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The Celebration Tour (Spoilers)

Donna

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in The Celebration Tour

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Kristian_Kasell
Kristian_Kasell

I have never seen anything like it HD   Hidden Content Give reaction to this post to see the hidden content.  

GregVsMatt
GregVsMatt

Express Yourself (Acoustic) in place of I Will Survive tonight   

Kieran
Kieran

So I got to meet Stuart and had a little chat before the show 🥰

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Immaculate

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16 hours ago, Burning Up 4 Madonna said:

 

Great videos, thank you for posting ^^

I love Mother and Father so much on this tour, I wish people film more David singing his beautiful part in it. The visuals/staging for this performance is so simple and powerful.

This is one of my favorite M&F video so far:

I just found this one too:

<3

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Drownedboy

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On 3/24/2024 at 4:30 PM, stefo said:

I see, I admit Future Lovers is one of the few Confessions tracks I really enjoy (not a huge disco fan here, the others are Get together, Forbidden love, Let it will be and Like it or not ... stop :lol:), especially the live version with the explicit recall to I feel love. Anyway when I wrote my post I was thinking about the theatrics side especially, the idea, the mood and the effectiveness. Said that, of course the music is fundamental, I understand.

 

Oh well that was huge and spectacular, but I never could completely like it. I always thought the whole section was cahotic. It's about rage and aggressiveness and I never completely got the meaning of how the morality of the Catholic Church was brought up among guns and riffles and kinda ninja fighters and then something like vodu creatures ... I mean, I feel it too messy to really say something. Of course I could not have got the symbolism so I''d really appreciate anyone's help :pray:

 I agree with Vince Paterson anyway: in his recent interview for the MDNA Podcast, he says she could have benefit if she hired good theatre directors for her shows. He ment people with Broadway, theatric shows duirecting skills and not just live concerts, considering the kind of shows she puts on. Paterson says only nice things about them, defyning them all very good, full of interesting ideas and amazingly produced, but lacking in the narrative and in the exploration of the full potential of the great ideas and "flavours" taken on stage. That is exactly my feeling, especially since the Reinvention tour (the military set doesn't really go anywhere after American Life for example, so the Maria Antoinette section after Vogue, the Middle Eastern Confessions set is really all over the place and the same stands for the beautiful but super super super messy Rebel Heart first act, wich we know was the JUXTAPOSITION of two originally duifferent acts). There are some very good examples still, like the Gatsby section in the Rebel heart tour, combining in such an eclectic but coherent way so many different musical styles and moods, or the wonderful Deco one in the MDNA show (from the Vogue cage corset to the moving arressing mirrors to the tightening black corset and the melancholic Like a Virgin waltz, everything seemed to be telling about seduction, body, image and the relationship with something deeper, a more intimate part, wich I found interesting she staged right when she was starting to get all the criticism about her surgeries and her very young lovers). Her best examples in terms of narrative still are BA, DW and, most of all, the Girlie Show (naturally) :heart:

Unpopular opinion: you know what? This remains my favourite Celebration corset, cause it's got some light - missing in the too elegant black one, but really recalls the original ones, both of them, the Open your heart/WTGT one and the Gaultier's Blond Ambition series. The silver is good but it's not that close and effective for me. When I watch the Lisbon show it really feels like a plain tribute to the original imaginary.

I think the start of mdna tour is a very good girl going evil. She tried very hard to be convenient and nice during the Guy ritchie years, but after they splited, she is not the good one anymore. The church is about being saint or about her wedding. But now she expresses her rage and is not a nice one anymore. So the journey starts for her so the concert.

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Drownedboy

Drownedboy 1,676

Posted
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On 3/24/2024 at 4:30 PM, stefo said:

I see, I admit Future Lovers is one of the few Confessions tracks I really enjoy (not a huge disco fan here, the others are Get together, Forbidden love, Let it will be and Like it or not ... stop :lol:), especially the live version with the explicit recall to I feel love. Anyway when I wrote my post I was thinking about the theatrics side especially, the idea, the mood and the effectiveness. Said that, of course the music is fundamental, I understand.

 

Oh well that was huge and spectacular, but I never could completely like it. I always thought the whole section was cahotic. It's about rage and aggressiveness and I never completely got the meaning of how the morality of the Catholic Church was brought up among guns and riffles and kinda ninja fighters and then something like vodu creatures ... I mean, I feel it too messy to really say something. Of course I could not have got the symbolism so I''d really appreciate anyone's help :pray:

 I agree with Vince Paterson anyway: in his recent interview for the MDNA Podcast, he says she could have benefit if she hired good theatre directors for her shows. He ment people with Broadway, theatric shows duirecting skills and not just live concerts, considering the kind of shows she puts on. Paterson says only nice things about them, defyning them all very good, full of interesting ideas and amazingly produced, but lacking in the narrative and in the exploration of the full potential of the great ideas and "flavours" taken on stage. That is exactly my feeling, especially since the Reinvention tour (the military set doesn't really go anywhere after American Life for example, so the Maria Antoinette section after Vogue, the Middle Eastern Confessions set is really all over the place and the same stands for the beautiful but super super super messy Rebel Heart first act, wich we know was the JUXTAPOSITION of two originally duifferent acts). There are some very good examples still, like the Gatsby section in the Rebel heart tour, combining in such an eclectic but coherent way so many different musical styles and moods, or the wonderful Deco one in the MDNA show (from the Vogue cage corset to the moving arressing mirrors to the tightening black corset and the melancholic Like a Virgin waltz, everything seemed to be telling about seduction, body, image and the relationship with something deeper, a more intimate part, wich I found interesting she staged right when she was starting to get all the criticism about her surgeries and her very young lovers). Her best examples in terms of narrative still are BA, DW and, most of all, the Girlie Show (naturally) :heart:

Unpopular opinion: you know what? This remains my favourite Celebration corset, cause it's got some light - missing in the too elegant black one, but really recalls the original ones, both of them, the Open your heart/WTGT one and the Gaultier's Blond Ambition series. The silver is good but it's not that close and effective for me. When I watch the Lisbon show it really feels like a plain tribute to the original imaginary.

I hope I am not too basic explaining myself LOL

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True Blue 84

True Blue 84 1,830

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Dallas 

https://www.google.com/amp/s/amp.star-telegram.com/entertainment/fort-worth/article287075925.html

 

From the article:

The show is a nostalgic look at a pop career that had little to no blueprint. Madonna was and is a one-of-a-kind pop star who pushed boundaries, shocked the mainstream, and a fearless defender of gay rights, sexual freedom and female liberation. All of it was addressed Sunday night, whether it was with a subtle image displayed for a few seconds, or an in your face, ‘did-I-really-just-see-that’ moment, including topless female dancers, gender-bending outfits and body types that eventually all blended into the center of it all, Madonna.

 

She sang live (mostly) to recorded music for much of the night, but she played guitar for “Burning Up,” the first song she ever wrote. And her adoptive daughter and son each accompanied her on piano and a guitar for two of the more touching moments of the evening. Madonna still moves well for someone who turns 66 in August. She wore a brace on her left knee but never explained why. During various songs, she was lifted high above the floor in a carriage and moved from one end of the arena to the other, all the while singing and dancing 30 feet above the crowd.

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