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Brian May

Sir Brian May, CBE, , FRAS (born 19 July 1947) is an English , , , and astrophysicist, best known as the lead and co-founder of the rock band . May co-authored numerous Queen compositions, including hits such as "" and "," contributing to the band's through innovative guitar arrangements and layered harmonies. His signature sound derives from the , a guitar he constructed with his father in 1963 using domestic materials like a fireplace mantel for the neck. Beyond music, May pursued , earning a in physics from in 1968 and resuming doctoral studies paused during Queen's rise, completing a in 2007 with a thesis titled A Survey of Radial Velocities in the Zodiacal Dust Cloud, analyzing dust motion in the solar system via Fabry-Perot spectroscopy. He holds honorary positions, including past Chancellor of , and advocates for , opposing practices like based on ecological and ethical grounds.

Early years

Childhood and family background

Brian May was born on 19 July 1947 at Gloucester House Nursing Home in , near , , . He was the only child of Roy May, an electronics engineer and draughtsman who worked for the Ministry of Aviation, and Ruth Irving May (née Fletcher), of Scottish descent. May's parents met during while serving in the Royal Air Force; Harold was in the RAF and Ruth in the (WRAF). After the war, the family settled in a modest home in , , where May described his upbringing as sheltered and close-knit. His father, originally from , provided technical guidance that influenced May's early tinkering with electronics and instruments, while his mother supported the household in a working-class environment typical of post-war suburban . The family had no other children, fostering a focused in May's development amid limited resources.

Education and early interests


May attended Hampton Grammar School (now Hampton School) from 1958 to 1965, securing a scholarship at age 11 and achieving strong results, including ten GCE Ordinary Levels and A-levels in physics, pure mathematics, and applied mathematics. In September 1965, he enrolled at to study physics and mathematics, graduating with a degree in physics with honours on 24 October 1968. May's early interests spanned science and music. Astronomy captivated him from childhood; at school, he discovered Patrick Moore's book The Earth, prompting requests for a telescope, and he followed Moore's program. Musically, after piano lessons, he turned to guitar around age 16. Lacking funds for a commercial model, May and his father Harold built the in 1964 from scavenged parts, including a 1930s mantelpiece for the body, a motorcycle fuel tank reflector for the tremolo, and homemade pickups using motorcycle coils. He practiced secretly at school, concealing the instrument behind cycle sheds due to bans on guitars, and formed his first band, —inspired by George Orwell's novel—while a student there.

Musical career

Smile and formation of Queen (1968–1971)

In 1968, while studying physics at Imperial College London, Brian May co-founded the rock band Smile with Tim Staffell, a fellow student who served as lead vocalist and bassist. The duo, both previously involved in the group 1984, recruited drummer Roger Taylor after placing an advertisement, completing the lineup of May on guitar, Staffell on vocals and bass, and Taylor on drums. Smile debuted live on 26 October 1968 at Imperial College, supporting Pink Floyd. The band gigged regularly in and secured a with in April 1969. That year, Smile recorded demos at , including "Earth," "Step on Me," and "Doin' Alright" (the latter co-written by May and Staffell), though no commercial singles were released at the time. Notable performances included a February 1969 benefit at . Despite these steps, Smile disbanded in spring 1970 after Staffell left to pursue other projects with , prompting to drop the group. May and Taylor, seeking a replacement vocalist, recruited Freddie Mercury (born Farrokh Bulsara), an acquaintance from the local music scene who had befriended the pair through Staffell. Mercury joined in mid-1970 and proposed the name for the new trio. The band's inaugural performance as took place on 27 June 1970 at City Hall in , a event arranged by Taylor's mother, though they were initially billed as . Lacking a dedicated , May, Taylor, and Mercury handled bass duties rotationally during early rehearsals and gigs. Queen's lineup stabilized in February 1971 when bassist , a student recommended through Taylor's college connections, auditioned and joined after performing "Son and Daughter" on guitar to demonstrate his fit. This completed the core formation, allowing the band to focus on original material blending May's layered guitar harmonies with Mercury's theatrical vocals.

Queen years (1971–1991)

Brian May co-founded Queen in 1970 alongside drummer Roger Taylor from their prior band Smile, with vocalist Freddie Mercury joining shortly thereafter and bassist John Deacon completing the lineup on 27 June 1971. As the band's lead guitarist, May contributed distinctive layered guitar arrangements, often employing multi-tracking to create orchestral-like textures using his homemade Red Special guitar. The group signed with Trident Studios in 1972, leading to their debut album Queen released on 13 July 1973, on which May wrote and sang lead on "Keep Yourself Alive," "Doing All Right" (adapted from Smile), and "Liar." Subsequent albums showcased May's growing songwriting role, including "Brighton Rock" and "'39" on (8 November 1974), the latter a sci-fi reflecting his background, and "The March of the Black Queen" co-written for (8 March 1974). Queen's breakthrough came with A Night at the Opera (21 November 1975), where May's contributions included the in Mercury's "," which topped the for nine weeks following its October 1975 release and propelled the album to multi-platinum status. May also penned hits like "" from A Day at the Races (10 December 1976), emphasizing his preference for structured riffs over extended solos. The band undertook extensive tours, including their first headlining UK tour in 1974 and a US tour supporting , during which May was hospitalized on 13 May 1974 in , due to acute , forcing the cancellation of remaining dates. By the late 1970s, arena tours solidified their status, with (28 October 1977) featuring May's "We Will Rock You," a stomp-stomp-clap conceived after a crowd interaction in 1976 and initially released as a B-side before becoming a staple. The 1980s saw continued success amid creative tensions, highlighted by the 1985 performance at on 13 July, where 's 20-minute set, anchored by May's opening "" and guitar work, is widely regarded as one of the band's finest hours. May's songwriting peaked in output during this era, composing tracks like "" for the 1986 film soundtrack and "I Want It All" on (22 May 1989), often addressing themes of mortality and resilience. The final album with Mercury, (4 February 1991), included May's "" and the epic "," written amid Mercury's declining health from AIDS, which May later described as a defiant response to impending loss; Mercury died on 24 November 1991, marking the end of Queen's original recording era. Throughout, May occasionally took lead vocals, such as on "Some Day One Day" (1974) and "" (1976), and co-produced albums starting with (30 June 1980).

Solo work and side projects (1974–1999)

May's initial foray into solo recording occurred in 1983 with the mini-album , inspired by the theme music from the Japanese science-fiction series , a favorite of his son . Recorded over two days in at [Record Plant](/page/Record Plant) Studios in [Los Angeles](/page/Los Angeles), the project featured contributions from bassist , drummer Alan "Roo" Gratzer, keyboardist , and producer/engineer , with drummer providing backing vocals. Guitarist guested on the tracks "Let Me Out" and "Blues Breaker," delivering high-energy solos alongside May's guitar. Released on 31 October 1983 via , the EP peaked at number 65 on the . In the late 1980s, May supported actress and singer Anita Dobson—whom he began dating in 1986—on her debut album Talking of Love (1988), producing the record, writing several tracks, and performing guitar parts, including on the single "Cry in the Night," which utilized a melody derived from the EastEnders theme. This collaboration marked one of May's few non-Queen musical outputs during the decade, blending pop-rock elements with his signature layered guitar sound. The on 24 November 1991 prompted May to complete material he had been developing since the mid-1980s, culminating in his debut full-length solo album Back to the Light, released on 28 September 1992 by Records in the UK (and in the US the following year). Featuring 12 tracks, including the singles "" (a 1991 preview release that reached number 6 on the ), "Too Much Love Will Kill You" (co-written with Mercury, peaking at number 5), "Back to the Light" (number 19), and "" (number 23), the album addressed themes of loss and resilience, with May handling lead vocals and guitars backed by musicians such as on drums and on bass. It debuted at number 6 on the , achieved gold certification for sales exceeding 100,000 copies, and was supported by a 1993 world tour as the Brian May Band, encompassing over 40 dates across , , and , including headline shows at London's on 15 June (later released as a live recording). May's second solo studio album, Another World, emerged on 1 June 1998 via , comprising 10 original tracks plus covers like "Only Make Believe" and Brian Wilson-inspired "The Guv'nor," with guest appearances from drummer and violinist on the title track. Recorded amid May's pursuits and archival work, it peaked at number 23 on the but produced no major singles, reflecting a more orientation with orchestral elements. No extensive tour followed, though May performed select material live in subsequent years.

Post-Mercury tributes and collaborations (2000–2010)

In June 2002, Brian May participated in the Party at the Palace concert, held in the gardens of Buckingham Palace to commemorate Queen Elizabeth II's Golden Jubilee. He opened the event by performing an instrumental rendition of "God Save the Queen" from the palace roof, accompanied by Roger Taylor on drums and Ray Cooper on percussion, drawing an estimated audience of one billion worldwide via television broadcast. Later, May and Taylor joined the cast of the newly launched We Will Rock You musical for a medley of Queen songs including "We Will Rock You," serving as a live homage to the band's catalog and Freddie Mercury's enduring influence. May co-produced the jukebox musical alongside Taylor and writer , which premiered on 14 May 2002 at London's and ran for a record-breaking 12 years, incorporating over 30 tracks to narrate a dystopian tale of musical resistance. As creative overseers, May and Taylor ensured fidelity to the original recordings while adapting arrangements for stage, with May making occasional unannounced appearances to perform guitar solos, such as during "," to evoke Mercury's performances. The production grossed over £100 million in its initial London run and expanded internationally, functioning as a sustained tribute to 's post-Mercury legacy. Earlier, in 2000, May collaborated with the British pop group 5ive at a live event, providing guitar for performances of "" and "," introducing Queen's rock anthems to a younger audience. In September 2006, coinciding with what would have been Mercury's 60th birthday, May contributed guitar overdubs to tracks on the tribute compilation Lover of Life, Singer of Songs: The Very Best of Freddie Mercury, a four-disc set of solo material that highlighted Mercury's vocal prowess and included rare recordings. These efforts underscored May's commitment to preserving and extending Mercury's artistic impact through selective partnerships outside full band reunions.

Queen + Paul Rodgers (2004–2009)

Brian May and Roger Taylor, Queen's surviving core members, initiated a collaboration with vocalist Paul Rodgers in 2004, forming Queen + Paul Rodgers as a touring and recording entity rather than a full reformation of the original band. The partnership stemmed from an onstage appearance by May and Rodgers at a Fender 50th anniversary event in September 2004, leading to an official announcement of joint performances in October 2004. May emphasized the natural chemistry between his guitar style and Rodgers' voice, viewing it as a viable path to revive Queen's live presence without attempting to replace Freddie Mercury directly. The group embarked on extensive tours from 2005 to 2008, delivering over 100 concerts across , , , Asia, and the , blending classics adapted to Rodgers' blues-rock delivery with and material. Notable legs included a spring 2005 European tour starting in , a 2005-2006 world tour hitting venues like in on October 16, 2005, and Japan's in November 2005, and a 2008 promotion for their album encompassing the UK, , and . May's performances featured his signature guitar, layered harmonies, and improvisational solos, maintaining 's multi-tracked guitar sound through live replication of studio overdubs. In late 2007 and early 2008, May co-wrote and produced new material with and Rodgers, resulting in the album , Queen's first original studio release since 1995. The record, comprising 15 tracks including singles "Say It's Not True" and "C-lebrity," was issued on September 15, 2008, in via and October 28, 2008, in , peaking at number 5 in the UK and earning mixed reviews for its fusion of and anthemic elements. May contributed throughout, with tracks like "Fire It Up" showcasing his riff-driven style alongside Rodgers' gritty vocals. The collaboration concluded amicably in May 2009, with Rodgers stating it was never intended as a permanent arrangement after touring and recording achievements. May later reflected that the venture reaffirmed Queen's viability in live settings but shifted focus toward future explorations, paving the way for subsequent partnerships.

Queen + Adam Lambert and recent performances (2011–present)

Queen + Adam Lambert originated from Adam Lambert's guest appearance with Brian May and Roger Taylor at the MTV Europe Music Awards on November 6, 2011, in Belfast, Northern Ireland, where the band received the Global Icon Award and performed "The Show Must Go On." This collaboration marked the first live performances featuring Lambert as lead vocalist alongside Queen's surviving members since Freddie Mercury's death in 1991. The partnership expanded with a short tour in 2012, commencing with their first full concert on June 30, 2012, in , Russia, followed by shows in , , and . Subsequent tours included the 67-show Tour from 2014 to 2015 across , , , and ; a 2016 Summer Festival Tour; and the 2017–2018 tour spanning multiple continents. These performances showcased May's signature guitar work on tracks like "" and "," with handling vocals originally sung by Mercury. The , launched in 2019, became their most extensive outing, beginning with a North American leg and resuming post-pandemic with dates through , , and , concluding on February 14, 2024, at in . Key 2023 segments included a 23-date North American run from October 4 in to November in . May has highlighted the tour's success in revitalizing Queen's live legacy, emphasizing Lambert's and stage presence as complementary to the band's catalog. As of October 2025, no new tours are scheduled, though May stated in September 2025 that discussions are underway for a potential residency at the Las Vegas Sphere venue. He also noted studio sessions with Taylor and Lambert exploring new material, potentially influencing future performances, but emphasized the focus remains on live renditions of Queen's classics. The collaboration has released the live album Live Around the World in 2020, capturing selections from these tours.

Musicianship

Guitar technique and style

Brian May's guitar technique features the use of a pre-decimal sixpence as a , which delivers a sharp, metallic attack distinct from conventional plastic picks due to the coin's harder material interacting with steel strings. This choice contributes to the crisp articulation in his playing, particularly evident in fast alternate-picked passages and phrasing. A hallmark of May's style is his expressive , characterized by rapid, controlled oscillations that impart a vocal-like quality to notes, often applied during bends and sustains for emotional depth, as analyzed in solos like that of "." He integrates techniques such as runs, , and precise string bends, blending influences with rock phrasing to create fluid, melodic lines. In recording, May pioneered extensive multi-tracking of guitars to achieve dense, orchestral textures, layering up to dozens of parts—such as in the all-guitar arrangement of "God Save the Queen" from (1975), where harmonized overdubs simulate brass and strings. This approach, combined with delay effects for artificial harmonies, allows chord-based solos and cascading "bell" arpeggios that evoke big-band horn sections. May has stated that a guitarist's playing style exerts greater influence on tone than equipment settings alone.

Influences

May's early musical interests were sparked by during the 1950s boom, particularly Lonnie Donegan's renditions of blues standards like those of , which he adapted to a gifted by his father around age eight. This period also exposed him to American rock 'n' roll pioneers including , whose rhythmic guitar work ignited his passion for the instrument, and , whose emotive delivery influenced his broader appreciation for expressive performance. Instrumental groups like , led by , further shaped his initial technique through clean-toned, melodic single-note lines learned via school competitions. A pivotal shift occurred in 1964 when May, then a teenager, saw perform with the Yardbirds at the ; he described Clapton's playing as "unbelievable, just so sparkling and fluid," prompting a return to roots via artists like and , and emphasizing the guitar's vocal-like expressiveness over accompaniment. , another Yardbirds alum, impressed May with feats like laying down the guitar for feedback-controlled solos, expanding his conception of sonic possibilities. represented an even more transformative encounter in 1966 at London's , where May recalled feeling "like I couldn't play" as Hendrix executed techniques mirroring his own aspirations but with unmatched innovation, solidifying Hendrix as a core influence on May's layered, effects-driven style. Additional guitarists contributing to May's development include for rockabilly precision, for dynamic chord progressions and mood shifts in songwriting, and for aggressive, string-bending intensity evident in tracks like "." While May has acknowledged broader rock influences such as and in later reflections, his foundational technique prioritizes the blues-rock triad of Clapton, , and Hendrix, whom he has repeatedly cited as primary models for fluidity, experimentation, and emotional depth. May's style integrates these without formal classical training, though Queen's operatic elements drew band-wide inspiration from orchestral sources rather than personal .

Equipment and innovations

Brian May's guitar setup, centered around his custom-built guitar, , and multiple amplifiers, produced the layered, harmonic-rich tone characteristic of Queen's recordings and live performances from the 1970s onward. The , constructed by May and his father in 1963–1964 due to financial constraints preventing the purchase of a commercial instrument, incorporated scavenged materials including from a fireplace for the neck, mahogany from an 18th-century table for the body, and a bicycle saddlebag tension spring for the system. This DIY approach yielded innovations such as a for precise intonation, custom-wound pickups mimicking Burns Tri-Sonic designs, and a knife-edge for stable pitch variation, elements that May refined over decades and licensed for replicas.

Guitars

The features a 24-inch scale length, 24 frets with medium Gibson-style wire, and three single-coil pickups controlled via volume and tone knobs plus a switch for tonal versatility. May has primarily used the original instrument throughout his career, supplemented by custom replicas from luthiers like John Fried and later official BMG models with chambered bodies, fingerboards, and Tri-Sonic-style pickups to replicate its resonant, vocal-like sustain. These guitars avoid standard production techniques, emphasizing May's experimental wiring—such as series-parallel pickup configurations—and acoustic chambering for enhanced projection without effects.

Amplifiers and effects

May's amplification relies on tube combos, often stacked in configurations of up to nine units for live volume and harmonic overdrive, with power tubes delivering chimey highs and midrange bite suited to his fingerstyle technique. Custom modifications by technicians like Nigel include rebuilt 1960s models with adjusted bias for reliability, as seen in his 1964 AC30/6. Effects are minimal, dominated by a : initially a Dallas Rangemaster with OC44 germanium transistors providing up to 33 dB boost at 12 kHz for cutting leads, later evolved to silicon-based units like the BMG Classic for consistent response across eras. This chain—guitar direct to booster to amps—eschews modern distortion pedals, relying on natural amp saturation for density.

Other instruments and vocals

Beyond guitar, May contributes piano on tracks like "" and "'39," drawing from self-taught skills predating his tenure, and for rhythmic accents in studio sessions. He performs backing vocals in Queen's multi-tracked harmonies, occasionally leads on solo efforts such as "" (1992), and played on "" (1984) for ethereal texture. These elements integrate with his guitar work via , emphasizing acoustic realism over synthesized sounds.

Guitars

Brian May's signature instrument is the , an he built with his father, Harold May, between 1963 and 1964 during his teenage years in . Constructed from scavenged materials due to financial limitations—including a 100-year-old mantelpiece for the body, a for the neck, and a bell adapted as the bridge—the guitar cost approximately £6 to assemble. Its design incorporated handmade tri-sonic pickups wound using a and razor blades, a 24-inch scale length, and a unique five-way switching system allowing for phase reversal and volume blending between pickups. This homemade instrument has served as May's primary guitar for virtually all studio recordings and live performances since the band's formation, contributing to his distinctive layered, harmonic sound. The underwent modifications over the years, including the addition of a in the 1970s and repairs after damage during tours, but retained its original core components. May has occasionally employed replicas, such as the John Birch-built duplicate used as a starting in the late 1970s, to preserve the original from wear. For specific recordings, he utilized other electrics like a 1967 on early tracks such as "," a 1978 for rhythm parts on "," and a Gibson classical electric for acoustic simulations in songs like "Brighton Rock." In acoustic contexts, May has favored 12-string models, including an Ovation 1615 for the intro to "White Man" on the 1974 album and, more recently, a custom Gibson SJ-200 12-string released in collaboration with Gibson in February 2025 for and collaborative projects. He also owns and has used niche instruments like a Sheltone for parts in Queen's catalog. While the remains central, these alternatives highlight May's adaptability for tonal variety beyond its signature timbre.

Amplifiers and effects

Brian May's amplifier setup has consistently revolved around models, which provide the bright, chimey tone essential to his sound with . He favors the normal channel of the AC30, avoiding the top-boost channel to achieve clarity and dynamic response without excessive compression. In live settings, May typically uses two AC30 heads or combos, often hand-wired vintage units or custom variants like the AC30BM, which incorporates a rear-panel circuit and switchable 30-watt output. This configuration, cranked for natural overdrive, contributes to the layered, orchestral guitar textures in 's recordings and performances. For effects, May maintains a minimalist approach, relying primarily on a to enhance high-end presence and drive the AC30's front end. From the late through Queen's early tours in mid-1973, he used a Dallas Arbiter Rangemaster pedal featuring an OC44 transistor, which boosts frequencies up to around 12 kHz with peaks exceeding 30 . Later, he transitioned to custom Fryer treble boosters, often mounted directly on his guitar strap for quick access, emphasizing true-bypass operation to preserve . Additional effects include a rack-mounted Dunlop GCB95 Cry Baby wah pedal, set to flat EQ for subtle filtering, and TC Electronic units such as delays for spatial enhancement during tours with Adam Lambert. This sparse pedalboard underscores May's philosophy of deriving tone from guitar, amp interaction, and playing technique rather than extensive processing.

Other instruments and vocals

May provided backing vocals on nearly all Queen recordings, layering harmonies with Mercury and Taylor to achieve the band's dense, orchestral vocal textures. He took lead vocals on several compositions, including "Some Day One Day" from Queen II (1974), "She Makes Me (Stormtrooper in Stilettos)" from Sheer Heart Attack (1974), "'39" from A Night at the Opera (1975), "Sail Away Sweet Sister" from The Game (1980), "Sleeping on the Sidewalk" from News of the World (1977), and "Leaving Home Ain't Easy" from Jazz (1978). Beyond guitar, May played on "Love of My Life" from A Night at the Opera, rearranging the track's arrangement to incorporate the instrument's delicate timbre alongside . He occasionally contributed parts in Queen's early recordings, such as on "Doing All Right" from their self-titled debut album (1973), though Mercury handled most duties. May also employed niche string instruments like the and toy koto for experimental textures on A Night at the Opera, enhancing the album's eclectic sound without displacing his primary role.

Scientific contributions

Astrophysics and doctoral research

Brian May earned a degree in physics, with honours, from in 1970, followed by the Associate of the Royal College of Science qualification. He commenced doctoral studies in at the same institution shortly thereafter, under supervisor James Ring, focusing on the zodiacal dust cloud responsible for the faint —a diffuse cone of illumination visible in the from scattered off interplanetary dust particles. May's research centered on measuring radial velocities within the zodiacal dust cloud to infer the dynamics and origins of its constituent particles, which range from micrometres to millimetres in size and orbit between 0.2 and 1.3 astronomical units. To achieve this, he designed and constructed a pressure-scanned Fabry-Perot interferometer equipped with a and pulse-counting electronics, enabling high-resolution spectroscopic observations from ground-based telescopes, including those at the Observatoire de Haute-Provence in . Prior to suspending his studies, May contributed to refereed publications on zodiacal background light observations, establishing empirical data on dust distribution and velocity profiles. In 1974, amid Queen's rising success, May paused his PhD to prioritize his music career, leaving approximately one year of work remaining on his thesis. He resumed the program in 2006, updating his analysis with modern computational methods while preserving the original 1970s observational data, and submitted his dissertation, titled A Survey of Radial Velocities in the Zodiacal , in 2007. The Imperial College examination confirmed the thesis's validity despite the 33-year hiatus, awarding him a in on 23 August 2007; the work was subsequently published as a in 2008, contributing foundational velocity measurements that aligned with models of from collisions and cometary activity.

Stereoscopic imaging and publications

May's fascination with stereoscopic imaging originated in childhood; at , he acquired a complimentary stereoscopic card from a cereal box, igniting a lifelong pursuit of 3D photography. Over decades, he assembled the Brian May Archive of Stereoscopy, encompassing more than 200,000 historical stereographs, predominantly from the Victorian and Edwardian eras, preserved as a charitable collection dedicated to advancing public understanding of . In 2008, May re-established The London Stereoscopic Company, originally a 19th-century firm, to promote modern through publications, exhibitions, and viewing devices. A key innovation was his design of the OWL stereoscope, a patented, collapsible viewer enabling precise focusing on side-by-side stereo pairs; it folds to 6 mm thick for portability and incorporates prismatic elements to aid eye convergence. The device accompanies many of his publications and has facilitated public engagement, including in exhibitions such as "Victorian " at Watts Gallery in 2023, which showcased over 150 items from his archive via OWL and digital viewers. May's publications integrate stereoscopic imaging with historical analysis and scientific visualization. In Diableries: Stereoscopic Adventures in Hell (2013, co-authored with Denis Pellerin), he annotated and published Victorian photographer T.R. Williams' series of underworld-themed stereographs, including a custom focusing stereoscope. Stereoscopy: The Dawn of 3D (2021, with Pellerin) draws from his archive of approximately 100,000 images to document the mid-19th-century origins of the technology, debunking myths about its invention and highlighting Victorian adoption. Extending to astrophysics, Cosmic Clouds 3-D (2020, with David Eicher) presents the first stereoscopic atlas of Milky Way nebulae, using Hubble and other telescope data to render birth and death processes of stars in immersive 3D. Stereoscopy Is Good for You: Life in 3-D (2022) curates contemporary 3D photography emphasizing nature and human experience. Forthcoming works include Galaxies 3-D: Islands in Infinity (autumn 2025), featuring stereoscopic views of galaxies with an included OWL viewer. These efforts underscore stereoscopy's utility in scientific imaging, bridging historical techniques with modern astronomy by enabling in complex spatial data, such as asteroid surfaces from mission imagery released in 2023. May also shares original astronomical stereographs online, demonstrating free-viewing methods for nebulae and celestial phenomena.

Research on bovine tuberculosis transmission

Brian May co-founded the Save Me Trust in 2010 with Anne Brummer to advocate for wildlife, including funding research into bovine tuberculosis (bTB) transmission dynamics. His investigations emphasize cattle-to-cattle spread as the dominant mechanism, particularly through faecal contamination of feed and water sources, challenging the emphasis on in policy. A pivotal effort spanned five years at Gatcombe Farm in , starting circa 2014, in collaboration with Brummer and veterinarian Dick Sibley. The team employed diagnostic tools including , Actiphage, and tests on feces and blood, revealing Mycobacterium bovis shedding in at up to 1,000 organisms per gram, with individual cows excreting approximately 45,000 grams daily. This supported via contaminated —rather than respiratory routes—as the primary intra-herd transmission pathway, with evidence indicating badgers more likely acquire infection from than transmit it to them. Hygiene protocols were then applied, such as immediate excrement removal, segregation from grazing and feed areas, and pre-entry testing/ for new , yielding bTB-free status by 2019 on a previously endemic operation without removal. Isolated breakdowns followed in 2020 and 2023, but the farm regained clearance, demonstrating feasibility of control through cattle management alone. May extrapolated from outbreak patterns that badgers contribute to at most 6% of new infections. Extending to a decade-long sponsored program, May's 2024 BBC documentary "Brian May: The Badgers, the Farmers and Me" highlighted undetected shedders passing bTB via milk or movements despite negative skin tests, exacerbating farm-to-farm dissemination amid poor . He critiques —totaling over 40,000 badgers since 2014—as misguided, given persistent losses exceeding 50,000 annually (2023–2024 figures). Veterinary bodies like the British Cattle Veterinary Association dispute these claims, citing genetic analyses (e.g., Crispell et al., 2019) confirming badger-to-cattle transmission and randomized trial data showing cull zones with 50–60% incidence reductions. They note May's outputs lack peer-reviewed publication, potentially overstating cattle-centric causality while downplaying wildlife reservoirs amid industry incentives for underreporting.

Activism

Animal welfare initiatives

In 2010, Brian May co-founded the Save Me Trust with Anne Brummer, an organization dedicated to protecting the welfare and dignity of wild animals in the United Kingdom. Initially established to oppose any potential repeal of the Hunting Act 2004, which prohibits fox hunting with hounds, the trust has campaigned to enforce and strengthen bans on blood sports, arguing that such practices inflict unnecessary suffering on wildlife. May has publicly condemned fox hunting as cruel, participating in protests and advocacy efforts to highlight humane alternatives like trail hunting or non-lethal population management. The Save Me Trust expanded its focus to oppose badger , a policy introduced in to curb the transmission of bovine (TB) from to herds. May contends that scientific evidence, including the 2007 Randomised Badger Culling Trial, demonstrates culling's limited efficacy and potential to exacerbate TB spread through perturbed badger social groups, while emphasizing alternatives such as enhanced cattle movement controls, measures, and badger programs. He co-formed the Team Badger coalition in 2012, uniting groups to lobby against the cull's expansion, gathering millions of signatures on petitions presented to . In , May initiated a collaborative research effort with Dick Sibley and farmer on a chronically TB-affected in , testing non- strategies to eliminate the disease from cattle without eradicating local populations. This decade-long project, documented in the August 2024 BBC Two program Brian May: The Badgers, The Farmers and Me, reported success in achieving TB-free status through targeted interventions like gamma-interferon testing and protocols, challenging the government's reliance on which has resulted in over 230,000 badgers killed since 2013 at a cost exceeding £100 million. May has advocated for a into the cull's "inhumane, ineffective, and financially unsustainable" nature, proposing and improved diagnostics as viable paths to disease control. May served as vice-president of the until September 2024, when he resigned in protest over the charity's perceived insufficient opposition to badger culling and other practices. Through , he continues to support habitat preservation and rescue operations, including partnerships with wildlife centers to rehabilitate injured foxes and badgers, underscoring his commitment to evidence-based reforms over politically driven extermination policies.

Environmental and other advocacy

May has publicly urged greater awareness and action on , linking it to broader planetary degradation. In July 2023, he argued that humanity requires a "major change of philosophy" regarding , asserting that environmental destruction must cease before pursuing ambitions, as current practices are "impacting the Earth" through and elimination. In May 2019, he advocated for a on the scale of 1985's to highlight the "enormous" scale of the climate crisis and mobilize global response. Ahead of the 2021 COP26 summit, May collaborated with the Save Me Trust—which he co-founded in 2010—to release an animated adaptation of Queen's "," explicitly calling on world leaders to address on and ecosystems amid rising human populations and . His personal experiences, such as the 2021 flooding of his basement, have underscored urban vulnerabilities to , though such events reflect localized effects rather than solely drivers. Beyond environmental concerns, May serves as an ambassador for the , established in 1991 in memory of to combat ; the organization has supported over 700 projects worldwide, raising millions for prevention and education. In January 2020, he endorsed , citing its potential to mitigate environmental strain through reduced resource consumption, in addition to health benefits. May has also expressed opposition to social inequalities, framing them as degradations of human life akin to environmental harms, though without specifying policy endorsements.

Criticisms and debates

May's advocacy against to control bovine tuberculosis (bTB) in has drawn significant criticism from farming organizations and veterinary groups, who argue that he selectively interprets and overlooks data demonstrating badgers' role in disease transmission. The 's Randomised (2005), involving over 10,000 badgers culled across 10 km² areas, found that proactive culling reduced confirmed bTB herd incidents by 23% within cull zones, though effects were complicated by increased spread at boundaries due to badger perturbation. Critics, including the National Farmers' (NFU), contend that May's emphasis on -to- transmission via practices like cattle trading and incomplete testing ignores this peer-reviewed evidence, potentially prolonging farmers' economic losses from bTB outbreaks, which cost the government £100 million annually in compensation and controls as of 2023. In his August 2024 BBC documentary Brian May: The Badgers, the Farmers and Me, May presented genomic and epidemiological data suggesting reinfection hotspots stem primarily from undetected cattle spread rather than badgers, proposing enhanced and as alternatives to over 200,000 badgers since 2013. This prompted backlash from bodies like the and Board (AHDB) and British Cattle Veterinary Association (BCVA), who described the program as unbalanced and omitting counter-evidence, such as Defra's 2023 analysis showing culls lowered bTB incidence by 56% in and over four years. The NFU labeled it "irresponsible" for downplaying badgers' 50-70% contribution to herd breakdowns in high-risk areas, per independent modeling. Debates have extended to May's broader animal welfare positions, including opposition to , where he clashed with Countryside Alliance consultant Jim Barrington in a 2015 BBC Newsnight exchange; Barrington argued hunting provides humane population control absent effective alternatives, while May highlighted cruelty in chase and kill methods, citing RSPCA data on prolonged suffering. Farmers and rural advocates, such as in 2024, have accused May of urban elitism, prioritizing charismatic wildlife over evidence-based disease management that sustains rural livelihoods, with culls licensed under the 2023 England Badgers and TB etc. (Amendment) Order expanding to 15-year supplementary programs. May counters that culling lacks cost-effectiveness, referencing a 2024 study he co-authored estimating £38 million saved via targeted cattle measures versus cull expenses. In September 2024, May resigned as vice-president, criticizing their Assured scheme for certifying factory farms despite welfare lapses, such as overcrowding and mutilations documented in undercover footage; this move highlighted internal divides in animal advocacy, with some viewing it as inconsistent given his reliance on similar groups for campaigns. These disputes underscore tensions between precautionary protection and pragmatic zoonotic control, with empirical outcomes varying by region—Scotland's badger-free yielding low bTB rates via strict cattle movement rules, versus England's persistent hotspots.

Personal life

Relationships and family

May married his first wife, Christine Mullen, on 29 May 1976 at St Osmund's Roman Catholic Church in ; the couple divorced in 1988 after 12 years together. They had three children: son James (known as ), born in 1978; daughter Louisa, born in 1981; and daughter Emily Ruth, born in 1987. May began a relationship with actress and singer in 1986, the year he separated from Mullen; the pair married on 18 November 2000 at Registry Office in . May and Dobson have no children together, but she maintains a close relationship with his children from his first , including attending family events alongside Mullen. May has attributed the end of his first partly to the strains of Queen's rising fame and touring schedule, which distanced him from family life.

Health challenges

In May 2020, May experienced a small heart attack following a tear to his muscle sustained while , which prompted medical evaluation revealing three blocked arteries. He underwent an emergency procedure to insert three stents, describing himself as "very near death" and expressing shock at the severity of his condition, which also involved complications including a hemorrhage. On August 28, 2024, May suffered a minor stroke that temporarily caused loss of control in his left arm, leading to hospitalization at . He disclosed the incident publicly on September 4, 2024, noting initial fears that it might end his ability to play guitar, but reported stabilization and gradual recovery, including resumed instrument practice by December 2024 as confirmed by his wife . By early 2025, May had adopted lifestyle changes such as improved diet and exercise to mitigate further risks, performing onstage again in October 2024 despite reduced energy levels.

Portrayals and media

In film and biography

In the 2018 biographical film , directed by and , Brian May was portrayed by Welsh actor . The movie chronicles the formation and rise of , focusing heavily on Freddie Mercury's life, with May depicted as a key creative force in the band's songwriting and production decisions. Lee prepared for the role by studying May's guitar techniques, mannerisms, and vocal inflections, earning praise from May for accurately replicating his stage presence and riffing style during filming. May contributed significantly to the production as a co-producer alongside , providing historical details and approving script elements to ensure the band's legacy was represented faithfully in spirit, though he acknowledged the film's use of a compressed timeline—spanning over a decade in some sequences—to heighten dramatic effect rather than adhering strictly to . Critics noted inaccuracies, such as altered event sequences and characterizations, but May defended these choices, emphasizing that the intent was to evoke the emotional truth of Queen's journey rather than produce a documentary. The film grossed over $900 million worldwide and won four , including Best Sound Mixing, with Lee's performance highlighted for its authenticity in capturing May's intellectual and reserved demeanor. Biographical works on May include Brian May: The Definitive Biography by Laura Jackson, first published in 1994 and revised in subsequent editions, which draws on nearly 70 interviews with May's family, friends, and collaborators to detail his childhood in , astrophysics education at , early teaching career, and ascent with amid personal struggles. The book portrays May as a multifaceted figure balancing scientific pursuits with rock stardom, though it relies on secondary accounts for some periods due to May's reticence in personal disclosures. Another account, Queen & I: The Brian May Story, compiles fan-sourced anecdotes and official records to outline his pre- life and band dynamics. May has not authored a full but contributed narrative text to Queen in 3-D (2011, updated 2018), a stereoscopic collection of 's history that he co-edited, offering firsthand commentary on key images from tours and recordings spanning 1973 to the present.

Public image and disputes

Brian May is widely regarded as a virtuoso guitarist, ranked 33rd on 's 2023 list of the 250 greatest guitarists of all time. His distinctive sound, achieved through the homemade guitar constructed with his father in 1963 and techniques like multi-tracked harmonies, defined much of Queen's catalog, including hits such as "" and "[We Will Rock You](/page/We Will Rock You)." This technical prowess, combined with his use of a sixpence coin as a , has earned him acclaim for innovation in rock guitar . May's public persona extends beyond music to science, where he is respected as an astrophysicist who earned his PhD from Imperial College London in 2007 after resuming interrupted studies from the 1970s. His research on zodiacal dust cloud dynamics and contributions to stereoscopic imaging for space agencies like NASA and ESA portray him as a polymath bridging entertainment and academia. Co-authoring Bang! The Complete History of the Universe in 2008 further solidified his image as a科普 communicator. As an activist, May is viewed as compassionate and resolute, co-founding the Save Me Trust to promote ethical treatment of . However, his outspoken has sparked disputes, including accusations against for distorting his comments on social issues, prompting public rebuttals to defend his intentions. These exchanges highlight tensions between his principled stance and institutional or journalistic narratives.

Controversies

Defense of Bryan Singer

In January 2019, amid renewed allegations of sexual misconduct against director Bryan Singer published in The Atlantic on January 23, Brian May publicly invoked the principle of presumption of innocence in Singer's favor via Instagram comments. Responding to a fan who criticized Singer's involvement in Bohemian Rhapsody—a film for which May served as a consultant representing Queen's interests—May stated, "Please respect that people are innocent until proven guilty," emphasizing that Singer had been professional during production despite being fired in December 2017 for unrelated reasons like absenteeism. May's comment drew immediate backlash on , with critics interpreting it as a defense of Singer, who had faced prior accusations dating back to the and was denied an nomination credit for partly due to these concerns. May, who had followed Singer on and praised the film's success—which grossed over $900 million worldwide—later clarified that his intent was solely to uphold legal standards of , not to endorse Singer personally. He noted Singer's behavior on set had been "impeccable" from his observations, contrasting media portrayals. Hours after the initial uproar, on , 2019, May issued an on , expressing shock at the interpretation of his words and stating, "I had no idea that saying someone was innocent until proven guilty could be interpreted as 'defending' Bryan Singer. I had absolutely no intention of defending anyone." He unfollowed Singer on the and affirmed support for of , while regretting any upset caused to fans. This episode highlighted tensions between legal presumptions and public sentiment in the #MeToo era, with May's retraction attributed to online pressure rather than new evidence against Singer, who has consistently denied the allegations.

Comments on transgender issues and cancel culture

In November 2021, Brian May criticized the ' decision to eliminate gendered categories for solo artist awards, describing it as "another frightening example of the '' that is poisoning and all the ." He expressed concern that such changes reflected an "atmosphere of fear everywhere because people are afraid to say how they really think and feel because they’ll be cancelled," arguing that decisions were being made without considering long-term consequences. May linked this to broader cultural pressures, stating that if Queen had formed in the present era, the band "would be forced to have people of different colours and different sexes and a [person]," but emphasized that "life doesn’t work that way." He suggested that the late Queen frontman , known for his flamboyant persona and disregard for conventions, would have found modern "hilarious" and incompatible with authentic creativity. The remarks drew backlash from some media outlets and activists, who portrayed them as dismissive of inclusion. May responded on , claiming he had been "ambushed" by a at an Palooza event and that his words were "subtly twisted" to imply anti-trans sentiments. He accused "predatory press hacks" of misrepresenting his intent, clarifying: "I do not hate trans people. I am not unfriendly to trans people," and reiterated his opposition to culture's stifling effects rather than any hostility toward individuals. May maintained that his core concern was preserving and merit-based success over enforced quotas.

Internal band tensions and badger culling backlash

Within , creative and personal tensions arose periodically among members, including Brian May. May has recounted intense arguments with during recording sessions, describing them as "merciless" yet ultimately constructive for their friendship and output. Songwriting credits also sparked friction, particularly between May and Roger Taylor; in 2025, May reflected on a "supreme injustice" regarding credits for Taylor's early B-side "Son and Daughter," amid broader disputes over attribution in 's catalog. More recently, May publicly criticized Taylor's songwriting as "very simplistic," highlighting lingering creative differences. Post-Freddie Mercury's death in 1991, tensions escalated with bassist John Deacon's retirement in 1997, leading to an estrangement that persists without direct communication between May, Taylor, and Deacon. May described this separation in 2025 as "quite hard," noting Deacon's trauma from Mercury's loss but affirming Deacon's indirect veto power over band decisions like touring with . Deacon's withdrawal stemmed from discomfort with performing without Mercury, exacerbating rifts as May and Taylor continued Queen's activities. May's advocacy against badger culling—intended to curb bovine tuberculosis (bTB) spread from badgers to cattle—has drawn significant backlash from farming groups, who argue it ignores evidence of badgers as disease reservoirs. Since the early 2010s, May has protested culls, claiming scientific data shows them ineffective or counterproductive by disrupting badger social structures and increasing TB transmission. In August 2024, his BBC documentary Brian May: The Badgers, The Farmers and Me faced accusations of bias and omission of pro-cull evidence, prompting complaints from bodies like the British Veterinary Association and Agriculture and Horticulture Development Board. May defended the program, stating it drew from years of research emphasizing cattle-to-cattle transmission as bTB's primary vector, with culls failing to reduce herd incidence significantly in trials. Critics, including rural organizations, contended the film presented a partial view favoring badger protection over farmers' livelihoods, where bTB costs the UK dairy industry £100 million annually in testing, slaughter, and restrictions as of 2024 data. The Badger Trust countered such criticisms, arguing industry resistance overlooks evolving evidence against culling efficacy. May's stance aligns with studies like the Randomised Badger Culling Trial (1998–2006), which found no overall bTB reduction in culled areas, though partial benefits in core zones were disputed due to immigration effects.

Discography and output

Queen contributions

Brian May co-founded in in 1970 as lead guitarist and backing vocalist, initially with singer and drummer ; bassist joined in early 1971 to complete the lineup. His self-built guitar, constructed with his father in 1963 from household materials including a mantel for the neck, produced a distinctive tone central to Queen's sound through its unique pickups and system. May's guitar techniques featured extensive multi-tracking and layered harmonies, often using 12-24 overdubbed parts to create orchestral-like textures, as heard in tracks like "" and "The March of the Black Queen." He amplified these with a modified and John Deacon's custom low-wattage amp, enabling both stadium-filling volume and intimate harmonic detail. As Queen's primary guitarist, May contributed solos, riffs, and arrangements to every studio album from their 1973 debut through 1995's Made in Heaven, shaping the band's progressive hard rock style. In songwriting, he authored or co-authored over 20 tracks, including the debut single "Keep Yourself Alive" (1973), "Tie Your Mother Down" (1976), "We Will Rock You" (1977), "Fat Bottomed Girls" (1978), "Save Me" (1980), "Who Wants to Live Forever" (1986), "I Want It All" (1989), and "The Show Must Go On" (1991). These spanned anthemic stomps, power ballads, and sci-fi epics like "Flash" from the 1980 Flash Gordon soundtrack, which he also co-produced. May co-produced most Queen albums starting with Sheer Heart Attack (1974), emphasizing vocal and guitar overdubs, and extended contributions to film scores and the band's theatrical production We Will Rock You, which ran for 12 years from 2002. His work helped Queen sell over 300 million records worldwide, with May's compositions featuring prominently in live sets and enduring as stadium staples.

Solo albums and singles

May's debut solo studio album, Back to the Light, was released on 28 1992 in the United Kingdom. The album, recorded primarily between and with contributions from musicians including on drums and vocalists such as on one track, peaked at number 6 on the and spent 14 weeks there, achieving certification for sales exceeding 100,000 copies. Singles from Back to the Light included "Too Much Love Will Kill You", released on 24 August 1992 and peaking at number 5 on the ; "" on 23 November 1992, reaching number 22; "Back to the Light" in 1993, attaining number 19; "" at number 28; and "Last Horizon" at number 51. His second solo studio album, Another World, followed on 1 June 1998. Featuring guest appearances by drummers such as and , the record peaked at number 23 on the . Singles released to promote Another World were "Business" in May 1998, "On My Way Up" in July 1998, "Why Don't We Try Again" in October 1998, and the "Another World" in February 1999, though none achieved significant commercial success on the . Prior to these full-length releases, May issued the instrumental EP on 1 October 1983, featuring collaborations with and others, which reached number 35 on the and yielded the single "Star Fleet".

Collaborations and other releases

May collaborated with , formerly of and , forming the supergroup in 2004. The ensemble released the live album Return of the Champions on 19 September 2005, capturing performances from their 2005 tour featuring Queen classics and Rodgers' material. This was followed by their sole studio album, , issued on 15 September 2008, which included new compositions such as "Say It's Not True" alongside covers and reinterpreted tracks. Beginning in 2010, May partnered with vocalist on multiple projects. Their debut joint release, Anthems, a studio album of covers and originals produced by May, was released on 20 September 2010, with May contributing guitar throughout. This was succeeded by the live recording Acoustic by Candlelight on 17 June 2013, documenting intimate performances, and the studio follow-up Golden Days on 7 April 2017, featuring tracks like "Roll With You." In 2011, May began performing with Queen + Adam Lambert, leading to the release of the live album Live Around the World on 2 October 2020, compiling highlights from tours between 2014 and 2020. The album includes renditions of Queen staples such as "Bohemian Rhapsody" and "Don't Stop Me Now." May has made numerous guest appearances on other artists' recordings. Notable examples include his guitar solo on Black Sabbath's "When Death Calls" from the 1989 album Headless Cross, and contributions to Paul Rodgers' 1993 tribute album Muddy Water Blues: A Tribute to Muddy Waters on the track "I'm Ready." He also played guitar on Steve Hackett's "Cassandra," a bonus track from the 1993 album Guitar Noir. Additional collaborations span artists like Def Leppard, Foo Fighters, and Lady Gaga, often providing guitar parts or production input.

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