Freddie Mercury, the iconic Queen front man, was loved by millions for his enthralling stage presence and distinctive voice. He helped Queen become a symbol of rock opulence with classics like “We Are The Champions” and motivated many to sing along to “Another One Bites The Dust.” Despite his universal appeal, not all from the music industry looked fondly upon him. Remarkably, some of his fellow artists and critics often voiced their disdain for Freddie Mercury, and here we delve into some of those who were not beguiled by his charm.
Sid Vicious
The acrimonious relationship between Sid Vicious, the punk movement icon, and Freddie Mercury was born out of contrasting musical priorities. The Sex Pistols bassist represented an ethos that railed against the theatrical and elaborate style that Mercury and Queen had come to symbolize. Vicious wasn’t secretive about his objections; in a stark radio interview, he expressed his repulsion for Mercury’s appearance and posh interests, notably Mercury’s fondness for ballet.
Tensions spilled over into a personal confrontation at Wessex Sound Studios, where both Queen and The Sex Pistols were recording. Vicious, reportedly mocking Mercury’s appreciation for ballet, was met with a retort and physically removed from the room by Mercury himself. It was clear that Vicious and Mercury were as discordant in their personal interactions as their bands were in musical style.
Robert Smith
Robert Smith, the heart of The Cure, never shied away from expressing his candid views. Known for creating an introspective and brooding atmosphere through his music, Smith’s style couldn’t be more different from Mercury’s flamboyant showmanship. During a resurgence of The Cure’s influence in the mid-2000s, Smith took the opportunity to openly criticize bands that took inspiration from Queen, displaying his distaste for the theatrical branch of rock that Mercury championed.
Particularly, when confronted with the rise of bands like The Darkness, who drew heavily from Queen’s style, Smith disparaged them profoundly, indirectly criticizing Mercury’s approach to music by calling it comedic. It was clear that Smith preferred introspection over grandiosity, an inclination that placed him in stark opposition to Mercury’s legacy.
Steve Walsh
Steve Walsh, the voice that led Kansas to progressive rock fame, crossed paths with Mercury in the mid-1970s as Kansas was building its reputation. On one hand, he appreciated the camaraderie shared with bands like Mott The Hoople and Queen while on the road, but on the other, he had less-than-flattering memories of Mercury. Walsh described Mercury as egotistical, a trait he perceived as not only outshining the frontman’s talent but also unwarranted.
During an interview in 2003, Walsh didn’t hesitate to label Mercury as a diva and pointed out the discrepancies he saw between Mercury’s talent and self-perception. In the rough-and-tumble world of rock music, where egos frequently collide, Walsh’s recollections highlighted a clear divide between his own perception of stardom and the image that Mercury projected.
DJ Kenny Everett
Kenny Everett, the British DJ who played a pivotal role in introducing “Bohemian Rhapsody” to eager listeners, initially enjoyed a close friendship with Mercury. The pair reveled in London’s lively nightlife together, and Everett’s ardent promotion of Queen’s music was instrumental in the band’s rise to fame. However, personal disputes and public scandals laid the groundwork for a fallout that would strain their relationship beyond repair.
The tipping point came in the mid-80s amid a storm of media attention surrounding Mercury’s personal life. A fallout, fueled by their mutual cocaine use, severed their friendship. Despite media reports to the contrary, Mercury’s former partner Jim Hutton confirmed that the rift between the two was never mended, with cold shoulders exchanged even in common social spaces. Everett’s name joins the list not for a lack of initial admiration but for a friendship that soured, leaving a once-warm champion cold.
Dave Marsh
Dave Marsh, an influential music critic and once a protégé of Lester Bangs, was known for his straight-shooting reviews. He did not cloak his disapproval of Mercury and Queen when he dismissed their 1979 album “Jazz” in Rolling Stone. Marsh’s reviews criticized Mercury’s vocal prowess and even went as far as to suggest Queen harbored fascist qualities through their music.
He stood firmly against the admiration that poured in for Mercury from most quarters, signaling a clear divide between the perception of fans and some of his contemporaries in the industry. Marsh questioned the band’s integrity and whether the public should entertain their music—or disregard it as he so emphatically did.
