Leaderboard

Just in case anyone's not seen this yet. Stage map of where she sings the songs.

Stuart's obviously not aware of the existence of the Orbit Remix of Justify My Love.

Stuart Price Shares Sonic Secrets From Madonna’s Celebration Tour https://www.billboard.com/music/pop/stuart-price-madonna-2023-celebration-tour-interview-1235449185/ A few days after Madonna’s The Celebration Tour kicked off at London’s O2 Arena to a sold-out crowd and rave reviews, the tour’s music producer Stuart Price – previously a part of the pop icon’s orbit as the co-producer on her high-BPM classic Confessions on a Dance Floor – welcomed Billboard into his London studio. The English producer/DJ’s flat is in the thick of the fashionable Notting Hill district — close enough to the action that during the annual Notting Hill Carnival, Price says “the alarms in the studio always go off because there’s all these bass systems pummeling through the walls.” The second-floor recording studio is a clean, neatly arranged space dotted with guitars, comfortable chairs and a cornucopia of electronics, much of it vintage (at least by the ever-shifting standards of technology). As we speak, Price is seated next to the wood-paneled board he used to mix Confessions; not far from it casually rests the $250 microphone that Madonna used to record a number of songs for that 2005 LP. With no live band backing Madonna’s 78-date trek – her original recordings take center stage on this tour — Price’s role as music producer has afforded him more opportunities for input and innovation than someone in the same role might have on another pop star’s tour. To that end, The Celebration Tour includes sonic Easter eggs and clever references for the faithful to parse as they’re engulfed in an aural and sensory journey through the life and art of Madonna. For as much time and thought as Price has put into the Celebration Tour, he’s certain it pales in comparison to what the Queen of Pop has invested in it. “As much as Madonna demands of anyone working with her, she demands that much of herself as well,” Price tells Billboard. “It’s always in the pursuit of, ‘How can we improve this? How can we aid the arc of the show?’ It’s nice to have a show you can unpack whether through memories or during a second visit. It’s a show that can keep giving.” Of a tour that covers four decades of classics – and is notably her first tour not in support of a new album – Price opines that, “It’s impossible to look back without looking forward.” Referring to the airborne platform that permits Madonna to float above the crowd during “Live to Tell” and “Ray of Light,” he explains, “That’s why there’s a window frame in the show. That window frame is about reflecting backwards and reflecting forward as well.” From providing glimpses into his creative process with Madonna to revealing certain audio Easter eggs that pop up during the show to potential setlist changes, here’s what Stuart Price told Billboard about working on Madonna’s The Celebration Tour. I’m going to start with a granular question. In the Celebration Tour, “Like a Prayer” is melded with bits of Sam Smith & Kim Petras’ “Unholy” and her own “Act of Contrition,” which features electric guitar from Prince. Yes, correct. The medley is inspired. Was everything from “Contrition” that appears in the tour from the album? There were some parts of the Prince solo where I was listening and thinking, “I don’t quite remember this bit.” Part of the joy of working on this tour specifically was how we were going to approach featuring original recordings. It’s a tour which is essentially biopic in style, documentary in style. When you see a great documentary you get archival footage, a real taste of stuff that happened at the time. Madonna’s archive of multi-track recordings covers a vast era: multi-track two-inch tapes all the way through DAWs today. When you work in a DAW today, you delete what you don’t use, and the file is gone. But the old tape multi-tracks, everything was recorded and what was muted was done at the time of the mix. So if you now listen to those recordings 25 years later and have the channels open, you hear all this stuff that was not present in the final recording but is available. I used everything I could of the guitar because it’s incredible. For a tour that is connecting memories of relationships, partnerships and musical experiences, using original stuff is so important. If you’re able to find stuff in that original recording that no one has ever heard, you’re actually getting to peek behind the curtain. Was there anything else like that? There’s another moment like that at the beginning of “Erotica.” We were searching for atmosphere for the intro — “Erotica” begins with this big, booming bass line and we needed to fill some time. In the original multi-track to “Justify My Love,” there’s this great moment about 30 seconds before the song begins. Madonna gets into the vocal booth and she’s waiting to record and she’s getting into the mood of the song and Lenny Kravitz appears. He says something very innocent like, “We’re gonna put some reverb on your voice, we’re gonna f–k with you a bit.” And she says, “That’s okay, you can f–ck with me.” It’s such a great soundbite. That’s a great example of this thing that’s from the time but has never appeared. The tour features music from Prince and a bit of Michael Jackson’s “Billie Jean.” I’m guessing the estates gave their blessing. I approached everything on a musical level for the tour, I don’t know relationships or how they do that. “Billie Jean” appears in “vs” form alongside “Like a Virgin.” The “Virgin” vocal struck me as slightly different from the original. “Like a Virgin,” the vocal from that is the original recording. There’s a few things happening in the show. There are segues or mashups of songs where you just need to make it work. So that might involve transposition or time correction or stretching or shortening or whatever it is. When you’re trying to pursue storytelling ideas through music, you should never let a technical consideration get in the way. If you do that, you’re diminishing the strength of the idea. We may change the key of the song because it’s better for Madonna to sing — the A note is to serve the arc of the show. There’s probably elements of time crunching that happens. Opening the show with “Nothing Really Matters” was totally unexpected, and the setlist includes a few songs she hasn’t done in decades. Was the setlist locked by the time you got involved? I first talked to Madonna about this tour in February of this year. When we first spoke at the time, she was already prepared with her full pages of setlists and ideas of exactly what she wanted to do and how she wanted to do it. The phone call was actually Madonna directing what the show was going to be. Her preparation is always so considered. Much is always made of Madonna’s collaborators, but there’s no two ways about it: She’s considered everything before she even gets into the room with a collaborator. And it’s fantastic to work with someone with such strong direction. So to answer your question, the setlist was almost fully realized. On opening night, she was very candid about the bacterial infection that sent her to the hospital and postponed the tour. When she was in the hospital, did you ever wonder if the tour might not happen? For a tour you’ve been working on for such a long period of time and that’s had so much time invested in it — especially by Madonna — when you take a break for it, the only thing you focus on is “what’s the end result of what happened here?” To me that is someone who looks so strong, so healthy, sings so great and moves so great. Your experience when you see the show is one of wonder. Not just creatively but artistically as well. Her voice sounded amazing. And she does “Ray of Light,” which is a tough one to sing, and nails it. In terms of building the show, top of the list is got to be, “Can we make something that is enjoyable to perform? Can we make something you feel confident doing?” The number one reason for doing that is it’s all about the vocals. To give a singer the platform to sing and be themselves is the number one goal. All this stuff is aimed toward, “Does Madonna feel like she can hold the microphone and really go for it and deliver on it?” I love a comment I’ve received from fans after the show. A couple fans go, “Is that all tape vocal?” To me, that is the biggest compliment because it’s all live vocal. There’s a couple of spoken word sections in the show where we just use track. But it’s all live vocals; there’s backing singers — there always has been — but it’s all live vocals. I hope that you hear the humanness of the vocal coming across as well. Well, you certainly knew it was live on opening night when there were sound issues on “Burning Up” — she even joked about it. One thing I marvel at – I go to a lot of DJ shows, and what’s the biggest cheer of the night? Is it the beginning of the show, the end of the show, or when the DJ accidentally knocks a fader or button and the whole thing stops, the DJ pretends it wasn’t them, points somewhere else and gets this huge reaction from the audience? Because it says, “This is real. It’s fragile.” After eight months of rehearsal, the factor that changes is the audience. There’s a heat, a bunch of extra noise, and on that night, there was a technical hitch with the computer system on “Burning Up.” Whilst anyone responsible for the show is concerned, there’s this other connection going on between Madonna and the audience, which is completely improvised, off the cuff and more importantly a real human connection. It’s a unique human thing that happened for the night. And it gave the audience a few minutes with her, totally unscripted, which was great. When you’re watching the show now, are you still making tweaks and fixes? Yeah. The day you lose desire to keep improving is the day you should step aside. If you’re invested in something and care about it, it’s impossible to be an artist and not constantly be considering how you can improve or evolve over the course of a tour. There are a lot of clever audio moments in the show. I love when the camera is rotating around Bob the Drag Queen and we hear the “Lucky Star” synth roll as it moves. Are there any deep cuts most people won’t notice? Sure. Actually, prior to that movement, the startup noise of the show when Bob the Drag Queen comes on and says, “it’s show time,” there’s this sort of slow-building motorized arpeggio sound. And it’s building momentum like a clock or disco ball spinning faster. (It’s) from the song “Lucky Star” — there’s that iconic arpeggiated sound. I took that and we just stretched it out as long as we could. And then we stretched it a little bit further until we could break it down into individual component noises. So that speed-up is coming from the original “Lucky Star” arpeggio deconstructed and gradually sped up until it gets to original speed. That’s cool. There’s a little moment right before “Live to Tell” which is a very emotional part of the show, where there’s a reference to “In This Life.” When you look at her volume of work, there’s gotta be more than 70 hit songs. So how do you approach 70 hit songs in a two-hour show? The answer is by creating a continuum of references, of lyrics, of melodies of as many songs as possible, whether it’s a bridge or an overlay. (You hear) “In This Life” between the end of “Holiday,” which is about the death of people in that era, and using it as a transition into “Live to Tell.” And using a spot of “Angel” as a transition from “Billie Jean” into “Bitch I’m Madonna.” That’s how you collect all these songs. When she called you up, was the decision to forgo a band already made? Madonna, right from the start, decided she wanted to present the show in a different way. And she wanted to do it in ways that were noteworthy. With this tour, I thought it was fascinating that she’d decided, “I want to come out, be me, sing the songs and perform them front and center.” Whilst I love having a band on stage, I thought it was an interesting idea she wanted to do for this. Within that discussion came conceptually how do we create a set of performers from original recordings. The answer was, we’ll feature the recordings: we’ll deconstruct them, manipulate them, reinvent, juggle and use parts that haven’t been heard before. When you get to a gallery or a museum and see a sculpture, you don’t just experience it in fixed, static two dimensions; you get to walk around a sculpture and study it from different angles. Wouldn’t it be exciting if we could do that with music — study it from different dimensions? Those are different ways to peer inside. And it’s pretty amazing watching her kids perform during the show. Mercy James’ piano playing was so impressive. All Madonna’s children are gifted individuals and they’re musically gifted. It’s impressive getting to witness contributions that large in a stage show. Mercy’s piano playing is just stunning. David as an individual – as a singer, as a guitar player – you get a sense of his wonderful personality, it’s so infectious. Estere and Stella – same thing. Is it possible you and Madonna could be working on new music? You measure a working relationship not by the gaps between but by how easily you pick up again from when you left off. As soon as we started to work together on this tour, the shorthand was there. We were able to create productively. The key component of working together is “do you understand each other?” And musically, are you able to challenge as well? That’s how you get the 1 + 1 = 3 outcome. So, I’ve really enjoyed working together again. [laughs] Can we expect setlist changes or surprises as the tour rolls on? I think… Madonna’s reputation is for always having a highly rehearsed, highly choreographed show and she provides the element of dynamicism with her interactions. But at the same time, her mind keeps evolving and reaching further. And it’s common on her tours to start to perform to audiences, feel what works and where there’s an opening to do something new. It would be foolish to not take opportunities to act on inspiration. It’s a long tour. Right now, what audiences are seeing is the pure form rehearsal version of the show, and as it goes on, there will be an evolution. London’s O2 Arena has an 11 p.m. curfew, and on opening night she went a bit over. What makes it difficult to start on time and hit that curfew mark? What’s happening in those 15 minutes before it starts? Yeah. Well, what goes on is preparation, preparation, preparation. Madonna is committed to always showing up on stage in a zone of confidence and inspiration. Every day before the show there’s soundcheck, there is rehearsal in the soundcheck. I think being so uncompromising about making sure the show doesn’t have anything that could be overlooked takes a certain amount of time. It’s interesting, in my experience – I worked with Madonna [on tours] in 2001, 2004 and 2006 – the ticket always said 8:30 and she was always on by 9. And on this tour, the ticket said 8:30, and she’s been on by 9. No one is delaying for delaying’s sake. What’s your favorite moment in the tour? Emotionally, the strongest moment in the show is “Live to Tell.” It’s powerful. It’s a reminder that Madonna has soundtracked a lot of our cultural history. It’s so striking because she’s addressing people that have been lost, people that were friends, people that were muses and collaborators. You see them on the screen, and they’re gone, and Madonna is still here, having been with those people, and now singing to them. It’s hard not to feel something on a human level. Also, when the opening happens, it’s so powerful. Nothing compares to the moment when someone comes out in such strong voice, looking so powerful. It really hits you. That’s what the audience will connect to – and in turn what Madonna will connect to from the crowd. That relationship is what it’s all about. I also love “Nothing Really Matters” as the show opener because of the line, “Everything I give you / all comes back to me.” That seems sort of like a theme of the overall show. The Easter egg there is the end of the song. What she did is repeat the lines “in your arms, in your arms.” She says it once on the album but four times live, because that’s the message.

OMG.

In reality, she doesn't look like that at all. I can't stand these fans who use FaceApp on all her photos. That's humiliating. In person, she's more beautiful, you can see that she's in her 60s, as it should be, and she doesn't look like a doll. Let's also ask ourselves why Madonna suffers from body dysmorphia. The fans have been contributing to the problem for years!

I mean, I can see some changes being made to the show down the line, but I don't think we should hold our breath for any song in particular. Remember when Madonna rehearsed 'Devil Wouldn't Recognize You' during the Re-Invention Tour?

Hm I disagree. There’s some interesting info but most of it seems like non answers to me. Also some inaccuracies.

Jees guys give Stuart a fucking break - you all moaned about Kevin Antunes ( myself included ) and she gets Stuart back who does a fantastic job with this tour and now you are over analysing an interview he gives with back story on the tour - get a life bitches 🙄 children are being killed in Gaza for fucks sake 🥹

PERFECTION!!!!

I can’t believe how amazing she looks on this tour.. just stunning. Love all the looks.. the ROL jumpsuit is just perfect.

Time to remember how GOOD "Verás" was and still is: Around that time lots of UK and US artists did Spanish versions of some songs to put them as bonus tracks and to help them in Spain and SA markets. There was a big, big potential gain in those. But usually, except for some cases, those versions were CRAP. "Verás" was one of the good ones. She really took the time and effort to do something great. Don't know if Carlos helped her or who, but the result is totally convincing and emotive. She's never sounded that good in Spanish again. "Lo Que Siente La Mujer" was kinda OK but had some weird moments ("mistiiiriosa") and "Spanish Lesson" is a little bit of a cringe-fest for Spanish speaking listeners - but fun anyway. Edit: I forgot about "Medellín", she's OK in that one too except for "ven con-migó", that sounds a little mmm. Anyway Maluma is in charge of almost all the Spanish parts there.

So here's a recap of what we should expect next, according to YouTube copyright and anniversary dates: - "Nothing Fails"/"Nobody Knows Me" Remixes: next Friday?/in a couple of weeks? (original release date: October 27, 2003) - "You'll See": next Friday?/in a couple of weeks? (original release date: October 23, 1995) - "Don't Tell Me" Remixes: around mid November (original release date: November 14, 2000) Of course, nothing official/confirmed yet. If "You'll See" is coming, it should have been released today and "Nothing Fails" next week, but whatever. "Verás" finally on streaming is what's important.

He never said it wasn’t heard before, just that in the original multitracks you can hear the “fuck” part before the song as a response to Lenny. Backing singers are present, as shared by one of them. They did a studio session so they are not present live in the show, and they were recorded by Kevin (and now we know why he was at first rehearsals).

AMAZING PIC and this one's nice too, I like the attitude

Voulez Vouz… will you kiss my dick?

RIP to DJ Mark The 45 King - remixed "Keep It Together" possibly the first Madonna remix to feature a DJ Remix from someone out of her circle/not involved with album production. https://www.complex.com/music/a/backwoodsaltar/dj-mark-the-45-king-dead

i'm in awe of this tour. i can't believe how good it is. it keeps on resonating with me.

Eight things we learned from Madonna’s nights of Celebration in London The Guardian takes in a dazzling start to a tour showcasing a career that set the template for modern pop stardom Laura Snapes Fri 20 Oct 2023 12.04 EDT By the end of her four-night stint in London in the past week, Madonna’s status as pop’s ultimate survivor was assured. Four months ago, it was uncertain whether she would be able to begin her Celebration tour, showcasing a career that set the template for modern pop stardom. She was hospitalised in June with a life-threatening bacterial infection that left her in intensive care, and observers doubted the 65-year-old would recover in time. As did she. “I’m pretty damn surprised I made it this far,” she said on the first night. “And I mean that on many levels.” A total of 80,000 fans packed into the O2 Arena this week and, despite technical hitches on several nights, the tour earned four- and five-star reviews. Critics praised its canny assessment of her musical, cultural and societal impact – although some tabloids balked at its proud display of her sexuality. Here, the Guardian looks through her typically dazzling start. Community at her core Madonna with her dancers. Photograph: Kevin Mazur/WireImage for Live Nation Madonna would never have become the star she is without finding a community in 80s New York queer culture, as the Celebration tour made plain. Her dancers were largely Black, Latin, queer and trans, and the exuberance between them felt gorgeous and sincere. The show’s greatest stylistic influence is ballroom culture, which she first showcased in her 1990 hit Vogue. Her foregrounding of the artform – such as judging a ball competition and having the RuPaul’s Drag Race winner Bob the Drag Queen as an MC – felt like an authentic acknowledgment of a mutually loving bond. That was underlined by a profoundly moving tribute to her peers and the community lost to Aids: the giant disco ball that twirled during Holiday slumped to the ground, crushing a male dancer. As she started Live to Tell, screens revealed portraits of late friends including Freddie Mercury, Keith Haring, Robert Mapplethorpe and Peter Hujar. She sang to them on a suspended platform, the images multiplying so fast you could no longer make out the men’s individual identities. Madonna on stage with Bob the Drag Queen at the O2 Arena in London on Sunday. Photograph: Kevin Mazur/WireImage for Live Nation She’s still scrappy five decades in Starting three months later than planned, said the musical director Stuart Price, “created an opportunity to further enhance the show”. The performance was full of spectacular set pieces – a spinning carousel filled with muscular male dancers; flying stages; enough biblical symbolism to fill the Vatican – but it also felt thrillingly haphazard, befitting the young Madonna’s make-or-break attitude. That was dramatised in the prelude to Holiday, staged on the steps of famed New York nightclub Paradise Garage with Madonna begging the bouncer to be let in while gorgeous queens sauntered past. It also came through in her seemingly off-the-cuff addresses: beer in hand, remembering her early days playing at punk club CBGB’s before a brilliant guitar-led rendition of Burning Up; beer also in hand on night three as she talked about her anguish over the Israel-Hamas war. Age is no match for her Madonna on the opening night of the Celebration tour in London. Photograph: Kevin Mazur/WireImage for Live Nation One of the most moving aspects of the Celebration tour is its reflection of how much Madonna has had to overcome: poverty and risk as a young dancer in New York; ferocious censure; pop’s ever-present threat of obsolescence. Then there is also the sheer passage of time: the toxic combination of misogyny and ageism, not to mention the physical limitations that a body – and a dancer’s relentlessly flogged body, at that – can take. Madonna has been confronting the former for more than half her life. “The most controversial thing I’ve done is to stick around,” she said in voiceover – a clip from an awards acceptance speech – as newspaper clips lambasting her age spin across the backdrop. But she’s also vanquished the latter: executing a show this physical just four months after her hospitalisation is an astonishing feat; her undisguised knee support sleeve also read as an unapologetic acknowledgment of the exertion and bodily toll entailed in performing at this level aged 65. Her acoustic cover of Gloria Gaynor’s I Will Survive was well earned – and her voice sounded formidable. Conquering new sexual frontiers Madonna writhes on stage with a lookalike. Photograph: Kevin Mazur/WireImage for Live Nation Nobody has made sexuality into iconography like Madonna. But there was a point behind – almost – every cone bra and shred of latex as she protested prudishness and hypocrisy, sent up the absurdity of the virgin-whore dichotomy and foregrounded eroticism during an era where sexuality could become a death sentence. Onstage, her age added a new dimension to this lifelong mission as she revelled in her status as an object of desire and an enduringly sexual being. Family is everything Madonna and her son David Banda perform her song Mother and Father. Photograph: Kevin Mazur/WireImage for Live Nation During the song Mother and Father, Madonna sang to an image of her mother, while her son David Banda played guitar in front of a screen of his late birth mother. Madonna’s daughters also featured: Lourdes Leon helped judge the drag ball on night one, Mercy James played piano beautifully on Bad Girl and – stealing the show – 11-year-old Estere deejayed and vogued. And in respect of her queer and marginalised fans, she hymned chosen family – the support networks that many people create in the face of rejection and persecution at home. Wackiness is part of the enterprise The first half of the tour plots a fairly linear path through Madonna’s history. But once she passed the early 90s, narrative went out of the window in favour of the relative chaos that has become her modern calling card. There were samples of Sam Smith and Kim Petras’s provocative hit Unholy (albeit not Vulgar, Madonna’s actual duet with Smith), a delightful spotlight on the Dominican rapper Tokischa and a strange interlude for The Beast Within, in which Madonna’s dancers trudged through a desert landscape reminiscent of a Star Wars prequel. Controversy remains her second language Madonna in full iconoclast mode on stage. Photograph: Kevin Mazur/WireImage for Live Nation There were, of course, a few flagrant provocations: having paid tribute to Prince, with a purple-costumed guitarist ripping a guitar solo at the end of Like a Prayer, she also included a mashup of Like a Virgin with various Michael Jackson hits, while silhouettes of the two frolicked on screen in reference to their on-screen romance. And on night three, she expanded on her previous allusions to the Israel-Hamas war, lamenting the children killed in the conflict and advocating for “no sanctions, no land given or taken”. Her star power remains Despite the tour’s focus on Madonna’s fallibility, it was impossible not to behold the fact the actual Madonna was right there, running through a recent history that felt more like mythology. Betsy Reed Editor, Guardian US

What would be wild is if she did replace Rain w/Frozen but then swapped the background visuals as well. Like sang Frozen w/Rain’s video behind her.

like come awnnnnn she's triving!!!! she's so unbothered, moisturized, happy, in her lane, focused, flourishing!!!!

Claiming the “You can fu*k with me” part was never heard before, when we’ve all heard it for over 30 years in the Orbit Remix. The claim that all vocals on tour are live with backing singers. In the recordings we can clearly hear the live/playback/live+backing variations. And there’s no backing singers lol

I agree with everything you say, but there are some (even in this community) who use her age as a way to troll or degrade her. Some use the term "elderly" to minimize her accomplishments or try to make her lesser of a human being. They want to use those terms to demean her purposely and make her incapable of being the star she once was, yet still is. And while I agree, Madonna cannot compete with her younger self, she still defies what an average 65 year old can do. In fact, most 40 or 30 year olds can't keep up with the stamina of the current Madonna. And we should be respectful of the fact, that Madonna no matter what the last few years been like, she's managed to rebound physically on this tour. To expect her to perform like she did even ten years ago is being unrealistic. But again, a lot of what she does currently on tour, many 40 or 30 year old still can't do, on a weekly basis.

Love how she doesn’t have the grillz meanwhile we never saw her without them and some assumed she had teeth problems lmfao

From uk mix: ”more releases coming (allegedly 😉 ) You'll See (The remixes) - street date Oct 23 Nothing Fails (The remixes) - street date Oct 26” I doubt her team would release two maxis in the same week, but at this point nothing would surprise me.

All the vocals are live?! No shade but

So glad she got him back for this show - i will be really disappointed if we dont get any of his amazing studio remixes from the tour as they are absolutely amazing - its a shame because they will probably just release a "live" album even though a lot of it isnt live. and to think he had access to ALL her multi-tracks to these songs too - would be cool if they made another album together - it wouldnt surprise me - i feel like M has one great album left in her ... xx thanks stuart and great to have you back xx

Somebody who knows about sound better come up here and explain something to me… … I'm waiting

I believe Miss Madonna may have gotten a new or better publicist. Here’s yet ANOTHER recent media piece praising her, and it’s very interesting. https://www.theatlantic.com/magazine/archive/2023/11/madonna-hung-up-video-age-sexuality/675441/ Sent from my iPhone using Tapatalk

Rhino Fails

They rush deleted the tweet instead...

We know nothing.

I was gutted they didn't include the 'Here comes the sun...' bridge in Rain. That's literally the BEST part!!!

It's always interesting to read/hear about the technical aspects in Madonna's shows. I hope we get more interviews like this during the tour. And I too think Madonna's singing live for the most part... it's just that the backing track sounds louder than her mic sometimes But I really don't care. She really looks like she's having fun and every time she smiles genuinely is out of this world.

Thanks for further explaining. I see your point on the religious section. And I have no objections to adding Oh Father to that section as you described. I suspect the whole idea with "I Will Survive" is that it probably took a whole new meaning to her life, career and for the show after the health crisis. If it is true it was already part of the set list prior to her health crisis, then I find it a bit eerie in a way. It just shows how coincidences happen. At the same time, the song also tells a story or sends a message how over the years, no matter what limitations, struggles and backlashes she's had, she still survives. I do find it really interesting if the song was part of the set list all along. Weird how things like that happen. Then again, people having health issues especially around her age is quite common, so that is why I think it is an incredible coincidence how that song was there all along and then she had the health issue.

Patrick Leonard Celebration Video or the 4 Minutes video?

No we don't. We need a nice hot and cold buffet that runs the length of the stage. Madame X is a singer Madame X is a hospitable host.

We need an extended 12 minute version of Spotlight or Rescue Me.

I do like Hold Tight but I agree is not something I would sacrifice other stuff to hear.

I am amazed that many people are waiting with bated breath for… Hold Tight. I actually REALLY liked that album a lot — but even I was completely drawing a blank on that song… I had to go listen to Hold Tight again. I mean — it’s…. Fine. But it’s definitely NOT the one track off that album I’d put on any set list. Now of the other rumored tracks… Oh Father, however, would be pretty mindblowing…

Drowned World La Isla Bonita or Spanish Eyes?

Are you married? Dancer

But she is elderly. Madonna is technically a senior citizen. If you have a problem with the use of both of those terms it can only mean you have a negative association with a person being old. Being elderly isn’t a bad thing. It doesn’t take any value or humanity away, it adds it. It’s a good thing and it’s said with love and grace!

Moira McFarland Madonna: "But Moira McFarland taught me how to shave my legs. Let me borrow her stuffed bra.... Showed me how to use Tampons. Not very well, I might add. And taught me how to make out. Moria: "Madonna, I did not teach you how to insert a Tampon. And if we got in bed together naked, I don't remember that. Madonna: "She said she was never in bed naked with me? She's a liar. She's got an active imagination. She's a liar. Did she say she finger-fucked me? I remember looking at her bush. I know. See what happens when you take drugs and alcohol. I lose a lot of stuff. I remember the crack in her parent's bed because it was two beds together. I remember I fell through the crack. We were naked jumping up and down on the bed too much."

Same here, but she deserves her rest. She's still performing on a pretty intense schedule. I rather her to have a few days rest between performances. Anyone at any age can easily get exhausted or risk harming themselves by performing consecutive dates in a week.

I miss there not being a show tonight

Q - Is it possible you and Madonna could be working on new music? A - That’s how you get the 1 + 1 = 3 outcome

👀 👀 👀 (I've been obsessed with this emoji recently)

Great read. He avoided the question of them working together on new music…I really hope they do.

"Do something else. Do my eyebrows."