Madonna’s Instagram Feed: September 2019
Shana Tova…………🍎…………..Madame ❌ #newyearread more →
Crave (Tracy Young Dangerous Remix) Video
I’m Breathless B&N Exclusive Yellow Vinyl
Barnes & Noble is releasing Madonna’s I’m Breathless album an exclusive Yellow Vinyl.
Pre-order is already up on their site.
Release date is set for November 22nd.
Madame X Tour – Entertainment Weekly Review
“You guys know who Madame X is by now, right?” Madonna asked the crowd midway through her set last night at the Brooklyn Academy of Music, her diamanté eyepatch glinting in the stage lights. “She’s an equestrian, a head of state, a cha cha instructor, a whore, a saint.”
She’s also Madonna Louise Ciccone, of course, and she is an entertainer; a job she’s held, essentially without pause, for nearly four decades. Though never quite as happy-go-loosely as she seems to be doing at this limited series of shows: a freewheeling two hours and 15 minutes of song and dance and conversation in a 2,000-seat venue so intimate, she might stop to steal a sip of your beer — which she did more than once, from a bedazzled fan. read more →
Madame X Tour – The Sun Review
Madonna kicked off her Madame X tour in typically controversial fashion last night — with raunchy set-pieces and blunt political messages.
The Queen of Pop, 60, pretended to perform a sex act on herself, likened one song to sleeping with Mozart and mocked President Donald Trump’s manhood.
She also brought three of her children on stage in front of the 2,000-strong audience at the Brooklyn Academy of Music.
Asked what she wanted to tell the crowd, seven-year-old daughter Stella said: “Me too” — in reference to the sex abuse campaign.
Stella was also joined by twin Esther in chanting: “You’re not my bitch.”
Madge, who offered a half-hearted apology for the 10.30 pm start, swigged from a beer bottle and joked she found one of her dancers on gay dating app Grindr. read more →
Madame X Tour – Paper Magazine Review
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.) read more →
Madame X Tour – The Atlantic Review
Her 17-date Brooklyn residency forgoes many of the greatest hits and fleshes out her Madame X secret-agent character to spectacular effect.
Madonna has banned cameras and phones from her performances at the Brooklyn Academy of Music’s Howard Gilman Opera House, but images will live on in attendees’ nightmares. They’ll not forget the traumatizing intro segment of chest-shaking gunshots and big onscreen bullet holes and a slain dancer. Or the apocalypse pangs later: a pianist in a gas mask, some riot-gear-clad ballerinas, pictures of burning forests projected behind her. Or—causing the biggest shiver at Thursday night’s show—how Madonna sat down next to a random crowd member and interrogated him about not having a date to her concert.
The abusement was the amusement, and the amusement was epic. “Artists are here to disturb the peace,” read the words typed out against a black backdrop at the start of the show, and the James Baldwin quotation proved malleable enough to explain the many confrontations of Madonna’s quite special Madame X tour. Rather than try to sell out arenas after a decade without a hit and the release of what’s arguably her oddest album, the 61-year-old icon has posted up for intimate residencies in a very few cities. Seventeen shows in Brooklyn kick off the gambit, with many tickets pricey enough to deserve censure by Elizabeth Warren. read more →
Madame X Tour – The Times Review
Well, she’s still got it. Not just the musical chops, but the ability to surprise. Madonna’s show at the 3,000-capacity Brooklyn Academy of Music, which comes to London for 15 nights in January, is two hours of intimate risk-taking, rapturously performed.
A recurring theme was a quote from James Baldwin that “artists should disturb”, the words punched on to a screen by a woman at a typewriter. Madonna has always liked to see herself as an agitator, but that often gets lost in bigger shows. Here the 61-year-old could communicate directly with a vocal audience, who were all the more engaged for being parted from their phones, which were sealed in special pouches at the door.
A bonkers blend of physical theatre, political sermon, club night and royal audience, the show criss-crossed between pop, disco, ballet strings, Portuguese fado and drumming from Cape Verde. The Portuguese influence comes from Madonna’s new home in Lisbon, where she moved to support her son David, a footballer with one of Benfica’s youth teams. He wasn’t here, but Madonna’s six-year-old twins, Estere and Stelle, danced ebulliently in feather boas, and her eldest daughter, Lourdes, 22, writhed in a giant-sized video cleverly projected over her tiny mother during her performance of Frozen. read more →
Madame X Tour – Variety Review
“Stop raping the matriarchy!” Madonna, clad in a sequin-encrusted Revolutionary war costume, shouted to the sold-out crowd at the Brooklyn Academy of Music’s Howard Gilman Opera House on Thursday night. Like the Madame X character she crafted for her 14th album, the Madonna who has opted for a theater residency after 37 years of touring stadiums and arenas is playing with multiple dualities. And like the alter-egos at the center of the album that dominates the concert, the show itself has a range of identities: at times it’s performance art, a political rally, a comedy show, a church and even her home in Lisbon, which inspired the record. And Madonna is everything from a political activist and a spy to a comedian and a “cha-cha” dancer on the stage. So why not mix sequins with a getup Thomas Jefferson might have sported while trying to protect women’s rights?
As she never really lets you forget, Madonna is calling the shots with “Madame X,” this show and plenty else besides. And for her, that means attempting to use her privilege and power to enact change while still owning her artistry, even if it is inexplicable at times.
Madame X Tour – Rolling Stone Review
Madonna has never shied away from taking chances. Thirty years after she set fire to the Eighties with the disco basilica Like a Prayer, she’s as gloriously weird as ever. Hence her excellent new Madame X tour, a testament to the genius in her madness. Instead of a full-blown tour, she’s doing these shows as residencies in intimate venues, starting with 17 nights at the Brooklyn Academy of Music’s Howard Gilman Opera House. The tiny rooms are the perfect place for Our Lady to strut her stuff. Like her Madame X album, the show is messy, but anyone who’s scared of a mess should avoid Ms. Ciccone entirely, because as any fan knows, her weirdness is where she finds her greatness.
The show follows Madonna’s adventures around the globe. “Everybody knows I moved to Lisbon to become a soccer mom,” she said on Thursday night. “I found myself alone, without friends, a little bit bored.” So after too many Sundays at her son’s soccer games, she started going out to Lisbon clubs and flipped for Portugal’s fado rhythms, which got her creative juices flowing again. As she announced, “From now on, I’m Madame X and Madame X loves to dance!”
The show started extremely late — she didn’t go on until nearly 11 p.m., which she kept joking about all night. “Forgive me if I kept you waiting too long this evening,” Madonna purred seductively, stretched out on top of a piano. “I don’t like to keep you waiting. But I have an injury. I have six kids. I have a LOT of wigs.” Then she had a couple of her dancers help her off the piano and improvised a pop melody: “I bet you had more sleep than meeee!” No rest for the wicked, indeed.
Madame X Tour – Billboard Review
The joy of being a Madonna fan is that she’s a true artist, an incisive creative eye who embeds meaning and shades of emotional grey into her work; the other great thing about being a Madonna fan is that she’s an artist who also happens to be a pop star. So when she has something to say, it’s in the details, yes — but wait long enough and it’ll also be bludgeoned over your head.
“Freedom is the theme of this show,” Madonna told an enthralled, intimate crowd at the Thursday (Sept. 19) night show of her Madame X Tour at the Brooklyn Academy of Music. “And the theme of my life, for that matter.”
She might have explicitly spelled out her mission statement during the show, but when it kicked off just before 11pm ET, she eased into the theme with a characteristically unabashed mixture of high art and high camp. As a silhouetted typist hammered out a James Baldwin quote at a desk, a lithe dancer mimed dodging bullets, eventually succumbing to the barrage. After that, Madonna hit the stage, staring out from beneath a Revolutionary War-style tricorn hat as a battered American flag fluttered via video projection. There probably isn’t a more deliciously kitschy way to introduce a show speaking to what personal freedom — and danger — means to the America-born pop artist.
The first song, Madame X’s lush disco standout “God Control,” turned the focus from national mythology to personal history, demonstrating exactly where Madonna found her freedom — on the sweaty floors of New York City discotheques in the late ‘70s and early ‘80s — and how she sees it, quite literally, under fire (the gunshot-punctuated musical odyssey explicitly nods to the 2016 Pulse massacre). read more →