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Old 17-09-2019, 08:12 PM   #651
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Hi Nicky. How are you? Hope you're well. x
yes one of my very few evening visits on here, my parents are away few days

i'm fine i guess

following kelly clarkson show at the moment, i kinda hope madonna is gonna be one of Kelly's guests too at some point, cause i think a collab of these 2 could be great

Kelly's music covers on her talk show are fab, so yeah i want her to do something from madge (or with madge) too
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Old 18-09-2019, 10:01 AM   #652
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Good to hear you're well, Nicky.

I never knew you were such a big Kelly Clarkson fan.

I like some of her music, actually. She's good.
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Old 18-09-2019, 10:01 AM   #653
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MADAME X TOUR - Setlist from night #1

God Control
Dark Ballet
Human Nature
Express Yourself
Papa Don't Preach

Vogue
I Don't Search, I Find
American Life

Interlude (Batuka Prayer)

Batuka
Celeste Rodigues cover
Killers Who Are Partying
Crazy

La Isla Bonita
Sodade
Medellín
Extreme Occident

Interlude (Rescue Me)
Frozen
Come Alive
Future
Crave (Tracy young's Mix)
Like A Prayer

ENCORE
I Rise
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Old 18-09-2019, 10:02 AM   #654
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Hmm, i'm disappointed about the lack of hits, but the reviews are marvellous.
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Old 18-09-2019, 10:17 AM   #655
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From a fan who attended last nights show:

"The show begins with a lone dancer and “Madame X” (not Madonna) on stage as words are typed across the transparent screen. Something about safety, art, and the importance of standing up for what’s right (as far as I can remember). Then God Control begins as Madonna walks out through the large parted staircase. She wears a historical garb with a feather boa to begin. She sang live and looked gorgeous!"

"Batuka was incredibly emotional. Madonna let the Batukaderas shine as they made their way through the audience. She wears the blunt black wig for this section, and at one point the mosaic tiles from the MX shoot are projected onto the staircase set, giving the illusion of a Fado cafe. Beautiful use of lighting and set design."

"IDSIF is pure Secret Agent MX. She goes in and out of trap doors in the staircase set and is “interrogated” by detectives during the “It’s our gypsy blood” section of the song. A real killer performance. Overall, this tour is way more physically demanding than Rebel Heart."

"Vogue is pretty much the same as Pride, but with more oomph."

"Come Alive is wonderful. She wears the gypsy head wrap from the album cover and is surrounded by dancers dressed in celebratory garb. Very uplifting and ends acapella."

"Human Nature had a fresh, jazzy touch to it. Madonna stays in the circular portion of the stage we’ve seen on IG."

"Extreme Occident is minimalistic and haunting. Just M on stage singing her heart out in the black wig."

"LAP is very similar to Eurovision but she sounded heavenly. And the robe is like an updated version of the one from Blond Ambition."

"I Rise as a closer was very moving. It ends with the large rainbow flag slowly being lifted and Madonna exits through the audience."

"The biggest surprise was "Future" as a semi-ballad with M playing the piano. AND a new verse not on the album instead of Quavo’s rap!"
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Old 18-09-2019, 10:37 AM   #656
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Here's more from other fans:

"She was in great spirit, super playful, to the degree of deciding to sit in the front row with the audience and chat with a guy and have some of his drink!

I’m going to be roasted for this, but I got MAJOR Blonde Ambition vibes from the dynamic yet sparse staging. It’s a VERY theatrical show that loses the grip sometimes but overall it’s really well put. Honestly no body else can pull off a show like this other than M.

Here’s what I can remember:

The opening was very theatrical and dramatic, beautiful words projected all over the stage about freedom and being an artist, I won’t do it justice by trying to explain it.

- The Typewriter is a theme that runs along the show, you feel like you’re part of a story. Set is stairs that come apart, move around, have doors and alcoves, they are used plain and with projections. Minimal yet rich!

- [Natural hair] She opened with God Control in a colonial (?) outfit, then Dark Ballet, followed by a groovy jazzy 90’s wonderful Human Nature (best live version of the song) and a great short acapella Express Yourself featuring all the ladies of the troupe including her daughters

- Cute on stage costume change hidden behind a screen with lots of playful banter.

- [Blonde Spy wig + black raincoat] Vogue, IDSIF (very Blond Ambition Dick Tracy), Papa Don’t Preach Changing the lyrics to “I’m NOT keeping my baby” at the end and then talking about woman’s rights to do as they please with their bodies, American Life.

- We journey across the world map.

- [Batuka dark wig + glittery blue body suit similar to one in album photos]

- Beautiful version of Batuka with all the ladies, she just looks so lovely in the wig!! Happy, radiant, energetic.

- a short Fado song, she introduced the grandson of the famous Fado singer who passed away, then they go into Killers, more percussions and instruments, great vocals without vocoder, made up for the cringe worthy lyrics. The chorus and outro were beautiful.

- Setting: a beautiful street scene (think a much more authentic version of the Billboard awards set) with lovely designs. Crazy, cute made up song about welcome us to her Fado world with a bit of Bonita, then Sodade, and Medellín. Love her in this wig and outfit, I could watch a whole show of her in this garb!

- Extreme Occident, Minimal set with moving stairs. Rescue Me spoken word (she’s not on stage) with the dancers doing amazing rhythmic movements.

- FROZEN: a highlight for me. I kinda don’t want to spoil the reveal, I’ll let others do it but I wish nobody would because it made it even more
magical not knowing what we were seeing. Goosebumps. She had the “i Rise” single cover clothes on, all dark stage with her being the only visible thing + with projections of a dancer over a transparent screen. Magical. Breathtaking vocals, live strings, slight percussion. I’d kill to experience that again.

- Come Alive, my favourite song from the album, very colourful and lively, all the Batukians were in colourful caftans but Madonna was in her Crave video dress for some weird reason. Lively performance.

- Future, Madonna playing the Piano!!! A very cool version of the song. I felt that it had different lyrics at some point but please correct me if I’m wrong. I enjoyed this arrangement, a lot more experimental.

- And now the final part. The least cohesive and rushed part. Crave dance remix. Dancers in disco-ish clothes, giant disco ball. Did nothing for me, felt very forced because the show needed a lighter upbeat song but I don’t think it worked. I felt that she should’ve gotten into Get Together at some point and it would’ve made sense.

- Disco becomes Like a Prayer in Eurovision clothes. M & the choir are on the stairs and they make an X with her in the middle.

- Curtain comes down, and time for the Encore: I rise. Good song, nothing exceptional. Back in Crave dress. She left the stage from the middle of the crowd and kept singing, similar to the MET Gala ending (Aka singing off stage).


- no tour book yet, will be ready for next week.

- Merchandise different variations of the pop-up ones + new stuff. So grab some from both of you want all the merch haha.

- People stood up in the and didn’t sit. If people behind you are sitting please be respectful and sit your ass down, we all had a great view of the stage you didn’t need to stand when others didn’t.

- She sounded good, it was all live. Sound quality wasn’t that great in some of the songs though.

- She said the show wasn’t still finished, so I wonder if anything will change with time.

- The last act is really jumbled up and not cohesive.

- For a Theater show it felt long, by the time Crave came on I was ready to go lol, Come Alive would’ve been a great ending.

- Yes, not enough old songs but it was a celebration of Madame X and once you’re there, you get it and you’re with her along the ride.

- Crazy + Crave could’ve been replaced by oldies that made more sense.

- Debbie Mazar, Rosie O’donnel and Anderson Cooper where in the audience. Guy Oseary was in one of the boxes. Don’t know if there was anybody else there.
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Old 18-09-2019, 10:45 AM   #657
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Another review:

"I just got home from seeing this.
The show was amazing! There was no part of the show that I didn't totally get into.

The Rescue Me interlude into Frozen was my favorite part of the show. The visuals with Lourdes were a masterpiece. Unbelievable!!

I loved what they did with the lighting throughout the show. It was a very minimal set but they really did a fantastic job setting it up to create moods and atmosphere to match the songs. The middle set with the dark hair was beautifully done.

I loved the Crave remix. Even as someone who hasn't had much time with the new album, I felt very connected to ALL the new music and she brought it all to life (come alive, come alive!). She was also very interactive with the crowd and going in someone mentioned her doing stand up which stressed me out, but she was very funny all night. A lot of wit. She blamed being late on last minute changes with the projections. She promised it will never happen again and then smirked.

Halfway through I actually appreciated the fact I didn't have my phone (which she poked fun at us about throughout the night) because I honestly did feel more connected to her and the production without the distraction.

Like a prayer was a great moment, the whole theatre was singing and dancing. I kind of wish she had ended on that note vs I Rise, which felt very disconnected from us compared to the rest of the setlist. She had us involved the whole time except for in that number.

My mind is spinning still but those are my thoughts as I head to sleep. What a great night!! "

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Old 18-09-2019, 10:50 AM   #658
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https://www.instagram.com/p/B2i5CArFGnC/

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Old 18-09-2019, 11:36 AM   #659
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I wanna go
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Old 18-09-2019, 04:56 PM   #660
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I wanna go
Me too.

This sounds fantastic:

"Following I Don’t Search I Find, there's a very effective film noir interrogation scene, and she sits on the floor and takes a selfie with a Polaroid"

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Old 18-09-2019, 05:05 PM   #661
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Old 20-09-2019, 10:35 AM   #662
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3rd night in a row with excellent reviews.
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Old 20-09-2019, 01:28 PM   #663
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If tickets weren't like £500 id go
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Old 20-09-2019, 06:19 PM   #664
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If tickets weren't like £500 id go
Yeah, it's so expensive but worth it just to have the intimicy with Madonna.

Did you see the new images from the show?










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Old 20-09-2019, 06:23 PM   #665
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I want a front row seat
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Old 20-09-2019, 06:31 PM   #666
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I wanna make a list ranking every madonna single but it would take me forever im too indecisive
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Old 20-09-2019, 07:16 PM   #667
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Madonna Surprises With the Launch of Ambitious, Intimate “Madame X”



It turns out Madonna — the queen of re-invention — is human. She admitted last night during the first performance of her Madame X show at Brooklyn’s Howard Gilman Opera house: “The one thing I need is sleep. I’m tired.” She added that she could use a nap.

But the 61 year old pop icon didn’t show any signs of weariness last night as she launched this ambitious, complex production. The good news about Madonna’s Madame X show is that there is no bad news. Not really. So everyone can relax. There’s no incentive to throw tomatoes.

Quite the opposite: I was impressed, and I think anyone who stops into the Gilman will be surprised to find Madonna, in a stripped down setting, is actually real and just a celebrity hologram. She’s very endearing in an intimate venue. Also considering that this performance of “Madame X” was the very first, you have to give her credit. She’s producing a Broadway show in progress.

Indeed, if we come back to “Madame X” in a month, it’s going to be even more together, which isn’t to say it’s not a compelling two hour and fifteen minute entertainment now. But right now “Madame X” is like several Broadway shows happening at once. Most of it works, some of it doesn’t. It needs time to gel. The pieces are good, but they don’t all fit together yet. (The sets are Broadway-level, even better, with terrific lighting. The staging runs from elaborately ornamental to elegantly minimalist. There are excellent video projections, too.)

What we get theme wise are more than a few things: Madonna’s lifelong grappling with Catholicism; her adventures in Lisbon as a “soccer mom,” as she says; her discovery in Portugal of that country’s music and that of Cape Verde, off the coast of Africa; political Madonna, who is advocating for LGBTQ, women’s rights, abortion rights, and gun control. Plus modern dance, jazz and ballet, and even a dance video from Madonna’s daughter, Lourdes. That’s a lot of themes.

A lot of this is set to showcase songs from the “Madame X” album, which didn’t sell well and didn’t come off well when it arrived. Surprisingly, those songs have been made into convincing theatrical pieces. You see, Madonna is not performing her greatest hits. If you’re coming to the Gilman for “Like a Virgin,” you’re in the wrong place. (There are financial reasons, too, for ditching the early hits– she didn’t write them and she’s probably tired of paying those songwriters.)

This doesn’t mean there aren’t nods to the 80s Madonna. Early in the show there’s a lovely a cappella moment of “Express Yourself.” You will also hear “Papa Don’t Preach,” “Frozen,” “La Isla Bonita,” and, very successfully, “Vogue.”

Last night’s show started an hour late, at 10:30pm, but Madonna did apologize and explain that later. There are other details that I’ll explore later this week in a real review. Last night, Rosie O’Donnell and Debi Mazar, her good friends, showed up to give support, and Rosie–who received cheers from the audience– got be part of a little “business.” The audience loved it.

And that audience– a group of people from Asia had flown here, and used Madonna’s lateness for a nap. The woman behind me came from Paris. There was a crowd from Brazil.

(Also be warned: your phone is locked into an airtight container upon arrival. It must be unlocked at the end of the show. No photos, no videos, no social media. Hence, no photo to go with this story.)

By the time you get to the last number, it’s well worth it. “Like a Prayer” finishes the show proper and leaves everyone on a high. But again, I think Madonna is doing some interesting work here. She’s trying pull off something much tougher than her arena or stadium shows, and you can already see the payoffs. She’s making a connection with the audience while ideas are settling in. The fans will love to watch it, and out of this will evolve a butterfly. I’d be first in line to return.

https://www.showbiz411.com/2019/09/1...-broadway-show
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Old 21-09-2019, 09:52 AM   #668
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Madonna X-periments With 'The Madame X Tour'

As the 11th tour in her over three decade-long reign as the Queen of Pop, Madame X is entirely unlike any other Madonna tour to date. For one thing, the show is designed for the theater, as opposed to her usual sold-out baseball stadium fare. (The first venue on the trek, the Brooklyn Academy of Music, seats fewer than 3,000.)

Given the close quarters, there's no catwalk to consider, nor do fans needs to panic about which side is "better." It's all relatively close ("intimate," as she purred to the crowd), and all front and center. Seeing Madonna in that environment,her first time on a theater stage since her West End debut with Up for Grabs in 2002, is objectively a special experience.

The Madame X Tour is also phone-free.

It's 2019: we're all addicted to our phones. Even the woman on stage — who the audience paid hundreds, and in several cases, thousands of dollars to see — teased the crowd multiple times about their phonelessness, only to admit to being addicted to her own device during a misguided monologue about technological entrapment and slavery. (A rework is needed on that speech, ASAP.)

Based on conversations in the crowd before the show, no one was actually bothered by the concept of a no-phone concert experience. Fans respected Madge's desire for undivided attention to get her message(s) across — it only amplifies the intrigue, after all. Finally, a return to the Way Things Were! But be warned in advance: the confiscation doesn't happen before the show. It happens as soon as you walk into the venue.

After a security check, representatives for Yondr instructed us to silence our phones and slip them into a locked pouch, which we carried for the night. Let's say you were to arrive no later than 8:30 PM as instructed on the ticket, and she were to delay the show until 11 PM, as she did opening night. That's nearly three hours of socializing – who knows? You might find love at the Madame X Tour! — or a terrifyingly long time to sit alone with your thoughts. (To be fair, if you explored the venue, there were various roped-off areas where you could unlock your phone with the assistance of an attendant and get a few last-minute hits of dopamine.)

The phone-free concept is also not entirely new: not only is it used at advance album listening parties for journalists, but comedy shows, too. (That Madonna's manager, Guy Oseary, also manages Amy Schumer, is perhaps indicative of where they got the idea.) Still, for a concert — especially at this level of superstardom — it's fairly radical.

The scene inside was anxious and excitable, as people, still adjusting to life outside of their screens, mingled and mocked everyone else's phone-free behavior. One older couple, bedazzled in custom suits and Madame X eyepatches, bemoaned the fact that they couldn't show off their outfits in the venue with pictures — normally a staple pre-show spectacle at any Madonna concert.

In short: don't rush to get there, don't lose your friends, bring a watch, and maybe even a book, too. Time truly does go by so slowly for those who wait.

So what lies beyond the "X" curtain? What even is this show, exactly? At the highest level, it's a bit of a hybrid between an actual theatrical production and a concert, but looser in structure than either of the two, giving it the distinct feeling of a production with plans to shape-shift, in setlist and staging, each night on its 90+ show run.

For those who've been following along the Madame X ride, it should come as no surprise that the concert kicks off with a silhouette of Madonna at a typewriter, typing out a James Baldwin quote about art and the artist's role to disturb society, starting over from scratch each time a dancer alongside her onstage gets shot.

Cue "God Control," her happy-go-lucky disco ode to gun control — and the party begins, with Madge patriotically dressed up in founding father garb, marching with her dancers along two symmetrical stairwells which move and dismantle into various configurations throughout the show. (At times, the concept is almost reminiscent of Grace Jones' ahead-of-its-time One Man Show from 1982.)

No one who's ever attended a Madonna concert in the past two decades would accuse the Queen of Pop of being apolitical. The Madame X Tour is no different, and she attempts to cover all her bases, all night long.

"**** the patriarchy!" she snarls, kicking back at armored cops before a horn-y rendition of "Human Nature," one of the show's standout moments, as nagging fingers point at her from projections around the stage. She launches into an impassioned tirade about abortion after a too-brief performance of the first verse and the chorus of "Papa Don't Preach."

"That's right, I made up my mind! You don't mind if I choose what I do with my body, do you?!" she declares. She's not challenging anyone in this crowd, of course. Staunch conservatives probably aren't queueing up in eyepatches for The Madame X Tour. The crowd roars back in a choir of approval.

"I consider myself a freedom fighter," she later announces.

She performs "American Life" with a guitar afterward, as torn uniforms shower down on a dancer from above the stage, concluding with a flag-draped coffin being slowly carried across the stage by soldiers.

Madonna interacts frequently with the audience between songs, at one point even sitting down in an empty seat and making small talk with one of the attendees.

"Do you come here often?" she seemingly challenged him. There was a tension in the air, as though the Queen could banish him for one wrong answer.

"For the art," he said.

"Ah, the art... would you say I'm an artist?" "Oh, yes," he gushed. "I like how you said that — oh, yes," she responded back, amused. She approved, thank God, and even boldly took a sip of his beer.

Earlier in the show, Madonna took a Polaroid selfie and effectively auctioned it off to the audience, jokingly boasting about how much it'd be worth.

"Don't get emotional," she told one woman, as fans began to bicker for the prized picture. A wad of cash in hand got her attention – and the hand belonged to an old friend: Rosie O'Donnell. Madge pocketed the money, thanking Rosie for her contribution to Her Art, reminding the audience that she's not making money off of her show, as each dollar goes to yet another light and yet another prop.

She also tries her hand at comedy, which she's threatened to do ever since her Tonight Show stand-up "debut" in 2015.

"Do you know what they call a guy with a small dick?" she asked the crowd during the show's first breather as she quick-changed onstage behind a small vanity.

"I wouldn't know," she finally answered. "I don't call guys with small dicks." Ba-dum-tss!

Related | Maluma Fandemonium Is Just Getting Started

Parts of the show feel incredibly familiar ("American Life" is like a minimized version of her Re-Invention World Tour performance), and much of the Madame X Tour revolves around recreating her recent promotional performances, including the "Vogue" and "I Don't Search, I Find" segment — a solid pop star-style performance from her Pride Island show. The sequence finds Madame X in secret agent mode alongside a gaggle of bewigged blonde lookalike dancers in trench coats, strutting around before being captured and interrogated, lightbulb dangling overhead and all.

"Like a Prayer" and "Dark Ballet" are essentially the same stairwell-style set up of both her Met Gala performance and her Eurovision performances, and "Medellín" was more or less a recreation of her 2019 Billboard Awards performance minus her handsome cha-cha partner Maluma – and the $5 million holograms. (He does show up, albeit green-screened into a projection, which is standard Madonna concert cameo fare.)

"Batuka," too, is essentially the song's music video come to life, as the women of The Batukadeiras Orchestra gather 'round in a semi-circle and pound away at drums. Madonna respectfully lends them the spotlight for a majority of the performance, sitting to the side on a stairwell before eventually joining the women to gyrate and celebrate.



In case it wasn't obvious enough from the title, the Madame X Tour is Madame X heavy. Before one of the show's more cohesive stretches (she welcomes us into her Fado cafe), Madonna delves into the story behind the music of her latest album, explaining her move to Portugal to become a soccer mom, finding herself bored and lonely, and rediscovering her passion and finding inspiration with the regional music wafting through the bars and living rooms of Lisbon — leading to "Crazy," a bit of "La Isla Bonita" and even a brief cover of a Fado song, "Sodade," by the late Cesária Évora. In a touching gesture, she is accompanied by the young grandson of a late Fado legend she encountered in her travels, Celeste Rodrigues. He plays alongside Madonna onstage — and fetches her a beer.

Madge curiously does not perform "Faz Gostoso," a joyous fan-favorite on the new album, but does make time for the album's most serious-faced moments, including "Extreme Occident" and "Killers Who Are Partying," a well-intended but embarrassing dirge dedicated to taking on the pain of minority groups. (Mercifully, it goes down better in live form.)

"Future," which was originally a medieval-meets-post-apocalyptic moment on Eurovision, is now a more muted piano piece, as images of burning forests flare up around the theater.

For a Madonna show, the Madame X Tour is surprisingly free of new visual interludes: her existing music videos for the era serve as the backdrop for the most part — and even old ones ("American Life"). The only new projection is inarguably also the show's greatest highlight: "Frozen."

After a line of dancers dramatically flail to the sound of sharp breaths and a spoken word verse of "Rescue Me" (so close to a live performance, yet miles away), the screen reveals a woman hunched over, her legs spread, and her hair falling over her face, The Ring-style. As the unmistakable strings of the Ray Of Light classic start to swell, Madonna appears just behind the screen. And then, the woman on the projection looks up through her hair: it's ****ing Lourdes, first daughter of The Queen, supreme heir to the throne.

A collective gasp and cheer ensues.

Beyond just being the stunning 22-year-old daughter of pop royalty, Lourdes can actually move. Madonna stays entirely still, crooning as Lola supplies an incredible interpretive dance on the screen just in front of her mother. It's captivating. Towards the end of the song, the camera focuses on the "M-O-M" tattooed across her knuckles. It's an absolutely iconic moment, arguably worth the price of admission alone to witness. ("This is Madonna," one man breathlessly declared one row behind.)

That's not the only cameo from her own brood, either: twins Estere and Stella, as well as Mercy, all get down during an acapella version of "Express Yourself" early on the show. They later return for an endearingly sassy strut during the DJ Tracy Young remix of "Crave" — a strangely injected moment of poppers o'clock beats, sequins and furs — towards the very end.

The night concludes with her Stonewall Pride anthem "I Rise," as Madonna and her dancers leave the stage and march down the aisles, fists aloft, singing the rallying chorus over and over again. A giant rainbow flag drapes down the digital screen.

Madonna is not one for an easy ride. She's told us as much. And "easy," in Madonna's case, would be putting on her usual stadium spectacle of choreography, costumes, stunts and smashes galore from an immaculate back catalog. No one does it better. But she's got that incessant itch to scratch as an artist, and an endless craving to satisfy — to move forward, go more eccentric, and challenge herself to do things differently this time around. And yes, she's probably doing it to annoy her fans on purpose at times.

"You're not one of those people who comments on my Instagram and tells me I better perform Hard Candy, right?" she joked at one point. Everyone laughed, even if some of them probably are.

Go to the Madame X Tour, as a stan. You will appreciate the intimacy and unpredictable, experimental theater-esque feel of the show in comparison to what's come for so many years before. But if you want to hear the hits, dance and capture the moments, this isn't really the tour for you. Yes, there are a handful of classics scattered throughout — "Like a Prayer," "Vogue," "Human Nature" — but for the most part, the Madame X Tour is a disjointed artistic expression; an impassioned mixture of politics and Portuguese based around a vaguely all-encompassing, darkness-fighting alter-ego without any one clear narrative. She is nothing if not (blonde) ambitious.

That's not to say that elements of her major tours aren't present in the Madame X Tour — it's still a Madonna show, after all — but in comparison, it's a relatively sparse and somewhat strange audience experience (do we sit, do we stand, what do we do with our hands?) — which may be even more of a draw for some fans curious to see what she does without all the bells and whistles, and with plenty of dead air during set changes to fill with actual audience interactions.

In the absence of sensory overload and digital distractions, there's room for Madonna to breathe and evolve as a performer in a new kind of way — and, presumably, to grow.

Madame X is a cha cha instructor. A professor. An equestrian. A saint. A *****. And still a work in progress.
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Old 22-09-2019, 10:27 AM   #669
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Crave (Tracy Young Remix) is out!

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Old 09-10-2019, 11:31 AM   #670
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Old 09-10-2019, 02:40 PM   #671
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How many times have you seen "In bed with Madonna" Nancy?

My sister had the video, so I remember watching it a few times.

I remember when her entourage are all teasing her singing "Madonna can't afford real pearls, Madonna can't afford real pearls"
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Old 09-10-2019, 04:52 PM   #672
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How many times have you seen "In bed with Madonna" Nancy?

My sister had the video, so I remember watching it a few times.

I remember when her entourage are all teasing her singing "Madonna can't afford real pearls, Madonna can't afford real pearls"
Haha. Quite a few, Alf.

It's an excellent documentary...even though Madonna is quite bratty throughout. lol
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Old 09-10-2019, 07:32 PM   #673
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was that the one where she was interviewed by ruby wax?
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Old 09-10-2019, 08:49 PM   #674
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was that the one where she was interviewed by ruby wax?
No, Saph, that was in 1994.
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The one Alf is talking about is Truth or Dare... which was renamed to In Bed With Madonna for the UK.

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Last edited by Nancy.; 09-10-2019 at 08:50 PM.
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Old 22-10-2019, 01:55 PM   #675
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She's getting some great reviews for this show. Hope they film it for a Blu Ray.
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