Madonna at the Kabbalah centre in NYC (June 22 2019)
After a few albums chasing the pop charts (the same ones she set the blueprint for), for Madame X Madonna refreshingly reverts to experimental mode — it’s not like commercial radio will play her any more, she’s not 30.
Gone are the communal writing sessions in search of a hit, replaced by mainly one-on-one work with Mirwais – the French artist who steered some of her most subversive work, including this album’s most direct descendant, 2003’s American Life.
Madonna’s always thrown a musical genre orgy, but not on the bilingual global scale here. read more →
Madonna’s 14th studio album fuses political intent with world pop disco.
Madonna has always worked well one-to-one, and after her hip trap-inspired singles with Quavo and Swae Lee, and the reggaeton dalliance with Maluma, she has saved the best for last. The real treat on this album is Madonna’s vivid, dramatic work with Mirwais. They send the disco ball spinning on French house tracks like God Control and the very fine I Don’t Search I Find, while Dark Ballet is rococo brilliance, sounding like a deranged Nutcracker Suite. Where 2015’s Rebel Heart seemed like a record made by committee, this album reflects Madonna’s life in Lisbon – laid-back, curious, and intensely creative – absorbing influences ranging from percussive Moroccan gnawa to melancholy Portuguese morna. The pace plods on some mid-tempo tracks, but overall this is a personal, politically-charged mix of dark thoughts and good vibes. Lucy O’Brien
4 out of 5 stars
Madonna’s iHeart Radio Interview is now available as Facebook Live
Madonna scores her record-extending 47th No. 1 on Billboard’s Dance Club Songs chart, as “Medellín,” with Maluma, rises 2-1 on the June 29-dated survey.
Latin charts titan Maluma, meanwhile, notches his first Dance Club Songs No. 1.
The chart (and all rankings dated June 29) will refresh on Billboard.com on Tuesday, June 25.
With her latest coronation on Dance Club Songs, which measures reports submitted by a national sample of club DJs, Madonna pulls further ahead of runner-up Rihanna, who boasts 33 No. 1s. (The chart launched as a national survey in the Billboard issue dated Aug. 28, 1976.)
“Medellín” was released, in its ballad form, on Madonna’s new album, Madame X, released June 14. “Medellín” was remixed for clubs by Offer Nissim, LA95 and Robbie Rivera, among others. read more →
The full Interview will air June 28th at cheriefm.fr
German TV Station Das Erste interviewed Madonna for their TV Show Titel Thesen Temperamente.
1 (-) WESTERN STARS – BRUCE SPRINGSTEEN
2 (-) MADAME X – MADONNA
3 (1) DIVINELY UNINSPIRED TO A HELLISH EXTENT – LEWIS CAPALDI
4 (-) DOOM DAYS – BASTILLE
5 (Re) UNKNOWN PLEASURES – JOY DIVISION
6 (4) WHEN WE ALL FALL ASLEEP WHERE DO WE GO – BILLIE EILISH
7 (8) DIAMONDS – ELTON JOHN
8 (6) THE GREATEST SHOWMAN – MOTION PICTURE CAST RECORDING
9 (10) BOHEMIAN RHAPSODY – OST – QUEEN
10 (19) 50 YEARS – DON’T STOP – FLEETWOOD MAC
Official Chart Company
Madonna going to / leaving The Tonight Show with Jimmy Fallon (June 20 2019)
At its most interesting, Madonna’s first album in four years conjures up a few surprises, not least the tempo-twisting Dark Ballet and its mash-up minimalist piano, vocoder-voiced bridge borrowing from Tchaikovsky’s The Nutcracker and trip-hop undertones. There’s also much to admire in the sweeping Philadelphia soul and Vogue-like chants of God Control, or the noir-esque balladry of I Don’t Search, I Find. It’s hamstrung, however, by an over-reliance on by-the-book Latin motifs, often accompanied by Portuguese or Spanish-language vocals and woolly protest lyrics like, “I’ll be Islam if Islam is hated/I’ll be Israel if they’re incarcerated” (Killers Who Are Partying). Coupled with excursions into pedestrian African tribal rhythms and generic Jamaican dancehall, it gives the impression of a woman pitching jingles for a Benetton commercial. Teny Staunton
3 out of 5 stars