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George Michael’s former best friend is sued by singer’s estate after releasing secret album and unseen footage of the Wham! star
George Michael's estate is suing Kenny Goss, the late singer's former long-term partner and best friend, over the release of a previously unheard album and unseen footage. The estate alleges Goss breached agreements or rights by publicly releasing material featuring the Wham! star that was never intended for public distribution, raising questions over control of Michael's unreleased creative legacy since his death in 2016.
The dispute centres on material Goss had access to through his close personal relationship with Michael, which the singer's estate says should not have been made public without permission. The legal action highlights ongoing tensions over who controls and profits from unreleased work left behind by major recording artists after their death.
In short
- George Michael's estate sues former partner Kenny Goss
- Dispute is over a secret album and unseen footage
- Case centres on rights to unreleased posthumous material
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
The estate's argument rests on established intellectual property law and contractual rights: unreleased work belongs to the copyright holder, and personal proximity to an artist does not confer legal authority to release their material. The estate contends it has a fiduciary duty to manage the artist's legacy according to documented agreements, protecting both the integrity of how the work is presented and the commercial value that sustains the broader estate and the artist's memory.
The case against
Goss's position, charitably read, holds that as George Michael's closest confidant and long-term partner, he may have possessed the artist's explicit blessing—even if undocumented—to preserve and share this work after his death. He might argue that the artist's actual wishes, as confided to his dearest friend, carry moral weight beyond contractual technicalities, and that institutional control can suppress an artist's true legacy in favour of commercial interests rather than honouring what the person actually wanted shared.
Explained simply
George Michael was the lead singer of Wham! and one of pop music's biggest stars before his death in 2016. Kenny Goss was his former romantic partner and remained a close personal friend. Because of their relationship and closeness, Goss had access to Michael's private recordings and unreleased material.
Goss has recently released previously unheard songs and unseen footage of Michael to the public. Michael's estate, which manages his creative legacy, is now suing Goss, arguing this material was private and should not have been shared without permission. The estate says Michael never intended for these recordings to be released publicly.
The case raises fundamental questions about who should control an artist's unreleased work after they die. Unfinished or private recordings can become valuable assets, and different parties may claim rights to them. Disputes like this one show why clear agreements about posthumous releases are important in the music industry.