prince lovesexy tour dates

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Average setlist for tour: Lovesexy Tour

Note: only considered 77 of 83 setlists (ignored empty and strikingly short setlists)

• Erotic City Play Video
• Housequake Play Video
• Slow Love Play Video
• Adore Play Video
• It's Gonna Be a Beautiful Night Play Video
• Delirious Play Video
• Jack U Off Play Video
• Sister Play Video
• I Wanna Be Your Lover Play Video
• Head Play Video
• A Love Bizarre ( Sheila E.  cover) Play Video
• When You Were Mine Play Video
• Blues in C (If I Had a Harem) Play Video
• Little Red Corvette Play Video
• U Got the Look Play Video
• Controversy Play Video
• Dirty Mind Play Video
• Superfunkycalifragisexy Play Video
• Bob George Play Video
• Anna Stesia Play Video
• Song played from tape Interlude
• Eye No Play Video
• Lovesexy Play Video
• Glam Slam Play Video
• The Cross Play Video
• I Wish U Heaven Play Video
• Kiss Play Video
• Dance On Play Video
• Do Me, Baby Play Video
• When 2 R in Love Play Video
• Let's Go Crazy Play Video
• When Doves Cry Play Video
• Alphabet St. Play Video
• Purple Rain Play Video
• 1999 Play Video

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A complete history of Prince's Chicago performances

[Editor's note: This piece was originally published ahead of Prince's 2012 performances at the United Center. In light of the artist's recent passing, we're running a version of the article that was updated by author Jake Austen to include subsequent Prince shows in Chicago.]

There has long been a good vibe between Prince and Chicago audiences. We appreciate our Midwestern neighbors, and Prince (a fan of the blues, gospel, and Pops Staples’ guitar playing) has been showing us love with frequent visits Chicago since he started touring. When I interviewed Prince for Time Out Chicago  (via E-mail, though his poetic, ALL CAPS answers convinced me it was he and not a publicist answering) he explained, “CHICAGO IS A MUSIC TOWN. MY FATHER SPOKE OF IT OFTEN AS BEING ONE OF THE PLACES HE LIKED 2 PLAY BEST. THEY HAVE SEEN THE BEST AND EXPECT NOTHING LESS.” Over the years Chicagoans had more than three-dozen occasions to truly see the best when we were fortunate enough to host the iconic genius.

February 28-29, 1980—Uptown Theater, Fire It Up/ Prince Tour

After canceling the solo tour that would have seen Prince (promoting his self-titled sophomore album) debut in Chicago the previous December, the Minneapolis singer opens two shows for Rick James. Upon arriving in town Prince decides to lose Matt Fink’s prison-themed stage costume and has an assistant visit a nearby surgical supply store to buy a gown and a surgical mask, and Dr. Fink was born on the Uptown stage that night. December 26, 1980—Uptown Theater, Dirty Mind Tour

When the Southern tour for the just-released Dirty Mind album proved troublesome, Prince cancelled the remaining dates and booked a tour-ending show at the Uptown, where he got to play his new anthem “Uptown” during the legendary theater’s final season. March 24, 1981—Park West, Dirty Mind Tour

The triumphant second leg of the Dirty Mind tour featured Prince in bikini briefs and a trench coat playing his rawest songs with a classic lineup. For this historic concert Jam Productions charged a Princely fee of $9.50! December 5, 1981—Arie Crown, Controversy Tour

His popularity in Chicago rising, Prince was now selling out two shows at a venue four times the capacity of the Park West. I believe he played “Uptown,” even though this is the farthest south venue gig he ever played in Chicago. The Time opened. December 9-11, 1982—Auditorium Theater, 1999 Tour

During this three-night stand Prince raised funds and awareness for educator Marva Collins’ Westside Preparatory School. During his stay, Prince sat in on classes at the Garfield Park grammar school, stating “This is the kind of school I always wanted to go to.” In 1994 Prince would feature Collins in his video for “The Most Beautiful Girl in the World.” April 10, 1983—UIC Pavilion, 1999 Tour

In a nod to his strength in Chicago, Prince closes the 1999 tour with a return trip. December 9-14, 1984—Rosemont Horizon, Purple Rain Tour

Riding the wave of movie superstardom, Prince puts on an elaborate five-concert stand in Chicagoland (his first suburban trip), in two-hour shows that eschew catalogue material, feature numerous costume changes, and have Jerome Bennett (Morris Day’s valet from the movie) serve as Prince’s man Friday. He also takes on onstage bath.

September 17-19, 1988—Rosemont Horizon, Lovesexy Tour

Prince’s most elaborate tour ever featured a $2 million set, our hero arriving onstage in a white T-Bird, Sheila E. elevating the musical stakes and an amazing survey of Prince’s first decade of recordings (even if he only played snippets of faves like “Controversy”). August 16, 1991—Hyatt Regency, WEA annual convention

A mere two years before a dispute with Warner Brothers would have Prince write “Slave” on his cheek, forego the use of his own name and negotiate an “Emancipation” from his longtime record label, Prince played nice and came to town to appear at a Warner Brothers industry function.

April 4-6, 1993—Chicago Theatre, Act 1 Tour

These shows (the first featuring Prince’s future wife, and subsequent reality TV star, Mayte) were great, but were upstaged by a mighty aftershow at Metro on the 6th, which featured a Howlin’ Wolf cover, Prince reading fresh lyrics from a purple notebook, a guest appearance by the mighty Buddy Miles (playing “Them Changes”) and a rap by the Cosby Show’s Malcolm Jamal Warner(?)!

November 21, 1996—Park West

In town to do Oprah (on which he performed “Do Me Baby” and “If I Was Your Girlfriend,” giving housewives a thrill in the pre- 50 Shades of Grey era), this show kicked off a little before 1am, and featured a tight five-piece combo doing a career-spanning set that was most surprising because it only lasted a little over an hour...a microsecond in Prince concert time. June 29, 1997—United Center, Emancipation Celebration

Prince’s last Chicago appearance before Larry Graham’s spiritual mentorship would eventually lead the artist towards the Jehovah’s Witness faith, and a cleaner repertoire. This show featured a section so dirty Prince stopped the set to give parents a chance to take children outside. He made an appearance at the afterparty at Excalibur, but didn’t perform. April 24, 1998—Aragon Ballroom, New Power Soul Tour

Prince’s Chicago-iest show, in that he featured local diva Chaka Khan. The show also spotlighted Larry Graham, whose influence may have resulted in Prince’s lengthy lecture about the historical inaccuracies concerning the crucifixion before launching into ”The Cross.” November 16, 2000—Riviera Theatre, Hit N Run Tour

Though Prince joyfully was able to play “Uptown” in Uptown again, this show featured a musical low point in Prince’s Chicago concert history when an extended portion of the evening is given to smooth jazz saxophonist Najee’s circular breathing exercises. No such histrionics at the thrilling Metro after show, in which Common rapped over “D.M.S.R.”, and Macy Gray dueted with Prince.

March 30, 2001—Park West

Billed as party for his new website, there was no concert promised, but Prince and his band played a thrilling career-spanning set that included “Uptown,” “Controversy” and “Housequake.” March 2-3, 2002—Chicago Theatre, One Nite Alone Tour

In addition to the shows, Prince invited fan club members to a soundcheck, where he polled them on whether he should license “Little Red Corvette” for a Chevrolet commercial. July 22-24, 2004—Allstate Arena, Musicology Tour

Performing in the round, Prince not only challenged Jordan-era Bulls fans by wearing a Pistons jersey in concert (mainly because it bore NBA Finals star Tayshaun Prince’s last name across the back), but also snuck into the crowd during Maceo’s solo to distribute Jehovah’s Witness literature. There was a House of Blues afterparty on the 25th where Prince invited seemingly half the crowd on stage to dance, and an additional tour date on August 3rd. February 28, 2006—Congress Theater

Prince appears as a sideman for his protégée Tamar (a member of the earliest incarnation of Destiny’s Child, and subsequently a frequent Tyler Perry stage play star). Tickets were $31.21 (tying in with Prince’s 3121 album) and the 1am set featured bandleader Prince on guitar, some vocals and included covers of Ohio Players, Aretha, Sly Stone and because he always shows our region some love, songs by a couple of our neighbors from Gary, Michael and Janet. September 24-26, 2012—United Center

The "Welcome 2 Chicago" three-night stand featured an ambitious production and number of highlights, most notably a late portion of the lengthy show with Prince as lounge singer, sitting behind his piano and playing along to programmed backing tracks of seemingly every song he ever recorded (including the naughty “Darling Nikki,” an unexpected inclusion for Jehovah’s Witness-era Prince). The third show did not sell out so Prince offered free tickets to CPS teachers, who enjoyed seeing Prince perform with Ledisi, Maceo and Janelle Monae (Chicago’s Jennifer Hudson joined him for the second show). The three after shows at House of Blues proved contentious, as Prince never took the stage for the first one, letting his band rock out, and the venue apparently was not too happy with that situation. That said, the night I went he played guitar spectacularly, and then turned the stage over to Monae and her amazing band, who improvised late into the morning.

June 29, 2013—Promontory Point

Prince plays a set at Hyde Park’s beautiful peninsula-esque park district locale Promontory Point (not at my venue, The Promontory , alas), rocking the South Side for the wedding of local-gal-made-good Mellody Hobson to aspiring museum curator George Lucas. Although the concert is limited to the A-listers and aliens in attendance (including Rahm, Jesse Jackson, Mork and Luke Skywalker), the loud, funky big band is audible to the Prince-loving peasants who line the perimeter. June 30, 2013—City Winery 

With House of Blues off the table, Prince does his last Chicago gig at City Winery. The spectacular two-hour, 22-piece band set kicks off at 2am and the Purple One pays tribute to our city with a fine Impressions cover. Although one would have to make a tangential stretch to call his last song of his final encore a salute to our city (one of Prince’s Batman-themed songs played a mile away from sets for Christopher Nolan’s recently completed Batman trilogy), it is fitting that a city he partied with so thoroughly for over three decades got to dig one of the greatest musicians of all time end his history here with the joyful strains of “Partyman.”

• Jake Austen

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Alphabet St.

Anna Stesia

When 2 R in Love

I Wish U Heaven

The provocative cover. The mysterious circumstances surrounding its release. The one continuous, 45-minute track that demanded listeners play the entire album in sequence. By 1988, Prince was a full decade into his recording career and had firmly established himself as a wildly prolific, endlessly creative force, and his 10th studio album, Lovesexy , showed that there was no predicting what Prince might release next.

I did Lovesexy in seven weeks from start to finish, and most of it was recorded in the order it was on the record. There were a couple of funky things I did at the end, but it’s pretty much how you hear it.”

Prince, Details, 1991

Lovesexy was not the album that the music industry — including his label, Warner Bros. — was expecting Prince to release that year. In what Jon Pareles of The New York Times described as “one of the most enjoyable and peculiar moves of the 1980s,” Prince announced that he would follow up the critically revered Sign o’ the Times with The Black Album , a raw collection of hard-rocking, funky dance music. But then, a mere week before its scheduled release, he scrapped his plans and demanded that Warner Bros. destroy all copies of the album. Only one of the songs from that album, “When 2 R in Love,” would be saved from the cutting room floor, and within seven weeks Prince had recorded an all new collection of songs to join it on the album Lovesexy .

Due to the last-minute shift, and the fact that bootlegged cassette tapes of The Black Album had already started circulating throughout the music industry and fan community, many viewed Lovesexy as a direct contradiction of the dark undertones of the raunchy Black Album . It was a brighter, lighter, and more melodic release, inspired by the more spiritual direction that Prince’s music had started to take in the second half of the decade. “We need love and honesty, peace and harmony, positivity,” he sings in the album’s closing track, echoing the sentiment that courses throughout the album: after confronting society’s deepest troubles in his earlier political work, Lovesexy sought the unite and uplift. In Prince’s words, Lovesexy was his gospel album.

Lovesexy was a mind trip, like a psychedelic movie. Either you went with it and had a mind-blowing experience or you didn't.”

Prince, Rolling Stone, 1990

Perhaps because of the album’s unusual release, Lovesexy struggled to live up to the high commercial bar set with his other mid-1980s releases, but overall it still performed well. In the U.S., “Alphabet St.” enjoyed a brief time in the top 10 of the Billboard Hot 100 and the album was certified Gold, selling over 500,000 copies, but subsequent singles did not sell quite as well. The album reached number 1 in the U.K., the Netherlands, Sweden, and Switzerland, continuing Prince’s late-’80s streak of resonating more deeply with European audiences.

The Lovesexy Tour kicked off in Europe in the summer of 1988 before sweeping the U.S., Canada, and Japan, and was one of Prince’s most elaborately staged productions to date. Performing on a multi-tiered stage, Prince incorporated a basketball hoop, a fountain, and a full-scale replica of his Ford Thunderbird into the show, and the striking stage costumes worn by Prince and his band — which at that time included Miko Wevaer, Levi Seacer, Jr., Dr. Fink, Boni Boyer, Sheia E., Eric Leeds, Atlanta Bliss, and Cat Glover — were inventively designed and perfectly tailored, accessorized with mirrored hearts that emphasized the “Love” theme.

Prince, working with most of the same musicians who joined him on Sign o’ the Times , has not abandoned his dance-floor exuberance. The music jumps — it's some of the happiest and freest of his career, much of it mixing sounds of night life and the street in giddy audioscapes.”

Robert Hilburn, Los Angeles Times, 1988

Lovesexy Album Credits

Prince lead vocals and various instruments Sheila E. drums Boni Boyer keyboards Dr. Fink keyboards Miko Weaver guitar Levi Seacer, Jr. bass Eric Leeds saxophone Atlanta Bliss trumpet Ingrid Chavez vocals Cat Glover vocals

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Prince’s ‘Musicology’ at 20: A Look at the Album, Tour and Year That Saved His Career

By Jem Aswad

Executive Editor, Music

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Prince had been at a crossroads before, but never like he was at the beginning of 2004.

Popular on Variety

On February 8, he opened the 2004 Grammy Awards with a five-minute medley of “Purple Rain,” “Baby I’m a Star” and “Let’s Go Crazy” — with Beyonce — that may be the greatest opening to a music-awards show in television history. Two weeks later, he announced his first major tour in six years, noting that he’d be playing his hits again. “It’s older music, but it’s going to be played in a newer way,” he said, teasing that it might be the last time he played those songs in concert (it wasn’t). Then in March, he was inducted into the Rock and Roll Hall of Fame, where he played a different, much longer medley of his hits during the ceremony — but of course what everyone remembers is his show-stealing solo during the all-star George Harrison tribute, which he finished by throwing his guitar into the audience.

Musically, “Musicology” was a return to accessibility. And although it didn’t reach the peaks of his classic ‘80s material — to be fair, not much music does — it was a vivid sampler of his musical styles that marked the return of the Prince that people knew and loved. It also was a genuine hit: The ticket-CD bundle helped loft the album to No. 3 on the Billboard 200, but it was top 5 in multiple countries all over the world without that boost, even though it didn’t have a big hit single. Recorded over several years, “Musicology”’s musical baseline is the brand of lean funk Prince was raised on — he even shouts out Earth, Wind & Fire, James Brown and others in the album’s lead-off title track, which concludes with brief, scratchy recordings of some of his own hits in a mock scanning-the-radio-dial segment. There are a couple of “Do Me, Baby”-styled bedroom ballads, bombastic rock (“A Million Days”), even the new wave pop he hadn’t done since “I Could Never Take the Place of Your Man” on “Cinnamon Girl,” complete with splashes of vintage synthesizers. It winds down with a sultry, slow-burning burst of Aretha on the soulfully bluesy “On the Couch” and concludes with the breezy “Reflection.”

Even though Prince’s musicianship was at a new peak — his blazing guitar work, multi-tracked harmonies, production and arranging show an artist at the top of his craft — he was making music that was easy to like again, which isn’t to say it was simple; but even at its most sophisticated and complex (like the jazzy interlude at the end of “If I Was the Man in Ur Life”), it went down more smoothly. Indeed, the only area where “Musicology” fell flat is in the lyrics, which, like much of Prince’s later material, could be shockingly insipid. In particular, the album’s catchiest track, “Life of the Party,” is marred by lyrics so tossed-off that it sounds like they were written off the top of his head. (“So you’re havin’ a party?/ Goody for you/ All the beautiful people gonna be there/ Yeah, that’s cool.”) Even when he tried gravitas — about politics, war, global warming and moral decay on “Dear Mr. Man” — it wasn’t much better.

Prince was not an artist who’d ever lacked confidence, but by the end of 2004, the full swagger was back in his step. He’d significantly increased his wealth: The tour grossed nearly $90 million, the album was certified double platinum in the U.S. early in 2005, and it spurred sales of his entire catalog in an era when most people still bought CDs. But more importantly, it also marked the return of the Prince people knew, one who wasn’t completely refusing to be who he’d been, and not just musically: The weird outfits and otherworldly hairstyles had been replaced by sleek, classy suits and a short, trim cut.

The year’s creative efforts also gave him a model for how to pursue the rest of his career. Any time he wanted another million (or ten), he’d hit the road in some new and unusual way. Over the following years he played everything from a months-long Las Vegas residency to a premium-price one at the Roosevelt Hotel in Hollywood; from a series of 21 dates at London’s Wembley Arena to a handful of shows in specific regions of the U.S. — even the Carolinas. He played brief “Hit and Run” tours that were announced just days before they launched; and of course he staged what is universally considered to be the greatest Super Bowl Halftime performance of all time in 2007. By contrast, his last tour, shortly before his death in 2016, was just him accompanying himself on piano. He kept finding new ways to keep himself interested.

And although he wouldn’t again reach the upper echelons of the charts in his lifetime and his albums continued to be frustratingly hit-or-miss, his sense of innovation returned with “3121,” the album that followed “Musicology” — on it, fans of “Sign O’ the Times,” which many regard as the peak of his creativity, could find much to grab onto, at least for the first half of the album. Unfortunately, most of the other albums he released in these years were maddeningly inconsistent (and sometimes appallingly bad) but although you won’t find any hidden “Purple Rain”s, there are overlooked gems to be found on many of them — like “Lavaux” and “Laydown” from “20Ten” (the latter of which features the priceless line, “from the heart of Minnesota/ Here come the purple Yoda”), and “Better With Time” and especially “ Ol’ Skool Company ” from “MPLSoUND.” Every once in a while on those albums and others, the Prince you love pops up with something so great it’s as if he’d never gone anywhere. And that’s really the gift of his scattershot, impossibly vast musical output — even though he’s no longer here, there’ll always be something new to find.

“Musicology” was the end of Prince’s wilderness years, and in every way, it set him up for the remaining dozen years of his much-too-brief life.

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Home / Prince Tour Timeline / Diamonds And Pearls Tour

Nude Tour (1990)

Diamonds And Pearls Tour

Act I Tour (1993)

More Broadway than James Brown.

The staging for Diamonds And Pearls Tour was futuristic to mirror the high intensity of the music, and was once again the work of production designer LeRoy Bennett. The stage’s upper level featured railings incorporating the love symbol. Romanesque statues recalling the Gett Off promo video were dotted about. Behind it all was a starry night backdrop, dominated by a large spaceship like lighting rig shaped in the form of Love Symbol #1, as well as six large moveable light boxes. There was hoisted bed, and strings of pearls lowered from the rafters, even a trampette. The drums were stage left with Prince’s grand piano. Barbarella’s keyboards were stage right. Diamonds And Pearls Tour was the first live shows that introduced Prince’s best stage prop the golden gun mic – a wireless Sennheiser MD431 mic mounted on a revolver grip. Prince’s dramatic entry onstage was through the floor of the rear riser, via a light-filled Perspex tube elevator veiled in a mist of dry ice as if were transporting him down from the space ship. He then walked down down a staircase to the stage floor with his yellow Cloud guitar strapped over his shoulder, leaving by the same manner. It was a visual feast from start to finish.

Playing its preview show at his Glam Slam nightclub on 11 January 1992, Diamonds And Pearls Tour would not launch until 3 April, opening in Japan, six months after the release of the Diamonds And Pearls LP the previous October. The reason behind this apparent delay was due to Prince remaining in the studio to complete Love Symbol album. Launching in Japan, Diamonds And Pearls Tour afterwards continued to Australia to stage Prince’s first shows in the country. The Australia leg culminated with the first ever concert performed at the Sydney Cricket Ground – it was attended by 42,000. This reversal in Prince’s typical touring pattern (normally playing the US then Europe before heading east) was the result of complications following the rescheduling of the opening leg, as Diamonds And Pearls Tour was originally envisaged to continue to Europe after its US leg. Because Love Symbol was due for release in the autumn of 1992, the US leg was cut from the itinerary so to stage the Diamonds And Pearls Tour in territories were sales of the album was better. The subsequent impact opening instead in Japan and Australia caused the initial shows of the Europe leg to be cancelled, leading to some venues unable to reschedule the dates at late notice. It gave Prince the opportunity to race back to Paisley Park to replace Rosie Gaines’ vocals on Love Symbol album, having told him she would quit the band following the tour.

The first half of the Europe leg of the Diamonds And Pearls Tour was supported by Prince’s rap/dance act Carmen Electra , until her 20-minute slot was pulled in London on 20 June due to a dispute over payment. Her band members were replaced with Sonny Thompson, Michael Bland and Levi Seacer, only her keyboardist Morris Hayes remained and would soon join the NPG. On occasional nights Prince would return to the stage minutes after the show was finished and perform (usually Call The Law ) to the few members of the audience remaining. Thieves In The Temple was entirely reimagined and reworked into a mind-blowing acoustic piece blended with It , which Prince played on a Gibson Chet Atkins SST.

Because of the show’s production elements, set lists received limited variation as was focussed on the strength of the material of the new album than on past hits. Diamonds And Pearls Tour is Prince’s first outing with his newly formed backing band the New Power Generation , which saw members added to the existing line-up of the preceding Nude Tour : Tommy Barbarella on keyboards in replacement of Matt Fink; Sonny T taking over Levi Seacer on bass, who moved to fill the vacancy on rhythm guitar left by Miko Weaver having left after Nude Tour. A rap ensemble headed by Tony M, Damon D and Kirk J is given a more prominent role in order to bring Prince’s live act to date with the current hip hop trend. The new line-up was finished off with William “DJ” Graves enlisted on turntables for the duration of the tour. The set list focussed on tracks from the Diamonds And Pearls album, albeit the first single from the NPG’s then unreleased Love Symbol album , Sexy M.F., was issued during the Diamonds And Pearls Tour and it along with Damn U were performed throughout the show’s run. The forthcoming album Love Symbol was also advertised on the tour screens and would itself drop within three months of the conclusion of Diamonds And Pearls Tour .

Diamonds And Pearl Tour was a resounding success, drawing 850,000 across its run of 50 dates . Diamonds And Pearl Tour set a venue record at London’s 18,000 capacity Earls Court Arena where Prince sold out an unprecedented run of eight back to back shows. The tour was also the first occasion Mayte Garcia worked for Prince, dancing in brief segments of the show to add an exotic vibe, accompanying dance duo Lori Werner and Robia LaMorte – stage named Diamond and Pearl. Werner and LaMorte came to Prince’s attention in 1989 while appearing in the video Dreamer for Kahoru Kohiruimaki who was signed to Paisley Park Records . Mayte was a 19-year-old dancer and her appearance on tour occasioned her first job, she famously struck up a relationship with Prince and in 1996 became his first wife. A 5-piece horn section was added to the touring band, consciously their inclusion was not to make the show jazzier but aim it toward R&B. The full line-up received their public induction with NPG on 3 June 1991 in a performance staged in the backlot of Warner Bros Studios for the label’s executives. Expanding the touring line-up to an 18-piece unit, Diamonds And Pearls Tour assembled Prince’s largest stage entourage. Performances averaged 120 minutes, and unusually for Prince, each song was performed in its entirety. The outdoor dates concluded with firework displays.

Following disagreements with members of the band, Rosie Gaines quit New Power Generation on the conclusion of the tour in July 1992. Gaines who not only opened the show, closed the main part ahead of the encore, Prince recorded with her in the studio alone – after the band’s work in other sessions. Her departure is rumoured to have occurred due to other band members not accepting her prominent role.

Total performances

• 50 shows from 3 April to 12 July, 1992

Sample setlist

• [Intro, “Take My Hand, Precious Lord” with Rosie Gaines]

Diamonds And Pearls

• Let’s Go Crazy
• Jughead / Dead On It
• Purple Rain
• Live 4 Love
• Willing And Able
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Time in Perm vs GST

Gulf Standard Time is 1:00 hour behind Perm, Russia

Perm time to GST converter

i Drag the handle or click on a cell to convert time

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The best time to call from perm to gst.

When planning a call between Perm and GST, you need to consider that the geographic areas are in different time zones. Perm is 1 hour ahead of GST.

If you are in Perm, the most convenient time to accommodate all parties is between 10:00 am and 6:00 pm for a conference call or meeting. In GST, this will be a usual working time of between 9:00 am and 5:00 pm.

If you want to reach out to someone in GST and you are available anytime, you can schedule a call between 8:00 am and 12:00 am your time. This time span will be between 7:00 am and 11:00 pm GST time.

Quickly and easily compare or convert Perm time to GST time, or the other way around, with the help of this time converter. Below, you can see the complete table of the conversions between Perm and GST.

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Tour History

What is a tour .

A tour is a series of six or more pre-announced concerts performed within a fairly limited period of time from one another, in at least four different venues/locations sharing the same theme, concept, basic setlist etcetera. Residencies (series of shows performed at one location) don;t qualify as a 'tour' per definition, but are also regarded tours for the purpose of this listing. Three kinds of tours and residencies are taken in account:

• Headlining : Prince and his band are the main feature of the tour (or residency).
• Support act : Prince and his band perform a support set on a tour with someone else headlining.
• Band member : Prince (with or without his band) is backing another (associated) act on tour.

The below section is a chronology of Prince 's tours over the past decades. One off gigs, promotional shows, showcases, public rehearsals, benefits, private concerts, etcetera are not attributed in this section as they don't fit the rules to be considered for inclusion.

Aftershows and one off shows may have been performed during a tour, but fall out of the realm of being a show on the tour as they don't have the same stage set up, set list and are not a planned well in advance, with tickets on sale weeks or months ahead.

Disregarded as full-scaled tours are also the mini tours, such as the European mini Tour of 1981 (three dates) and the South-American mini tour of 1991 (also three dates). As well as the 'Welcome 2 Chicago' residency in 2012 (again only three shows). The 1986 so called 'Hit & Run' shows in the USA also fall outside the scope of what is regarded a tour as the dates were too far apart from one another (Nine shows over a period of exactly three months). Details about all these so called one-off shows can be found in the One-Off Appearances page.

Guest performances with other artists, Television Performances and Award Shows performances are categories of their own that are also listed separately.

For a complete scope of all performances made by Prince over the past decades, visit the All Concerts page.

• An overview of the respective tour maps can be found here .
• Tours Lists

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