Madonna performs during her Rebel Heart Tour in Philadelphia (September 24 2015)
Madonna dedicated a song to the Pope in Philadelphia
Madonna gave her seal of approval to Pope Francis I during a gig in Philadelphia last night, making several references to him throughout the evening – including “I’ve been excommunicated from the Catholic Church three times. It shows the Vatican really cares” and joking that the Pope was “stalking” her, as he has been in New York at the same time as her recently, and was planning a trip to Philadelphia. “”Either he’s a copycat or he’s secretly in love with me,” she said.
She then dedicated a ukulele-led version of Edith Piaf’s ‘La Vie en Rose’ to the pontiff, saying “Since Popey-wopey is on his way over here, I want to dedicate this song to him because it’s a love song, and I firmly believe that love does make the world go ’round. Honestly, I don’t think there’s that much difference between me and the Pope.”
Madonna’s DanceOn Strikes Distribution Deal With Go90
As more music streaming services and social media apps announce their transition into original content, the battle for positioning remains unpredictable.
Power players like Apple Music and Spotify have yet to make a very definitive shift beyond music sharing and discovery to solidify their identity as digital content providers. Snapchat has experienced notable success, as more brands and media partners experiment with different formats that tap into the existing user experience. Netflix and Hulu have mastered their market, creating network-caliber programming designed for the second-screen generation.
While the landscape is still evolving, and such uncertainty builds anticipation, it also presents an opportunity for thriving digital media and social entertainment platforms with an established niche and to remain steps ahead of emerging trends. Announcing a new partnership with mobile entertainment app go90, DanceOn is expecting this move to place its premiere entertainment-focused platform ahead of the pack.
Gone in 30 minutes: Madonna tickets for Hong Kong concert
All tickets for Madonna’s debut concert in Hong Kong on February 17 sold out within 30 minutes of going on sale at 10am on Friday – setting what is believed to be a record for the fastest Hong Kong concert to sell out.
The concert venue, AsiaWorld-Arena at the airport off Lantau Island, can hold a maximum of 13,500 people. Tickets ranged in price from HK$688 for the cheapest seats to a whopping HK$11,888 for front-row seating.
Madonna’s Rebel Heart Tour began in Montreal, Quebec, on September 9 and will take in 64 cities before it wraps up in Brisbane on March 27, 2016. The tour follows the spring release of Madonna’s Rebel Heart album, the singer’s 13th studio album.
Madonna’s Instagram: Underneath the Stage
Life underneath the stage captured by JR! #panic #rebelheartour
Madonna via Instagram
Video: Madonna performs Ghosttown in Brooklyn
Madonna’s Instagram: Ghosttown added to the Rebel Heart tour setlist!
We’ll be 2 souls in a Ghostown! #rebelhearttoour
Madonna via Instagram
Video: Madonna dedicates “True Blue” to Debi Mazar in Brooklyn
Video: Sean Penn at Madonna’s NYC Concert
Madonna’s Rebel Heart Tour in New York – New York Times Review
Madonna let fans see her sweat when her “Rebel Heart” tour started its two nights at Madison Square Garden on Wednesday. She belted “HeartBreakCity,” a bitter, accusatory breakup song, from a staircase as she battled the embraces of an acrobatic dancer. Then she tossed off a jacket to reveal a sweat-soaked blouse, and traded heartache for triumph with the first words — “I made it through the wilderness” — of “Like a Virgin.” She pranced and strutted through it with some moves from her 1980s videos and opened the blouse to reveal lingerie and cleavage. The lesson: Madonna the indomitable sexpot would prevail.
That’s undeniable. She mentioned, twice, that she first played Madison Square Garden 30 years ago, saying she felt nostalgic. But while much of her audience has grown up with her, Madonna, now 57, hasn’t allowed herself to become an oldies act. She filled the set with songs from “Rebel Heart,” released this year, and thoroughly rearranged her early hits.
Through the decades, Madonna’s tours have delivered spectacles that push hot buttons galore: sexuality, power, faith, rebellion and sheer willfulness. They were all part of the “Rebel Heart” show, too. But on this tour, Madonna isn’t confronting her audience as much as sharing her prerogatives with it. The dance numbers go hopscotching through history and geography, reaching up in the air and across the arena, simply because they can.
Madonna’s Rebel Heart Tour in New York – Rolling Stone Review
“You know what they say — it’s lonely at the top,” Madonna told the crowd near the end of her New York show last night. “But it ain’t crowded!” And on the second U.S. show of her hotly awaited new Rebel Heart tour, Our Lady spent three hours proving what a goddess she is, not to mention what an Unapologetic Bitch. Damn right it’s not crowded, because there’s nobody else near her throne. The whole night was a tour of everything only Madonna can do. She’s not the same. She has no shame. She’s on fire.
She sang the Edith Piaf ballad “La Vie En Rose” in French, alone on the stage, strumming her ukelele. (“It’s en français, though, okay? So try and sing along if you can.”) After “Material Girl,” she tossed a wedding bouquet to a gay couple up front, then snickered, “Suckers!” She used crucifixes as stripper poles, doing the “Vogue” rap while writhing against a dancer clad in a nun’s wimple and feathery hot pants. Her cassocked dancers simulated a group-grope orgy at the Last Supper while the guest of honor chanted “Yeezus loves my pussy best!” And all night long, her banter was the toppest of notch, like when she introduced her gorgeous new acoustic country-hoedown version of “True Blue.” “No swear words in this song,” she announced. “This is a song about true love. I didn’t know what I was talking about when I wrote it.” Glad you’re the one who brought that up, Madonna.
She hasn’t reached so far onstage, musically or emotionally, since her 2001 Drowned World extravaganza. Her last couple of tours had spectacular performances, but dodgy set lists. This time Madonna has much stronger new songs to play with, from Rebel Heart — and she brilliantly revamps the hits. She played a Flying V for a punked-out “Burning Up,” dropping to her knees for her guitar solo — the first time she played Madison Square Garden, 30 years ago, she got on her knees in front of the male guitarist while he played a solo, and don’t think she doesn’t remember these things.
Madonna’s Rebel Heart Tour in New York – The Guardian Review
In the first of two Rebel Heart tour shows at the historic venue, the pop queen brings out Amy Schumer, Game of Thrones, transgender nuns, a ukulele … and her greatest hits
Madonna’s album Rebel Heart was bedevilled by leaks; she fell flat on her backside at the Brit awards; and her Instagram gaffes have made Jeremy Corbyn look like a Rupert Murdoch-style media mastermind. As she arrives in Madison Square Garden on the fourth date of her 10th tour – the last under her 10-year, $120m contract with Live Nation – she should be up against it. Yet Madonna is always at her best with her back to the wall, when the killer instinct that has sustained her through over 30 years in pop rears to the surface, a visceral refusal to be beaten.
Her choice of support act on this homecoming gig – since New York is the place she remade herself – is very Madonna, all wrong on paper but in practice, right on the money. Amy Schumer takes the stage in front of a massive backdrop of Madonna’s face staring at the heavens and clutching a sword to her breast, the massive machinery of pop music concealed behind it. Swigging from a bottle of champagne, and with nothing but a microphone and a stool, the comic of the moment says that she was asked: “‘Who better than you to open up for Madonna?’” “Uh,” she rhetorically answers. “Any band?”
Yet Schumer’s perfect reading of the audience, in which straight men are such a minority as to be non-existent, (“It’s like taking a warm bath in a ton of dick that doesn’t want you”) weapons-grade filth (“We’re here to rethink cum”) and description of the Kardashians as a family who “take the faces they were born with as a light suggestion” reduce the crowd to marshmallow before Madonna has even made an appearance.
Twenty-five years from her apotheosis, 1990’s Blond Ambition tour, Madonna’s vision of the pop concert – in which music is combined with dance, video and costume, in order to reconceptualise familiar hits into an overwhelming sensory bombardment – has now been copied by generations of pop stars. She’s also notorious for stuffing the setlist with new material, thwarting those who would love an oldies show. At first the signs aren’t promising: the show starts with film of Madonna writhing in a sequinned dress in a cage, while her voiceover chunters that creativity is being threatened by corporations (ironic, given that Madonna is a formidable corporation in her own right).