Advice for anyone heading to Madonna’s concerts: Dress in light fabrics that breathe.
Also consider bringing fans, ice packs and smelling salts.
Madonna has decided that the best way to preserve her less-than-powerhouse voice is to turn the air conditioning down to a barely perceivable wheeze.
The result transforms whatever venue she plays into a virtual furnace.
At least the heat makes sense on a thematic level. As tipped off by the title – “Confessions on a Dance Floor” – Madonna’s new show aims to re-create the sweatiest kind of nightclub.
“Confessions” finds Madonna in full spectacle mode. She crowds the two-hour event with theatrical set pieces, gymnastic feats and plenty of puzzling “messages.”
The result offers up Madonna’s usual mix of the fantastic and the frustrating, with the balance tipping a bit too close to the latter for comfort.
Let’s use dance-club jargon: There exists something called “peaks” – those moments when a deejay’s skill matches the dancers’ will, to create a flash of transcendence.
“Confessions” features precisely one of these, along with several near-peaks tucked between many deep and meandering valleys.
As usual, Madonna divides the show into four acts, starting with an equestrian section inspired by the star’s riding boo-boo last year. It comes complete with X-ray footage of her once shattered bones. Having revealed her fleshy parts in the past, apparently now it’s time to flash us from the inside.
But don’t get too excited. This show isn’t about “shock” – unfortunately. More often it’s about teaching us a few “lessons.”
By Act II we find Madonna affixed to a crucifix for “Live to Tell.” While it was cheeky to outfit a cross with disco mirrors, it’s a head-scratcher as to why the video behind her flashes shots of African children orphaned by AIDS.
Never content to simply entertain us, Madonna wants to present herself as Martin Luther King Jr., only with Farrah Fawcett’s hair.
Still, there’s a deeper problem with the show. Most of the material comes from the new “Confessions” CD, which is only half great. The album’s worst songs drag it down. Its best provide some of the night’s highs, including the undulating “Get Together” and the propulsive “Sorry.”
The highest “peak,” though, comes during a redo of an older number: a “mashup” of her hit “Music” with The Trammps’ “Disco Inferno.” It is inspired and cutting edge, too.
Gorging on ’70s nostalgia, the last segment has Madonna poured into that ABBA-esque unitard of hers. The 47-year-old mother of two looks drop dead in the thing. In fact, her body functions as the show’s ultimate special effect.
Madonna has launched three giant road shows in just this decade, which means she may be going to the idea well too often. No wonder her latest foray only rarely manages to be as hot as the venue.
source : nydailynews