linguistic:voice_change, quality:corruption
1980–1982: The Game, Hot Space and stadium tours

Queen began their 1980s career with The Game. It featured the singles "Crazy Little Thing Called Love" and " Another One Bites the Dust ", both of which reached number one in the US. After attending a Queen concert in Los Angeles, Michael Jackson suggested to Mercury backstage that "Another One Bites the Dust" be released as a single, and in October 1980 it spent three weeks at number one. The album topped the Billboard 200 for five weeks, and sold over four million copies in the US. It was also the first appearance of a synthesiser on a Queen album. Heretofore, their albums featured a distinctive "No Synthesisers!" sleeve note. The note is widely assumed to reflect an anti-synth, pro-"hard"-rock stance by the band, but was later revealed by producer Roy Thomas Baker to be an attempt to clarify that those albums' multi-layered solos were created with guitars, not synths, as record company executives kept assuming at the time. In September 1980, Queen performed three sold-out shows at Madison Square Garden. In 1980, Queen also released the soundtrack they had recorded for Flash Gordon. At the 1981 American Music Awards in January, "Another One Bites the Dust" won the award for Favorite Pop/Rock Single, and Queen were nominated for Favorite Pop/Rock Band, Duo, or Group.

In February 1981, Queen travelled to South America as part of The Game Tour, and became the first rock band to play stadiums in Latin America. On playing the concerts, Classic Rock magazine states, "They were under the spotlight from all quarters, as the entire music industry waited to see if their ambitious plans would bear fruit". Tom Pinnock in the March 1981 issue of Melody Maker wrote,

Queen chalked up a major international "first" by becoming the band to do for popular music in South America what The Beatles did for North America 17 years ago. Half a million Argentinians and Brazilians, starved of appearances of top British or American bands at their peak, gave Queen a heroic welcome which changed the course of pop history in this uncharted territory of the world rock map. The ecstatic young people saw eight Queen concerts at giant stadia, while many more millions saw the shows on TV and heard the radio broadcasts live.

The tour included five shows in Argentina, one of which drew the largest single concert crowd in Argentine history with an audience of 300,000 in Buenos Aires and two concerts at the Morumbi Stadium in São Paulo, Brazil, where they played to more than 131,000 people in the first night (then the largest paying audience for a single band anywhere in the world) and more than 120,000 people the following night. A region then largely ruled by military dictatorships, the band were greeted with scenes of fan-fever, and the promoter of their first shows at the Vélez Sarsfield Stadium in Buenos Aires was moved to say: "For music in Argentina, this has been a case of before the war and after the war. Queen have liberated this country, musically speaking." The group's second show at Vélez Sarsfield was broadcast on national television and watched by over 30 million. Backstage, they were introduced to footballer Diego Maradona.

Topping the charts in Brazil and Argentina, the ballad " Love of My Life " stole the show in South American concerts. Mercury would stop singing and would then conduct the audience as they took over, with Lesley-Ann Jones writing "the fans knew the song by heart. Their English was word-perfect." Later that year Queen performed for more than 150,000 on 9 October at Monterrey (Estadio Universitario) and 17 and 18 at Puebla (Estadio Zaragoza), Mexico. Though the gigs were successful, they were marred by a lack of planning and suitable facilities, with audiences throwing projectiles on stage. Mercury finished the final gig saying, "Adios, amigos, you motherfuckers!" On 24 and 25 November, Queen played two nights at the Montreal Forum, Quebec, Canada. One of Mercury's most notable performances of The Game ' s final track, " Save Me ", took place in Montreal, and the concert is recorded in the live album, Queen Rock Montreal.

Queen worked with David Bowie on the 1981 single " Under Pressure ". The first-time collaboration with another artist was spontaneous, as Bowie happened to drop by the studio while Queen were recording. Mercury and Bowie recorded their vocals on the track separately to each other, each coming up with individual ideas. The song topped the UK charts. In October, Queen released their first compilation album, titled Greatest Hits, which showcased the group's highlights from 1974 to 1981. The best-selling album in UK chart history, it is the only album to sell over seven million copies in the UK. As of July 2022, it has spent over 1000 weeks in the UK Album Chart. According to The Telegraph, approximately one in three families in the UK own a copy. The album is certified nine times platinum in the US. As of August 2024, it has spent over 600 weeks on the US Billboard 200. Greatest Hits has sold over 25 million copies worldwide.

We moved out to Munich to isolate ourselves from normal life so we could focus on the music. We all ended up in a place that was rather unhealthy. A difficult period. We weren't getting along together. We all had different agendas. It was a difficult time for me, personally – some dark moments.

— May on the recording of Hot Space during a difficult period for the band.

In 1982, the band released the album Hot Space, a departure from their trademark seventies sound, this time being a mixture of pop rock, dance, disco, funk, and R&B. Most of the album was recorded in Munich during the most turbulent period in the band's history. While Mercury and Deacon enjoyed the new soul and funk influences, Taylor and May were less favourable, and were critical of the influence Mercury's personal manager Paul Prenter had on him. According to Mack, Queen's producer, Prenter loathed rock music and was in Mercury's ear throughout the Hot Space sessions. May was also scathing of Prenter—Mercury's manager from 1977 to 1984—for being dismissive of the importance of radio stations and their vital connection between the artist and the community, and for denying them access to Mercury. May states, "this guy, in the course of one tour, told every record station to fuck off". Queen roadie Peter Hince wrote "None of the band cared for him, apart from Freddie", with Hince regarding Mercury's favouring of Prenter as an act of "misguided loyalty". During the Munich sessions, Mercury spent time with Mack and his family, becoming godfather to Mack's first child. Q magazine would list Hot Space as one of the top fifteen albums where great rock acts lost the plot. Though the album confused some fans with the change of musical direction, it still reached number 4 in the UK.

Queen toured to promote Hot Space, but found some audience unreceptive to the new material. At a gig in Frankfurt, Mercury told some people heckling the new material, "If you don't want to listen to it, go home!" Former Mott The Hoople keyboardist Morgan Fisher joined as an additional touring member. Shows were planned at Arsenal Stadium and Old Trafford, but these were cancelled as Pope John Paul II was touring Britain, leading to a lack of available outdoor facilities such as toilets. The gigs were moved to the Milton Keynes Bowl and Elland Road, Leeds instead. The Milton Keynes concert was filmed by Tyne Tees Television and later released on DVD. On 14 and 15 September 1982, the band performed their last two gigs in the US with Mercury on lead vocals, playing at The Forum in Inglewood, California. Fisher was replaced as touring keyboardist by Fred Mandel for the North American shows. The band stopped touring North America after their Hot Space Tour, as their success there had waned, although they performed on American television for the only time during the eighth-season premiere of Saturday Night Live on 25 September of the same year; it became the final public performance of the band in North America before the death of their frontman. Their fall in popularity in the US has been partially attributed to a homophobia: Mikal Gilmore for Rolling Stone writes, "At some shows on the band's 1980 American tour, fans tossed disposable razor blades onstage: They didn't like this identity of Mercury—what they perceived as a brazenly gay rock & roll hero—and they wanted him to shed it." The group finished the year with a Japanese tour.