How the Faith Tour Defined George Michael’s Sexual Identity

With his leather jacket slung over one shoulder and hips swaying to the rhythm, George Michael commanded the stage during the 1988 Faith tour, captivating audiences across 16 countries. For the 24-year-old superstar, this massive undertaking served as a definitive transition from his Wham! origins to a solo artist of immense gravity, capable of writing, producing, and performing with a fusion of soul, rock, and R&B. The Faith tour defined George Michael’s sexual identity in a way that resonated deeply with his global fanbase, establishing a visual and physical language that felt entirely his own.

Recently, original 35mm footage captured from 14 cameras over two nights in Paris has been meticulously restored for a new IMAX-ready concert film. Directed by David Austin and Andy Morahan, George Michael: The Faith Tour provides a rare, high-definition look at a performer at the height of his powers. The film highlights the intensity of his solo set, which saw him holding the stage with minimal support, relying on his own charisma and a carefully curated physical vocabulary.

To achieve the level of precision required for such an ambitious solo show, Michael enlisted the help of renowned choreographer Paula Abdul. She recalls the process as a collaborative effort to build a movement style that was both powerful and authentically representative of Michael’s persona. "We developed a style that incorporated sharp hip movements, strong arm movements, and movements that could build into those big, high-energy crescendos," Abdul explains. "The goal was to make the choreography feel sexy and powerful, but also distinctly George."

This deliberate construction of a stage persona would eventually lead to a complex internal conflict. While the imagery of the leather-clad, guitar-wielding sex symbol was a global phenomenon, it would later become a cage that Michael felt compelled to escape. His subsequent 1990 release, Listen Without Prejudice Vol. 1, marked a pivot away from the overt, manufactured pop-star image he had cultivated, reflecting his growing awareness of the constraints placed upon him by a largely homophobic industry of the era.

In reflecting on their work together, Abdul highlights the discipline Michael brought to their four-to-six-hour daily rehearsals. She notes that while he initially considered using male backing dancers, he ultimately opted for a solo approach that allowed him to connect directly with the audience. This decision forced him to rely entirely on the physical stamina and movement patterns they had developed through rigorous cardiovascular training and repetition.

"I wanted the movement to become part of his identity as a performer—to create gestures and combinations that people would immediately associate with him," Abdul says of their legacy. Watching the restored footage today, it is clear that their collaboration succeeded in creating a lasting iconography. For Abdul, seeing the movements she taught him reflected in his live performances remains a source of immense pride. "To know that I had even a small part in helping shape the start of his solo career is something I’m incredibly proud of," she adds.