.

Part 1

http://www.mediafire.com/?1eryizghnwy

Part 2

http://www.mediafire.com/?fxcwhlninm1

Shaw Theatre Sun 27th :

Part one -

http://www.mediafire.com/?azmelbcyzhc

Part two -

http://www.mediafire.com/?byzdfmchtni

Publié par dominic à 17:03:12 dans boy george | Commentaires (7) | Permaliens

THE BIOGRAPHY CHANNEL | 06 février 2008

George Alan O'Dowd grew up in a lively household with his four brothers and one sister. Despite being part of the large working class Irish brood, George has claimed to have had a lonely childhood, referring to himself as the pink sheep of the family.

To stand out in the male-dominated household he created his own image on which he became dependent. "It didn't bother me to walk down the street and to be stared at. I loved it," he's reminisced.

George didn't exactly conform to the typical school student stereotype and with a leaning more towards arts rather than science and maths, he found it hard to fit in with traditional conformist masculine subjects. With his schoolwork suffering and an ongoing battle of wits between him and his teachers, it wasn't long before the school gave up and expelled George over his increasing outlandish behaviour and outrageous clothes and make up.

Suddenly George was in the big wide world without a job. Taking the plunge with any work he could find that paid him enough money to live on; he worked on farms picking fruit, as a milliner and even a make-up artist with the Royal Shakespeare Company - where he picked up some handy techniques for his own personal use.

The famous British New Romantic Movement that emerged in the early 1980s was a calling card for George, whose flamboyance fitted their beliefs perfectly. The attention the New Romantics attracted inevitably created many new headlines for the press and it wasn't long before George was giving interviews based purely on his appearance.

Around this time Malcolm McLaren, the manager of the infamous Sex Pistols, was also managing a group called Bow Wow Wow. Fronted by Burmese sixteen-yea- old Annabella Lwin, McLaren wanted someone to give Annabella a bit of a jolt on the stage and strengthen her vocally - cue the talent of a certain Boy George.

After George made a few appearances, to much audience acclaim, inevitable friction between the two big personalities began to surface. However George, by now, was inspired to form his own group and the answer came in the form of The Sex Gang Children. Bassist Mikey Craig and drummer Jon Moss were next to join the group, followed by Roy Hay. The group soon abandoned the name Sex Gang Children to settle on Culture Club, on the basis that the group consisted of an Irish singer, a Jamaican-Briton, a Jewish drummer, and an Englishman.

Success came early and the band signed with Virgin Records in the UK and Epic Records in America, releasing their debut album Kissing To Be Clever in 1982. It was their third single from that album, Do You Really Want To Hurt Me that scored a huge success by reaching the number one spot in 16 countries.

Culture Club already had the distinction of being the first group since the Beatles to notch up at least three top 10 hits on the Billboard Hot 100 from only their debut album. The group's second album was also a success (1983), with the single Karma Chameleon rocketing to number one in numerous countries, including the U.S., where it stayed for four weeks.

George soon became a household name, making him a natural choice for one of the lead vocals on the Band Aid single Do They Know It's Christmas in 1984. However the pressure of fame began to take its toll and by late 1985, George had become addicted to heroin. Culture Club began to lose their way musically and work on their fourth album - From Luxury To Heartache (1986) - proved more headache than heartache for the producers, with the recording sessions dragging on for hours. In July the same year George was arrested in the UK for possession of cannabis and a just few days later, the band's keyboard player Michael Rudetski was found dead from a heroin overdose in George's home.

During his time in Culture Club, George embarked on a relationship with drummer Jon Moss and he has claimed that some of the songs he wrote during this period were aimed at Moss directly. The pair's romance did not last though, with speculation that Moss had broken off his engagement to a woman to be with George and subsequently was never entirely comfortable in a homosexual relationship. Moss has since gone on to marry a woman and have several children.

Clearly the much hyped furor over the band's had peaked too early though and after their US tour was cancelled, Culture Club disbanded in late 1986. Despite his ongoing drug addiction battles, George began recording his first solo album. In 1987 Sold was released successfully. But even though he scored UK success, George never really managed to duplicate the same level of exposure in the US.

Over the years, George has continued to release various solo albums and even formed his own record label in the early nineties. His most significant acclaim to replicate anything on the same level as Culture Club's fame was his 1992 hit single The Crying Game, which featured in the film of the same name, reaching the top 20 in the US charts.

After a fall out with Virgin Records in the mid nineties, George's work was poorly promoted and subsequently failed to alight any kind of praise to establish him as a serious solo musical artist. Culture Club did reform briefly back in 1998 at a Big Rewind tour in America alongside Human League and later the same year managed to secure a top five single in the UK with I Just Wanna Be Loved.
In 2006, the band decided to again reunite and tour; however, George declined to join them for this tour. As a result, he was replaced and after only one showcase and one live show, that project was shelved.

Although George failed to reach the same level of acclaim as a solo artist in comparison to the Culture Club days, he has fared better in his second career as a notable music DJ. He began DJing in the early 1990s and has since enjoyed many pats on the back from critics both here in the UK and in the US.

As an aside, in 2002, George was joined by a hoard of celebrities for the premiere of his new musical Taboo. The star had penned the story of his own rise to fame, including colourful characters from his past such as Leigh Bowery, Steve Strange and Marilyn. The musical featured a host of new songs written by George as well as Culture Club's number one singles, Do You Really Want to Hurt Me and Karma Chameleon. Open auditions were held to find actors and singers to resemble the stars of the 80s and the Scottish actor Euan Morton won the part of the dread-locked George. Matt Lucas, at the time most famed for his George Dawes character on BBC's Shooting Stars, took the role of flamboyant performance artist Leigh Bowery, who died of an Aids-related illness in 1994.

American comedienne Rosie O'Donnell saw the musical and was so enamoured that she decided to finance the production for Broadway too. The show opened in February 2003 but after just 100 performances it closed, hampered by a barrage of negative reviews and struggling to meet financial ends. The UK production however, continued to be a success and went on to tour the UK, with a DVD release and book accompanying it.

In George's personal life, his demons have gained ongoing media attention even since his drug problems came to public knowledge back in the eighties. Nearly ten years after his first public drugs expose, George was arrested in Manhattan in 2005 on suspicion of possessing cocaine after it was found it his apartment.

After failing to appear in court the following year, for the same drugs charge, a judge issued a warrant for his arrest. George's no-show for his initial court date resulted in a $1,000 fine and a spell of community service. In August 2006, George reported for rubbish duty on the streets of New York- making the media's day with snaps of the usually flamboyant star in combats and trainers with a broom and disposable gloves.

It seems picking up trash in the public eye wasn't enough to keep George on the right side of the law because in November 2007, he was sent to trial charged for falsely imprisoning a male escort by chaining him to a wall. The alleged incident had taken place at his flat in Hackney earlier in the year and he is due to stand trial later in 2008.

For George, his next career step or public outbursts are as unpredictable as his eyeshadow and hair colour so it can only be a case of watch this space to see what he decides to do next...
http://www.thebiographychannel.co.uk/biography_story/2184:2766/3/Boy_George.htm

Publié par dominic à 22:48:31 dans boy george | Commentaires (0) | Permaliens

Boy George: Songs That Make You Cry and Dance | 05 février 2008

The Sage Gateshead played host to two '80s icons at the weekend Boy George and Alison Moyet. We were at both shows

Boy George: Songs That Make You Cry and Dance

AFTER 25 years of hit singles, headlines and media notoriety, Boy George has returned to music with a UK Tour entitled Songs That Make You Cry and Dance.

Stepping on to the stage at The Sage Gateshead on Saturday night, George won the hearts and minds of an already adoring crowd all over again.

The night's concert was about putting the tabloid frenzy and controversy to one side and letting the music speak loud, clear and true.

Adorned in his now trademark sequined hat and two-piece suit, George's first set was a varied, well-paced 45 minutes; up-tempo numbers Do You Really Want to Hurt Me, Everything I Own and Cheapness & Beauty sat alongside tender contemplative ballads, Losing Control and Stranger in this World.

The set closed with George handing over the microphone to backing vocalist Lizzie Dean. With a rich, deep voice that betrayed her slight frame and punkish outfit, she took on Talk Amongst Yourselves (from George's penned musical Taboo), with passionate fervour and brought the house down.

Set two kicked off with an energetic Church Of The Poison Mind, followed by a blazing cover of Suffragette City, originally by Bowie, well known to be George's idol.

More Culture Club classics got an outing, with a torch n' twang version of Karma Chameleon, (as George stressed: You can't ignore that really, it's a country song) and an acoustic, emotive rendition of Victims.

George stepped aside twice more in the show once as the vocally gifted John Gibbons sang If I Could Fly, and later when Linda Duggan (a different guest vocalist appears each night of the tour for one song) performed Generations of Love.

Self-deprecating quips about cleaning the streets of New York were thrown in, adding to the honesty of the evening.

A highlight of the whole gig was This Little Light of Mine a song that became a civil rights anthem in the 1950s/60s showing the strength in George's voice.

The jubilant, euphoric Bow Down Mister closed the gig as everyone left their seats to dance. A thoroughly entertaining concert that embodied all that should continue to be treasured about Boy George.

CRAIG ASTLEY

Publié par dominic à 23:27:01 dans boy george | Commentaires (3) | Permaliens

Boy George @ The Lowry | 05 février 2008

THE back of Boy George's self-designed top hat is emblazoned with the word `Pride' which, rather appropriately, he has opted to put behind him forever.

If these intimate shows are a deliberate attempt to refocus attention back on his music after a turbulent couple of years, opening with two new reggae-influenced numbers sang entirely in cod-Jamaican patois is perhaps not the most effective way to send out the message that you're sane.

Things go from baffling to bland. Culture Club's laudable gender line-blurring smoke-screened just how few good songs they actually had, with their best moment - Church of the Poison Mind - given a well-judged Bowie glitter-stomp reswizz.

George's soulful voice remains in fine fettle, demonstrated on a version of This Little Light of Mine, but ballads that aim to be stark heart-on-sleeve confessionals - such as the acoustic Losing Control- simply sound MOR, anchored by lyrical clichés or malformed ideas.

Arguably those comprising the audience couldn't care less about the material. They're largely here for the School Disco thrill of reliving their youth, so there's dancing in the aisles to the irrevocably naff Karma Chameleon, and they lap up his single-entendres.

Sharks

These days, they're more tedious than witty: like sharks who must keep swimming or they'll suffocate, George must seemingly bang away about being gay or he might forget how to have sex with a man.

It's a shame because the night belies the fact that George has produced some decent pop over the last few years (his collaboration with Anthony & the Johnsons; Time Machine featuring Amanda Ghost; even his club-electro alter-ego The Twin).

The highlight is an impassioned version of Talk Amongst Yourselves, a tribute to his mother taken from his musical Taboo, with sandblaster vocals by his female backing singer.

Pretty depressing, when you consider George is offstage for the song's duration.

http://www.manchestereveningnews.co.uk/entertainment/music/live_reviews/s/1035069_boy_george__the_lowry

Publié par dominic à 23:24:11 dans boy george | Commentaires (0) | Permaliens

INTERVIEW: BOY GEORGE | 02 février 2008

As he heads to Nottingham on a tour aimed at re-establishing himself as an artist and his "reputation as a human being, which I think has been pretty torn apart over the last few years", Boy George tells MIKE ATKINSON why he thinks Amy Winehouse is our only hope.

Your forthcoming UK tour is the first in a very long while, isn't it?
Yes, the Culture Club reunion tour [in 1998] was the last time. I've done shows here and there, but things really started again last year, with a few London shows. They were really just to get the feeling again, as I feel this is a good time to go out and play.

Is the show mostly going to be old material, or will it be a mixture of old and new?
It's not a nostalgia show. It's not like the Here and Now tour: it's more like there and now. (Laughs) But I always include my hits in my shows - always. I've never, ever toured without doing at least some of those songs, because they're important. When I go and see someone like David Bowie, I always want to hear things I know. I know what it's like to be in the audience. So it's not going to be a self-indulgent, tortuous show. It's going to be a good show.

Are you going to be faithful to the originals, or do you like mucking around with them?
We're doing a slightly different version of Church of the Poison Mind, which is a bit more heavy metal. It's not that different to the original; the bass is just a bit more rattly. We do play around with some of the songs, but we always stick to the melody. It won't be that weird!

I like the title of the tour: Songs That Make You Dance And Cry. A lot of my favourite music makes me dance and cry - hopefully at the same time!
I just think that I work in those two fields. Either I'm being quite melancholy, with things like Generations of Love, or quite joyous, with things like Bow Down Mister.

Going back to the Culture Club days: a lot of the lyrics from that period dealt with your relationship with Jon Moss, but how aware was Jon at the time that the songs were about him? Karma Chameleon is quite a bitchy song, for instance.
Oh, he knew! (laughs) I used to talk to him about it all the time. He was very aware. Some of those songs were also quite avant-garde and ambiguous, although they got more direct later on. A lot of people have asked me "What's a karma chameleon?", but obviously I've explained it over the years, so people know more about it now. But there were lots of songs that were very loving as well!

So how did you feel when Culture Club attempted to plan a second reunion tour with a different singer?
I was kind of annoyed, actually. I thought it was really cheeky. If I'd have done the same thing, they'd have sued me. It just proved to me once again that my motivation was entirely different to theirs. Because my thing is not about career; it's about creating things that I care about.

At the moment, we seem to be stuck in the middle of an 80s revival that won't go away, and 80s music has influenced an awful lot of 21st-Century pop.
One of the interesting things about the 80s is that at the time, no one liked it. Everyone hated the 80s! We were universally slagged, in every way. We were just vacuous people with big hairdos, destroying the ozone layer. There was nothing worthwhile about any of us: we were called Thatcher's children. Whereas in actual fact, Culture Club were really a follow-on from punk. I'd been an original punk; that's where I came from. So it's interesting that now, people are dealing with this kind of pop revisionism, and saying: oh yeah, it wasn't so bad. Because things are so formulaic now. A lot of the TV talent shows, that have now saturated the pop scene, used to be seen more as Saturday night "variety" shows.

Well, we've always had winners of talent shows making the charts?
Yeah, like Opportunity Knocks - but those people weren't pop stars. Sometimes they were, but there was a separation. But now you've got "variety", and you've got Amy Winehouse, and that's it! That's the only hope at the moment! (laughs)

Amy Winehouse is our only hope?
She's the person who has totally inspired me to get back on the road. When I hear the music, it makes me feel something. It makes me sad; it makes me emotional. A lot of the music that we've been hearing in the last few years has been so bitchy - "I'm gonna steal your boyfriend; don't you wish your girlfriend was hot like me" - and it's not personal. It's clever, it's witty, it's designed for radio - but there's no feeling in it.

It's not about human relationships as they really are. It's a commercialised version.
Exactly. And one of the complicated things about Amy is that on the one hand, she's got all her problems, and people want to condemn her for that, but on the other hand she's a f**king genius! (laughs) What can you do? It puts everyone in a really difficult situation. You can't write her off, because she's incredible. At the end of the day, she's expressing what a lot of us can't express - and that's the sign of a great singer. If you hear a song on the radio like Love Is A Losing Game or You Know I'm No Good, and it touches your heart, you know that she's doing something right.

During the late 80s, there was a whole generation of openly gay pop stars as role models, if you like. There was you, Andy Bell, Jimmy Somerville, Marc Almond, Neil Tennant?
I don't think of myself as a gay pop star. There are gay pop stars who are totally obsessed with being gay, but I've never been one of those. I love straight people; it takes two of them to make one of us! I've never had that kind of separatist attitude about "gay" and "straight". I love being gay and I support gay culture, but I don't think of myself as being a solely gay artist.

Well, I think some people would have got a message from some of your songs. There was the Jesus Loves You period for instance, with songs like No Clause 28 and Generations Of Love?
Of course there was that sensibility, but I wouldn't want to just make music that was only targeted towards gay people.

Well, sure. But it's interesting that the whole phenomenon of the "gay pop star" has more or less disappeared. I suppose we've got Jake Shears and Beth Ditto - but we don't need it any more, do we?
We live in this kind of culture now which pretends to accept everything. So there's this kind of pseudo-acceptance of everything that's different. But the reality is: it's not true. Today's gay pop stars are out of the closet, but they don't express anything about their sexuality. They don't ever use the word "he" in their songs. They think they don't need to, because they think everybody loves them, and they think they're all accepted. You see, they've been lulled into this false sense of security! (laughs) When I write a song about a boy, I'm not thinking about the radio or any of that; I'm thinking about what I feel. You'll see that in my show.

I would imagine you bristle at being lumped in with the genre of "Celebrity DJ"?
I'm not a celebrity; I'm a star. Celebrities are people who turn up at parties with expensive handbags, and they don't do anything. You'd never catch a celebrity sweeping the streets of New York. You couldn't call Naomi Campbell a celebrity, could you?

You could call her many things, before you call her a celebrity (laughter). As regards your more recent musical career, it can be difficult to follow what you're up to. You don't make it easy for us!
Obviously, the hardcore fans know everything that I'm doing - but the general public don't. That's why I'm doing this tour. The whole point is to say: this is what I do. I see this as a way of re-establishing myself as an artist, and reminding people that's what I am. And also re-establishing my reputation as a human being, which I think has been pretty torn apart over the last few years.

You have also chosen to opt out of a lot of the music business games. EMI recently announced that they intend to shed up to 2,000 of their staff. Is the record business finished?
It hasn't invested in talent, or in anything that can last. And so, in a way, that's why it can't last. You're constantly hearing that someone is "the new Amy Winehouse" or "the new Joni Mitchell", and so on. Whenever there's a successful artist, they just try and create 20 more of them. It's just boring. Why do record companies sign them?

EMI are saying that they now want to use focus groups to decide who to sign next.
Well, you know what? It may sound like a really terrible thing to say, but the audience should never dictate the art form.

Absolutely. They would never have signed The Beatles, for instance.
You'd never have had Ziggy Stardust. You'd never have had anything great. It sounds snobby, but it's true. The bigger the crowd gets, the more people you have to please. It's like when you're DJ-ing a massive gig; there's no way you can make everyone happy. There's always going to be someone who doesn't like what you do. So if you're going to have focus groups? Well, God help us. It's just so tragic. What we need is some A&R people with some balls, and some record company executives who love music! It's the same with radio. I'm sorry to be nostalgic, but if you go back to the 70s and the 80s, we had all those characters like Tony Blackburn, who actually were into music. Now you've just got all these trendy little gits with good haircuts and Northern accents, who think they're really cool. And they know nothing! They're all being fed by the trendy magazines, and it gets on my nerves.

You're in danger of being asked to go on that show Grumpy Old Men, if there's much more of this.
Hahahahaha! I'd go on willingly! What's the fee?!

Boy George appears at the Royal Concert Hall on Friday, February 8. Tickets are £25 on 0115 989 5555 or from www.royalcentre-nottingham.co.uk

http://www.thisisnottingham.co.uk/displayNode.jsp?nodeId=133942&command=displayContent&sourceNode=244910&contentPK=19739589&folderPk=103546&pNodeId=244911

Voir Video :

http://www.chroniclelive.co.uk/videos-pictures/podcast-download-audio/2008/01/29/boy-george-interview-72703-20409342/

Publié par dominic à 11:40:21 dans boy george | Commentaires (0) | Permaliens

<< |1| 2| 3| 4| 5| 6| 7| 8| 9| 10| 11| 12| 13| 14| 15| 16| 17| 18| 19| 20| 21| 22| 23| 24| 25| 26| 27| 28| 29| 30| 31| 32| 33| 34| 35| 36| 37| 38| 39| 40| 41| 42| 43| 44| 45| 46| 47| 48| 49| 50| 51| 52| 53| 54| 55| 56| 57| 58| 59| 60| 61| 62| 63| 64| 65| 66| 67| 68| 69| 70| 71| 72| 73| 74| 75| 76| 77| 78| 79| 80| 81| 82| 83| 84| 85| 86| 87| 88| 89| 90| 91| 92| 93| 94| 95| 96| 97| 98| 99| 100| 101| 102| 103| 104| 105| 106| 107| 108| 109| 110| 111| 112| 113| 114| 115| 116| 117| 118| 119| 120| 121| 122| 123| 124| 125| 126| 127| 128| 129| 130| 131| 132| 133| 134| 135| 136| 137| 138| 139| 140| 141| 142| 143| 144| 145| 146| 147| 148| 149| 150| 151| 152| 153| 154| 155| 156| 157| 158| 159| 160| 161| 162| 163| 164| 165| 166| 167| 168| 169| 170| 171| 172| 173| 174| 175| 176| 177| 178| 179| 180| 181| 182| 183| 184| 185| 186| 187| 188| 189| 190| 191| 192| 193| 194| 195| 196| 197| 198| 199| 200| >>

Tous les derniers titres

JOYEUX NOEL 2009 | 19-12-2009
new picture | 19-12-2009
A NOT SO SILENT NIGHT & rufus : 9 decembre 2009 | 19-12-2009
Boy George on The Alan Titchmarsh Show (08 Dec 2009) | 11-12-2009
EP WHITE XMAS 13 DECEMBRE | 27-11-2009
INTERVIEW HYPER INTERRESSANTE!!!!!!!!!!!!! ET QUE DES BONNES NOUVELLES POUR NOUS LES FANS!!!! | 27-11-2009
NOUVELLES PHOTO SUR LE TWITTER DE GEORGE | 23-11-2009
BOY GEORGE SET pour Big Brother | 21-11-2009
Culture Club - the hits live : 17 novembre mp3 | 20-11-2009
ATTITUDE 2009 | 20-11-2009
ATTITUDE 2009 | 20-11-2009
ATTITUDE 2009 | 20-11-2009
ATTITUDE 2009 | 20-11-2009
GEORGE SUR SON TWITTER : Off to Kings X! | 15-11-2009
GEORGE SUR TWITTER : My homage to swine flu drama! | 15-11-2009

FORUM

VOILA LE 1ER FORUM FRANCAIS DE BOY GEORGE : http://forum-boy-george.forumactif.net/

LA PHOTO DU MOMENT

LA PHOTO NOSTALGIE

PLANNING / AGENDA

SATURDAY 26th DECEMBER - GARLAND'S - LIVERPOOL - UK -

http://www.garlandsnightclub.com/08/index.php

SATURDAY 26Th DECEMBER -Tabloid Boxing Day Blowout- Special Guest Boy George on the dex - FIRE VAUXHALL - UK

THURSDAY 31th DECEMBER - CREAM ARENA - CHESTER - UK & FLAMINGO'S - BLACKPOOL - http://www.flamingoonline.co.uk/

FRIDAY 1st JANUARY - DTPM, London, UK
Buy tickets @ www.ticketweb.co.uk

FRIDAY 6th FEBRUARY - GLISTEN, Ashford, UK
Info @ www.theglistenexperience.com

FRIDAY 13th FEBRUARY - BULLIT, Tamworth, UK
Info @ www.bullit.biz
and
FRIDAY 13th FEBRUARY - QI, Mansfield, UK
Info @ www.qinightclub.co.uk

FRIDAY 26th FEBRUARY, MANGO, Reading, UK
Info @ www.barmango.com
and
FRIDAY 26th FEBRUARY, EMBASY, london, UK (TBC)
Info @ www.embassylondon.com

SUNDAY 28th FEBRUARY, BROADWAY BOULEVARD
Llandudno, Wales, UK
Info @ www.broadwayboulevard.co.uk

FRIDAY 26th MARCH, CLUB AMADEUS, Northallerton, UK
Info @ Club Amadeus Facebook Page

SUNDAY 4th APRIL, THE REGAL, OXFORD, UK
Info @ www.the-regal.com

SATURDAY 17th APRIL, LIQUID, Bern, Swithzerland
Info @ www.liquid-bern.ch

BOY GEORGE IN CONCERT

"Up close & personal "
at Leicester Square Theatre

20,21,22,23,27,28,29,30,31 December 2009.

Boy George needs little introduction…he shot to international stardom in the 80’s as the front man of one of the UK’s biggest exports Culture Club and has remained one of the world’s most recognisable iconic figures…however George himself says…’I am sometimes recognised for all the wrong reasons’. In advance of his 2010 European Tour George will perform a set of exclusive intimate shows at Leicester Square Theatre…stripped down, acoustic, unplugged whatever cliché you want to call it this set of exclusive concerts lies bare George as an artist, singer, lyricist and musician – this is simply ‘The Man and his Music’… performing his biggest hits from Culture Club, his solo career, new writing and covers from his own music heroes. DON’T MISS ONE OF THE BEST SOUL VOICES AND MOST COLOURFUL PERSONALITIES BRITIAN AS EVER PRODUCED!
£35.00-£45.00

UP CLOSE & PERSONAL
LEICESTER SQUARE THEATRE, LONDON, UK

Sunday, December 20th @ 7:30 PM (7:00 PM doors)

Monday, December 21th @ 9:30 PM (9:00 PM doors)

Tuesday, December 22th @ 9:30 PM (9:00 PM doors)

Wednesday, December 23th @ 9:30 PM (9:00 PM doors)

Sunday, December 27th @ 7:30 PM (7:00 PM doors)

Monday, December 28th @ 9:30 PM (9:00 PM doors)

Tuesday, December 29th @ 9:30 PM (9:00 PM doors)

Wednesday, December 30th @ 9:30 PM (9:00 PM doors)

Thursday, December 31st @ 4:30 PM (4:00 PM doors)

2010 UK TOUR

Friday, April 16th @ Lighthouse, Poole
Sunday, April 18th @ Grand Theater, Blackpool
Monday, April 19th @ Birmingham Town Hall, Birmingham
Tuesday, April 20th @ Brighton Dome, Brighton, UK
Wednesday April 21st @ The Sage, Gateshead
Thursday, April 22nd @ The Lowry, Manchester
Friday, April 23rd @ Embassy Theatre, Skegness
Saturday, April 24th @ Congress Theatre, Eastbourne, UK
Monday, April 26st @ Grand Theatre, Swansea
Tuesday, April 27th @ Cheltenham

2010 UK TOUR HERE & NOW
THE VERY BEST OF THE 80'S

Sunday, June 20th @ Isle of Man
Saturday, August 7th @ Ascot Racecourse, Berkshire

2010 EUROPEAN DATES

Wuhlheide Open Air 2010
feat. BOY GEORGE / KARAT
SUZI QUATRO / THE HOLLIES
BONEY M. feat. Liz Mitchell
FALCO FOREVER
(program changes reserved)

Saturday, July 3rd @ Kindl-Bühne Wuhlheide, Germany

http://www.ticketweb.co.uk/user?query=search&category=misc&search=Boy+George®ion=gb_london&beginmonth=12&beginday=10&beginyear=2009