RebelHeartbreak

I like the hair tease posts. Even when they never show up again. Lol. We always see wigs around her, but she never really wears any of them, unless it's been for a photo shoot or party/event. It's strange to have so many around unless the kids wear them for dress up. The wigs we've seen her in have most likely been catalogued and archived with the clothing/costume it was worn with. I'm a hairdresser, so I've noticed all the reliance on extensions more than wigs, which work better for her, but in general Madonna's hair has always been the star of her eras, so the obviousness of badly color-matched, often too long extensions takes a bit of the magic away from the transformations for me. I like her glamorous looks, but her candid moments really do make her look ageless. It would be nice if she does make a deliberate change for the next era, is to just look comfortable. All the corsets and boobs and hair, it all just looks like a costume now. or maybe being a hairdresser during lockdown has me overthinking this. ?

I was excited about Madame X until she introduced herself in person. So I'm not really sad to see her go. I wanted to like her, but she polished up her resume too much, and was more than she could (or wanted) to deliver once she got the job. I want to think that the show wasn't finished and the crazy schedule and injuries just kept her from evolving the show into a more unique and fluid experience from night to night, and that may be wishful thinking, but whyever the timeline of her injuries is, the show was a train wreck from the start. The path from mysterious Madame X to Mozart out da pussy jokes was like a rollercoaster stalling out in the middle of the ride. Excellent concept, great visual content, shitty attitude from MX starting with album promo interviews forward, and the shockingly amateur execution of the tour. I can't help but now think the only true successes of this era was the absolute lockdown on leaks, and the #1's on the album and dance charts. the wasted potential of all the Madame X personas is more confusing than anything. I hope the concert film changes my mind, but I'm okay with Madame X handing the reigns back over to Madonna.

This is not good. Contracts, especially in the entertainment industry, are always reported to Make the talent look petty, corrupt, or entitled. They're written to be extra specific and purposely vague, so I can't see anything leaking to be positive. For the hackers to know that using Madonna's name and her most recent contracts would generate publicity makes it more worrisome. I'm sure that these will most likely leak, based on the nature of the ransom demand, and Madonna has had these lawyers for a LONG time.

I went to four shows, my fifth would've been 2/18 in Paris...but, you know. Having more time to reflect on the tour I was fortunate enough to have seen 4x, but each show I saw was a different favorite, mainly because Madonna's mood(s).* But the one that got me out my seat every time was American Life. I've always loved that song and era, and the use of the video footage ON the staging, along with that amazing synth bass in such a compact space sounds like its zipping across and tearing through the air above her, and us. It really did create a tremendous assault to the senses. I'm happy that she's recognizing its existence after its omission from the Celebration collection. 9/22,NY.: I Don't Search... *mood was icy, but funny. 9/24, NY,: American Life *mood was scripted to be icy, but funny. She really sets up AL with the IDSIF performance. All those stairs and trap doors! Now I know she was in pain, so the mood was justifiable. 10/21 Chicago: Extreme Occident *mood was charming but condescending. I love Madonna when she's seems sincere, And she did during this performance, especially in Chicago. 12/8 Philadelphia: American Life *mood was weird. Injuries aside, which didn't really affect the show that much, but there were moments that she really came across like she wanted to sit and talk. Lll

I've wondered about the editing particularly of MDNA and Rebel Heart being SO overdone because there's been so many decent to high quality bootlegs available on YouTube well before those tours were even completed, much less ready for her to broadcast or release a "definitive" version. We all know she likes the element of surprise, but when every tiny detail of each show on each tour is already available to be seen, compared, and graded... what else can she do to wow us? First, the footage must obviously be edited to capture each angle shot, in real time, so that the at-home audience feels dizzy from the pseudo-360 degree 3-D effect.... but let's NOT put the backdrops as bonus material. They MUST be overlaid ON TOP of the HD footage. Lest we not "see" the show as it was meant to be. ??. looks like the MXT is another case of using the entire toolbox of effects...perhaps she forgot she locked up all the additional film crew's equipment this time around? Lol it seems like it's a 'chicken or the egg' type of situation. Did she cause it, or did we? Lol

As brief as this era has been, it makes me wonder if it gets another bit of a relaunch in a couple of months. As flawed as this era has been, the MX album is still somewhat marketable. The best parts of the tour were the playful moments and her sincerity in her performances of the MX songs, except maybe Crave. But THAT is another story. It's like Ghosttown not being a regular song on the RHT setlist. IF there's anyone around her that's smart, or if she wants to retain interest in this era coming...ugh, full circle, she should release 'Crazy'' as a live video single (ala 'Like A Virgin' from ToD on MTV) and a "radio remix" to radio/streaming. Madame X is: A saint, A sinner, and, A feisty old broad. Voce nao vai me por tao lo-o-o-ouca Voce nao vai me por tao louca.

I agree the eyepatch was part of the problem as it's normal to move cautiously, or at least with trepidation, when you can't see where you're going. This move was cut after I saw the show in NY. Chicago 10/21 and Philly 12/8 each didn't have this choreography during Vogue. Honestly, Vogue was not a high point for me this time. The choreography to me was too much and not enough. It was nice to hear her sing it live though.

I am completely outraged. ...that I bought one.

She's going to finish the tour, and I hope the broadcast/streaming of the show will happen soon. Not #soon. Lol. I can't say from my experience of seeing the show 4x in North America that she's unhappy with the show or tour itself, I can't say if she's unhappy about anything, ever... but there is a very distinct difference with her message of the show (musically, theatrically, topically. It's all very clear to me she's making feminist statements throughout the show.) versus the attitude and demeanor her Madame X persona takes, which is a little beyond bitchy and just shy of condescension. She's not going to have a cancelled tour on her resume. So the feeling I've gotten is: if she has to suffer, the so shall we. There have been a few rare moments that she has to truly prove something, whether if she's been universally misunderstood for a project like Pepsi-gate, or the Justify My Love/Erotica/SEX period, or the American Life video, or killing it during the Confessions era with her riding accident, etc., and now with Madame X, she's not proving to everybody she can do it as much as proving it to herself. Even a senseless mistake like a chair not being in place, on an already injured performer, can be tremendously painful to her body, not to mention her ego. Nobody likes looking like that. This is not my favorite era, but I will always root for her to succeed. My hope for her is that she feels like she's accomplished more than she set out to do with this tour, but that she can also find contentment in the future with just performing her music; either as simply, or as complex, as she wants.

I hope she sorts out and recovers from her injuries, and then move quickly on to the next project. I would like to see her return to Warner Records or independently release new music. She could capitalize on her 50 #1’s on the dance chart with a digital release. At this point, I wouldn’t mind if she just released ep’s for a while. I hope the Madame X Tour doesn’t drive her away from theatres or smaller venues because I really think she has a good concept to build on. I also hope she gives it another go because one thing that seemed to distract me during the MXT was that she seemed frustrated, like she wants to enjoy this tour and can’t, so the audience gets put into the sometimes awkward position of being the sole reason she’s painfully suffering us. LOL. That said, I can’t see the inevitable greatest hits or classic album tour be too far off.

There's really no excuse that's good enough for the tardiness at this point. It's not like anyone attending the show can just go hang out at a bar until the show starts. And no, not everyone in Paris is sleeping at midnight on a weekend, but let's see how this goes over on a Tuesday or Wednesday. Having sat in 4 of Madame X's audiences, the waiting and the no phone policy do make it feel slightly hostage-like. ?

oh, I appreciate the attention to detail they take, although it was slightly irritating to go get printed tickets from a pdf, even having "mobile entry" for a few places. I hope it's just opening night hiccups, and no one has to stand in the cold night for too long! I'm still irritated that she postponed my 2/18 show, it's was going to cost me $3000 to rearrange my trip to March, and $2500 to go to London and try to replace 3 refunded Paris tickets, along with round trip train/flight to London.

I just returned from Paris on Thursday. This was my 4th trip there in the last 5 years, and the security process is extreme, but usually highly efficient and organized, but they do love a paper ticket with a barcode, so I hope the handwritten ticketing isn't going to be a crazy process, and with the Yondr pouches, too

Burning Up. Even as a kid, I always felt drawn more to the songs Madonna wrote vs those written by others. Lucky Star and Burning Up were always more fun to listen to than Holiday or Borderline. Same thing with Angel and Into the Groove. I always preferred them over Material Girl or Dress You Up.

Duh!!! sorry, I'm old!!

Give it 2 Me Get Together Music Nothing Fails Ghosttown Die Another Day **Looking at my list, these are NOT necessarily my favorite songs of that decade, but it makes it clear to me how odd some of the singles choices have been** edit: I changed my list deleting DAD and adding GI2M edit 2: ghosttown is 2015, thanks @pourhomme80

Sorry, but it is definitely one of the highlights of this show. It sounds more current now than it did in 2003, and I think she loves playing it, and I loved seeing it. to each their own.

My Paris show on 2/18 was postponed, so I'm looking for 3 tix to London on either 2/15 or 2/16. Ideally for £250-£300 each.

I've seen it three times so far. 2x in NY 1x in Chicago ill see it again on 12/8 in Philly and was supposed to see it in Paris on 2/18, which I'm now trying to get 3 tix to London on 2/15 or 2/16... but I digress. I'd give it 3 stars. It's special, it's interesting, and it's pleasantly weird. I think the "intimate" tag it's getting isn't accurate. It's private. No phones in a small space doesn't equal intimate if it's the same scripted "intimacy" every night, which the 3 nights I've seen (and from what I've read of other shows) has been pretty much the same. Same small penis joke, same Mozart coming out of your pussy joke (which is shockingly not that funny, it's meant to be glamorously crass and vulgar...which is the only thing that saves it) , and it's the same slightly condescending tone used to lecture us on Roe V Wade and Cape Verde and James Baldwin. Not a total turn off, but definitely tedious when there's nothing really lighthearted to balance it out. It does have some magical moments, and it's strange to see her in this environment, so it has a surreal quality that only the Musical Theatre genre can create, BUT... it's really too bad that her musical director doesn't seem to have ever figured out how to make Madonna sound "live", so all the vocoder and pitched down song stems are only that much more obvious in this setting. I don't really think Madonna knows how to sing live in a theatre either, it's like she's so used to shouting over arena and stadium sized audiences that she forgets to pull herself back a fair amount of the time. I get the show, I like the show, but I can't say I love it. I'm not sure what happened, but it feels unfinished and rushed while still being over-produced with kitchen-sink logic.

When I attended the NY show on 9/22 by myself, I did expect her to be late...So, on 9/24 when I saw it with a friend who had also traveled halfway across the country (as I also did) why she goes on so late, as a first-time M concertgoer, he was a little confused with my non-answer... I just said "she always goes on late." When I said the late starts were getting old to a group of other fans we were talking to in the lobby, one of them started making excuses for her, like: "she's the queen! she can do what she wants!" followed by a bitchy "well, any FAN knows by now it'll be a late night." Etc. So after explaining that that show was my 22nd Madonna concert I've attended since Blond Ambition, he just started making more shitty comments and excuses for, as he kept reiterating, "the Queen." I'm 43yrs old, and I've been a fan since 1983 when I was 7yrs old. Obviously I'm not mad at her, because it's just part of the deal at this point for me, but a fan for any length of time has the right to be irritated or angry at this lack of regard for their time; whether they travel across town, across the country, or across an ocean. I wouldn't question anyone's request for a refund if they aren't willing to wait it out till she decides to start her show. MadameX theatre is very much like a Madonna concert in that respect, however she likes to define this show.

on 9/24 it looked like there was video equipment alongside the projection and lighting equipment in the tech booth in front of the mezzanine. and the booths on either side of the stage had what I assumed were discreet security and VIP audience members (or possibly other tour personnel...several people kept coming and going, and they seemed to be 'observing' rather than watching the show, if that makes sense? I'm sure an A/V person would know the difference of all the equipment, which didn't really seem like much up front or in the tech deck, but there were definitely a lot of pieces of what I assumed was audio equipment in the upper box sections. the benefit of staying in one venue for many nights gives the production the ability to know the angles and sweet spots for placing video recording equipment the audience may never see. Camera recording tech has come a long way in being small and discreet with plenty of capability to capture great footage in such a small and intimate space... so yes, gopros. Or, perhaps customized and super hi def ones not on the consumer market.

Having seen the show twice, this show can easily be filmed without much disruption to the audience. I wouldn't be surprised if there are remote cameras built into the set, and bodycams on performers. this show has both moments of stillness, and completely fluid and constant movement onstage. as much as I appreciate the fan footage and Fanmade edits of shows from the past couple of tours, it's hard to not notice that the broadcast/DVD/BR edits (particularly MDNA and RHT) are overproduced and frantically cut to try to find something new in an over-saturated market like YouTube and other social media platforms. One thing IS clear, though... Madame X is a Control Freak this era. She'll present this concert with her own chosen footage, or not at all. i still think it'll be a live broadcast, though,

I've been to smaller venues that have had side screens, but they're kinda like overkill. if the views are close and clear from almost any seat, the live feed video screens aren't necessary, but also take up space for other stage elements that could be used for better stage effects.

I don't know why, but I just have a feeling (a wish, let's be honest!) that this could be an HBO live broadcast. Being a theatre show, and with multiple nights in the same venue, the camera placement, production editing, etc. could be worked out and easily executed for Ms Perfectionist's high production standards. ? Broadcast and streaming rights are easy moneymakers, and with the limited locations, a broadcast from Miami, Lisbon, or Paris could be easily managed. At this point, watching the last couple of tours' "concert film" treatment has left me cold. I don't hate them, but capturing a live theatre experience with the frantic editing and canned audio/audience noise just seems wrong.