VogueMusic

Oh I fundamentally DISAGREE with that part. Those classic 80s numbers are brilliant fun, the costume design is gorgeous, and integral to that era...esp. Into The Groove. "Not that incredible"... uh, Music says otherwise. Most of those songs would have been great live, and would have added a great punch to the latter part of the show. As for being cut, it's rumored to be because of the health issue (could she have handled it physically), and the show running long already. I don't remember anything alluding to it "not being convincing".

Pitchfork can go to hell. GOOD RIDDANCE.

He's fabulous. So clever to have a drag queen as MC of the show, and he's the perfect fit.

No one is replacing Bob.

According to people who were there, she openly said on night 1 that she was not in a good mood and not feeling well. But most said the latter half of the show she picked up in energy. I've heard nothing but great things from night 2. Everyone says she felt much better, was in good spirits, and worked her ass off.

Interesting that there are so many comments about bad sound throughout this tour, that I was kind of expecting it. And lo and behold, it sounded utterly fantastic at my show. I say this without exaggeration - it was one of the best sounding shows I've ever been to (and yes, I've been to plenty of concerts). The only thing was to maybe bring her vocals up just a bit, but other than that, the overall mix was great that night. Sound was rich, clear, fat and pumpin. And it was loud as FUCK (which I loved considering some shows I've been to lately have not been loud enough). And that heavy bass was so goddamn hard it hit you up in your throat. I LOVED it. I'm thinking it depends on where your seat is, as most of the bad comments seem to come from the floor or the pits. I'm thinking the speaker layout is probably affected by the tons of rigging coming out over the audience, so perhaps that's affected how the sound fills the space. But I guess I just got lucky then.

FINALLY. Someone who actually knows their music history. The roots of Madonna's music in funk, R&B, disco, etc. ("Black music") is so far too often misunderstood, or outright dismissed. "Into The Groove" is the perfect example of that long held inspiration and evolution in her early work...and it truly became one of, if not THE, defining 'dance pop' songs of all time. The amount of things written about this single song since has solidified that fact. There's a real reason why ITG is often referred to as one of the single defining songs of the 1980s. Not to mention the first two albums period, particularly LAV (the album). It's become far to prevalent to dismiss her early work, when this work not only launched her into the stratosphere, but defined the culture unlike anything quite before...and why every pop bitch in the game has tried to replicate it since. To truly understand it, in the context of the times, is necessary to understanding what the entire Madonna ethos is built upon (and pop in general since). It's 'Madonna 101' but some refuse to take the course. And it shows. Also, a lot of these comments are clearly coming from folks who did not live through the 80s... If you knew, you knew. ITG is an eternal ANTHEM. There's a reason it gets the response it does on the current tour, from the very first few iconic notes.

The indoor arenas use the actual arena infrastructure to suspend rigging for whatever show is being presented, as in the picture above. Yes, all arenas are different, but they're made for rigging up whatever a production may need. For stadium or outdoor shows, since there is no roofing (and said infrastructure) to house/hang a production, they have to actually build it (that's what I meant by "custom engineer" it). Like the Sticky & Sweet stage below - What I meant was they'll have to build something like this if they're going to present the full, original production as she's touring it now - as major parts of the production require rigging (hanging) far out into audience, over the multiple catwalks. I don't think it's impossible...I think some of us are just unsure considering all shows so far have been indoors. (Sorry, I'm trying to explain it as best I can (based on what I've learned about touring productions). I apologize if I'm not clear... )

Actually, it is setup to be attached to the venue though. All the rigging for the entire show, particularly the extended lighting, flying portal, etc. are suspended using the infrastructure of the arena. That's typical setup for arena shows. Considering the design of this show, it essentially was made with arenas in mind - The only time they design and erect custom housing for the rigging system (depending on the design of the show) is when artists do outdoor stadium gigs (hence no roof). They can design a housing that will support it though, but it has to be custom engineered for it (like the extended rigging housing the circular screens that came down over the circular stage b for Sticky & Sweet). So technically it's not impossible. But I think it depends on the specific design of the individual show. Perhaps she worked it out as part of the deal? It would seem a bit out of character for her to compromise nearly the entire presentation of her show, esp. if said show is going to be filmed. Anyways, who knows...

Hmmm... I don't see what a tour book has to do with the official tour film? They are two completely different things. Madonna is one of the very few artists to have a track record of some sort of official video documentation of all her tours - full show or documentary. I doubt she'd leave out this seminal concert tour, considering it's success and what it represents. I highly doubt there would not be a film/broadcast of some kind.

Personally, that's not what concerns me. I rarely have that much of an issue with the editing either way. The only thing I'm a bit worried about it is if this is going to be the 'official tour film'...will it be the full original production design, or will it be missing key elements, considering they will be in an outdoor venue...? Seems unlike her to have the official tour film be a version of the show missing key production elements.

I believe every show is filmed by the in-house video team, every night. We've seen a bit of that footage from Sasha on his insta - https://www.instagram.com/reel/C2aKpQ_sm_j/ Most concert films from all artists are now compiled from that in-house feed, with the addition of some extra crane shots brought in on certain dates (if needed). It's not like the old days where you had to bring in a specific team, cameras, extra lighting, etc. That's just what I've picked up from reading articles about how they do concert films now. Don't take it as gospel though. As for Rio, who knows, but it wouldn't surprise me (as said above) that she wouldn't agree to this unless the direction/editing can be done by her team, with the director selected by her. Perhaps it will be Jonas, as he was observing cameras and talking with the team in LA. Though directing live, in real-time, is a different skill set that one really has to be well versed in to pull off correctly. So who knows...

As exciting as it is, I'm a bit worried if this becomes the final "official tour film" for this tour. The arena production is a creative, technical and theatrical marvel that deserves to be captured in its full, original glory.

The reason for lack of tourbook may just be cost to produce. As someone who attends pro national tours for theater regularly, as well as other live shows, for the past decade tour books, or "souvenir programs", have been all but slowly phased out. Majority of shows I go to now no longer have tour books. I've inquired why with industry professionals, and they have all stated that the cost to produce them is high, and is no longer considered worth it compared to how many they sell. So, essentially, they're just not seen as profitable anymore. Yes, some shows do make them still, luckily...but it's becoming much more of a rare thing. It's not unique to Madonna whatsoever.

Can someone possibly link to this post? What interview...?