Music industry icon Bob Geldof attended MJ the Musical in Sydney this week, where he also spent time with the cast and crew, sharing stories about working with the late King of Pop.
The Irish songwriter, best known as one of the organizers behind the iconic 1985 hit We Are the World, was in the studio when Michael Jackson recorded his part.
Following the show, Geldof praised the production, calling it “spectacular” and “world-class.”
“I enjoyed every moment of every scene,” he added.
“MJ the Musical” is playing at the Sydney Lyric Theatre now. Due to overwhelming demand, the season has been extended to August 3rd. Click here for more details.
Bob Geldof and Michael Jackson were two towering figures in the world of music and humanitarian efforts, each leaving an indelible mark in different ways. Geldof, the outspoken Irish musician and activist, spearheaded the Band Aid and Live Aid movements, rallying the biggest names in music to raise funds for famine relief in Africa. Michael Jackson, the King of Pop, was an unparalleled global superstar whose influence stretched beyond music into philanthropy.
Their paths notably crossed during We Are the World in 1985, a charity single co-written by Michael Jackson and Lionel Richie to aid African famine relief. Geldof, fresh from his success with Do They Know It’s Christmas?, championed the project, recognizing the impact of American artists joining the cause. While Michael, ever meticulous, contributed both creatively and vocally, Geldof brought his raw passion and relentless drive, ensuring the song’s monumental success.
Over a decade later, in 1996, their worlds collided again at the Brit Awards in London, where Geldof presented Michael Jackson with an award. That night, Michael performed Earth Song in a theatrical, almost messianic display, prompting Jarvis Cocker of Pulp to storm the stage in protest. Michael, unaware of the controversy unfolding, was left confused by the reaction. Later that night, he called Geldof, searching for answers. These moments—one of unity and global impact, the other of spectacle and misunderstanding—capture the contrast between two icons shaped by fame, music, and their desire to make a difference in the world.
Geldof recalled those moments:
“I remember the night I presented Michael Jackson with an award at the Brit Awards in London. As I stood on stage reading from the script, I found myself stumbling over the endless stream of accolades. At some point, I just gave up and moved on. Then came his performance of Earth Song—a dramatic, theatrical moment that took over the room. But in the middle of it, Jarvis Cocker got up and staged his now-infamous protest. Michael, ever the perfectionist, was completely oblivious to the reaction in the audience. He didn’t understand why people had been laughing or why the moment had been disrupted.
Later that night, at around 3 a.m., he called me, confused and seeking answers. “What happened? Why were they laughing?” he asked. I just told him, “Go to bed, don’t worry about it.” Earth Song may have been grandiose, even a little self-important, but it was still a cool track. At the end of the day, Michael was a pop star—he wasn’t curing diseases or changing the world in a tangible way. But then, what do you expect from someone who never had a normal childhood, never attended school, and was instead thrust into an existence few could even begin to comprehend?
Musically, my personal favorite has always been Don’t Stop ‘Til You Get Enough—it captured his energy, his spirit. But in terms of impact, We Are the World was undoubtedly his most significant contribution. I was never particularly fond of the song itself, but at that time, many Americans didn’t even know where Africa was. Michael may not have grasped the complex political and economic issues at play—it wasn’t something that interested him—but when he was called upon to help, he did. And in the end, that’s what mattered.”
