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This was posted in the main DVD thread but I didn't want it getting lost.
‘Madame X‘, Madonna’s Tour film is premiering exclusively on Paramount+ and MTV (for people outside of US and/or with no access to Paramount+) on October 8. After last Thursday’s premiere in New York (Times Square Edition), some fans have posted their review and shared some details about the film; Today at Drownedmadonna.com, we want to give you our first preliminary review, as we share some accurate details about the film’s length, audio aspects and more – in fact we are gonna focus on the musical aspect, in detail and in-depth. Let’s get started…
We can confirm the Film runs around 1 hour and 54 minutes (without the ‘Ciao Bella‘ credits) and the mixing sounds phenomenal. Everything sounds homogenic and well balanced; We are quite happy with what we heard and especially we found the ‘vocals’ less edited than past concert tours DVD/BluRay releases. Sometimes they sound even less ‘robotic’ than the actual live peformance tracks, as Madonna heavily used autotune throughout the tour.
The mixing is very crisp and clear, every sound has its own ‘space’ and doesn’t sound chaotic. Crowd applause sounds appear fitting to the theatrical scheme of the show, only being louder when Madonna chats with the crowd. Everything sounds leveled correctly (something that lacked in the latest 3 tour DVD/BluRay releases).
The film starts with a new version of the ‘Manifesto of Madame X‘ (previously seen as an interlude on the Madame X Tour shows, right before ‘Vogue‘), but instead of the usual slowed down version of ‘Killers Who Are Partying‘ in the background, we have Honey Dijon’s remix of ‘I Don’t Search I Find‘ as Madonna starts with ‘It’s our gypsy blood, we live between life and death. Artists are here to disturb the peace.’, leading up to the Manifesto itself with the remix as the soundtrack.
‘I Don’t Search I Find”s beat interrupts abruptly as Madonna recites the manifesto ‘I’m a spy in the house of love, I’m Madame X‘ while heartbeat and shooting gun sounds play in the background. As the Manifesto ends, Madonna recites ‘The most controversial thing I have ever done, is to stick around’, then she welcomes the audience to the world of Madame X. The original ‘Typewriter’ intro with Ahlamalik Williams starts, and the crowd goes silent. The track has been shortened a little but the performance itself is in almost its integrity, barely noticeable unless you look for it.
‘God Control‘ is found in its complete form, except once again a few cuts in the middle of the song. The second ‘People think that I’m insane‘ verse is removed and Madonna sings it only one time (instead of two). As Madonna screams ‘A New Democracy’, the music stops for around 6 seconds with a wind backing track, before starting again (reminds of the ‘Iconic’ part on the Rebel Heart Tour Film before the second verse). The rest of the song is complete.
A clip of 1990’s Blond Ambition Vatican speech in Italy is played before ‘Dark Ballet‘.; a sub-bass plays in the background. Madonna recites: ‘If you are sure that I am a sinner, then let he, who has not sinned, cast the first stone. If you are not sure, then I beg of you, as righteous men and women of the Catholic Church that worship a God who loves unconditionally, to see my show and then judge me.
My show (…) asks questions, provokes thoughts and takes you on an emotional journey, portraying good and bad, light and dark, joy and sorrow, redemption and salvation.’
As we previously reported, a few songs from the original Lisbon Madame X Tour show are not included on the Film, like ‘Sodade‘ and ‘Crave‘. Our friend Katrina (who attended the New York’s premiere) has talked to Nuno Xico, which directed the Film with Ricardo Gomes, and he revealed those performances will be released as extra.
‘Dark Ballet‘ and ‘Human Nature‘ performances are complete. ‘Papa Don’t Preach”s strings intro is found in the ‘Eyes are the window to the soul‘ section, but the song itself is not performed/sung (unlike the American dates of the show). ‘Express Yourself‘ acapella moment and crowd chat is in the film. ‘Vogue‘ is complete, and starts with the ‘What Are You Looking At‘ acapella vocal, no ‘Manifesto of Madame X’ as it was moved on the first part of the film, as we previously revealed. ‘I Don’t Search I Find‘ is complete.
As the track ends, Madonna then chats with the crowd (Polaroid moment with Shavawn’s son). A fan offers 300 euros for the Polaroid and Madonna exclaims a bored ‘Nope!‘. ‘American Life‘ is complete. ‘Batuka‘ is complete (with the Coffin intro). Madonna chats with the crowd and thanks the Batukadeiras. ‘Fedo Pechincha‘ is complete. One ‘O mundo é selvagem‘ chorus is cut on Killers Who Is Partying. After the ‘Eu sei o que sou, E o que não sou‘ part, the song concludes with the outro ‘Wild is the world and lonely is the path to come to you‘. ‘Crazy‘ is complete.
Madonna then chats with the crowd and explains the lyrics to the song just performed, before cutting to a 30 sec. video clip where she speaks ‘No matter what terrible things they do to you, (…) one thing that gives us hope…’. The video clip ends and ‘Welcome to My Fado Club‘ starts. The performance has been slightly cut to give more space to the ‘La Isla Bonita‘ part. ‘Medellin‘ is complete (with its typewriter intro), except few small cuts on the actual song that are barely noticeable, like repeated choruses.
Madonna then chats with the crowd again. (Beer Bitch moment with Dave Chapelle). ‘Extreme Occident‘ is complete, but the ‘Aquilo que mais magoa, É que eu não estava perdida‘ has been shortened to one time, instead of two times like the album and live versions. ‘Rescue Me‘ interlude is slightly shortened too but again, nothing too noticeable. ‘Frozen‘ is complete. ‘Come Alive‘ is almost complete (with its intro), but the last chorus plays only one time instead of two, also small cuts have been applied to the outro of the song so that the ‘choir’ part starts before. The acapella choir outro ‘Come alive‘ lyric repeats for 8 times before Madonna joins the choir, repeating the lyric 32 times. Madonna chats with the crowd about ‘fighting for freedom’.
‘Future‘ is complete, including Madonna’s ‘new’ second verse. The city outro with police sirens plays briefly before cutting to ‘Like A Prayer‘. The performance is complete. Before ‘I Rise‘, there’s a short documentary clip with the instrumental of the song playing in the background, where Madonna explains why and to who she wrote the song for. Typewriter, heartbeat sounds and then ‘I Rise‘ finally starts. The performance is complete, but the final ‘I Will Rise‘ has slightly been shortened to approximately 10 times. Madonna concludes with ‘Power to the people‘ and goodnights. The film ends with a ‘famous quote’ and typewriter sounds, with a sub-bass in the background. ‘Ciao Bella‘ plays as the credits roll.
https://www.drownedmadonna.com/2021/09/27/madame-x-first-in-depth-details-of-the-paramount-film/?fbclid=IwAR3igehCAiWGaDvZu4ReK5aPKa4cWOV57MEsD1HuvgiOxu8XqujqdBlbSz0
 
 

81 days until october 1st
111 days until october 31, that is if we end up having to wait until the end of the month

We so appreciate that you will not be using your phones, your cameras, or any recording devices throughout the show. We want you to be present and enjoy the journey with us. LET NOTHING STAND BETWEEN US! 

M: No cell phones watching the Madame X Tour
Me filming the tv watching the Madame X Tour:

Already got my Paramount+ subscription  

Anyone who says Neato has to go. #BAT

How is she not sick of this show yet?

Why? The short version on mdna is ok and so much better

Why? The short version on mdna is ok and so much better

I am sorry but Papa don't preach won't be there anyway because it was not performed in Lisbon. It was only performed in the US.
 

yup, healing...  

So she's doing vocal overdubs for the DVD in her toilet on an iPhone? 

You know we really need this dvd when people start discussing about whether she works out or not 

La Isla BoniTrap incoming
 

She decided to promote crave again instead at least she didn't link to the $400 hats

I hate this video ? why couldn’t they upload bad girl or oh father instead ?

It was her most underwhelming tour. I don’t think worst is right. I’d probably say MDNA was her worst tour setlist wise and Sticky & Sweet her worst visually and concept wise when you consider the year it was....but I still have nightmares about the mariachi section of Rebel Heart so...
Confessions, Girlie Show, Blond Ambition and The Virgin tour are still the best.
Whos That Girl energy is undeniable, just poorly lit and a bit basic. 
 
Reinvention is way too overrated and DWT     only really got going at the Japanese section. The first whole section was a bit frantic, unconsidered and messy. 

No, I'm not joking.  "In production" has nothing to do with "post-production".  Everything for Madame X was filmed before the first lockdown.  The only joke is how untimely this release, if ever, will be as usual and forgotten by everyone except the hardcore fans at this point.
Every other MUSICAL artist has managed to put out MUSICAL and video work product during this time except... oh wait...  Madonna.

Bad girl will always be my favourite music video - it’s a shame we don’t have a hq version of it but seeing as Warner and M can’t seem to be bothered to look after her videography I don’t think it will come soon 
it’s a work of art and why the fuck it was never nominated in any music video awards still baffles me to this day but I’m glad it’s finally getting some recognition 
im not sure I believe the story  about her dating fincher ?

My memory erased that shit

One of my ultimate faves. How about you? I can't get enough of the song or the video to this day! I've loved every performance too.
Madonna’s ‘Don’t Tell Me’ Turns 20: Co-Writers Mirwais and Joe Henry Tell the Story Behind One of Her Most Underrated Hits
Twenty years ago this month, Madonna released “Don’t Tell Me,” the second single from her triple-platinum, Grammy nominated “Music” album.
The song may be less remembered today than the title track from “Music,” but it arguably holds up even better, thanks not only to its minimalist production and forlorn lyrics, but also its fresh melding of country-and-folk with electronic music production (long before names such as Lil Nas X and Diplo won praise for doing the same in recent years). Co-writer and producer of the song, Mirwais Ahmadzai, has a few ideas as to why “Don’t Tell Me” still resonates with listeners, two decades on.
“I think ‘Don’t Tell Me’ has remained since that time as an iconic song for several reasons,” he says from France, where he is making music at home during the pandemic. “We can call this song the very first ‘Folktronica’ or ‘Cyberfolk’ song. I think Madonna and I invented this style. And the magnificent music video made by Jean Baptiste Mondino helped to crystallize the ‘Electronic Cowboy’ image, which was something totally new at the time,” he adds.
But the French producer thinks the main reason “Don’t Tell Me” has held up so well, is Madonna’s vocal delivery on the single.
“This song is one of the very rare singles Madonna performs with no effects on her vocals, and on this, everyone noticed it,” he says of the tune, which was recorded at London’s Sarm West Studio (minus the strings, which were done at AIR Studios).
The French producer confirms he borrowed heavily from the electronic music world for the drum programming on “Don’t Tell Me,” drawing inspiration from the UK’s jungle music scene, which was booming at the end of the last millennium.
“I loved the jungle programing vibe, this is why I incorporated it on ‘Don’t Tell Me’ and that it sounded very ahead of the times with its rolls.”
As for the glitch-y start/stop guitar riff that anchors the song and repeats throughout, the hook comes from Ahmadzai not being able to play what he wanted. “I couldn’t play some parts that I had in mind, so I decided to ‘computerize’ the performance by creating this start/stop effects,” he says. (Ahmadzai recently released a new song, “2016 – My Generation” and premiered a short film collaboration at Amsterdam’s ADE conference last month).
Lyrically, Madonna got her inspiration for “Don’t Tell Me” via her sister Melanie’s husband, veteran singer-songwriter Joe Henry. Melanie sent Madonna Henry’s demo of a song called “Stop,” and she fell hard for the wistful, poetic lyrics.
“My [demo] version was written in about 20 minutes, and I did not revise it — I let it stand for the burst that it was,” says Henry. “I always hear its primary influence to be tango, [and] I was thinking about [Argentine composer] Astor Piazzolla, but Madonna heard its pop sensibility, and sculpted a chorus out of a passing stanza from my original take. That repetition gave it weight, and expanded it, sharpened a hook that I had barely gestured toward. That evidences her gift of taking something fairly obtuse, and translating into something memorable.”
Henry was wowed with Madonna’s take on his tune when he finally heard it, marveling at the juxtapositioning of his at-times dark lyrics (“Tell the bed not to lay/ Like the open mouth of a grave/ Not to stare up at me/ Like a calf down on its knees”) with heartfelt delivery grafted onto a sunny-sounding pop song.
“That verse is dark, but playfully so,” Henry says. “I was watching a lot of Luis Bunuel’s movies at the time, and relishing how darkly comic are many of the films from his so-called ‘Mexican period’ can be,” he adds. “I think as little as possible when i am initially writing [for a song].”
The song took its sweet time climbing the charts, finally peaking at No. 4 on the Billboard Hot 100 in March of 2001, some four months after its release as a single, and six after “Music” was released. Henry went onto release his version of the song (“Stop”) in 2001 on Mammoth Records, and it ended up being used in an episode of “The Sopranos.”
“I was most pleased to hear it appear within an episode of that seminal show,” he says of the sync.
Henry, who released his 15th solo album, “The Gospel According to Water,” last year, remembers the time “Don’t Tell Me” became a worldwide smash fondly, offering up a memory of Madonna playing the tune (which went top 5 in America) live in Southern California.
“Just after ‘Music’ was released, she invited Melanie and I down to see her concert in Anaheim,” he remembers. “It was very soon after 9-11, and I recall the air being very electrically charged, everyone in attendance hungry for a positive experience and for the kind of community that sharing music invariably invites. About midway through the performance, she dismissed the dancers and acrobats, the full band and backing singers, and came to the front of the stage with just her guitar player, Monte [Pittman]. They sat close together on stools and had only acoustic guitars and a beatbox, and I can recall how odd and wonderful it was that the intensely scripted evening stopped for a moment. She was off the grid of a very intricate production, and seemed to relish it. She let out a big breath, looked straight at me in the second row, and said, ‘This is for you’ — and then they launched into ‘Don’t Tell Me,’ and the whole room went up,” Henry recalls.
“I remember it as the most visceral and human moment of the whole show — and seemingly not just for me,” he concludes. “The entire audience seemed to understand that she had taken off the ‘Madonna’ mask — was less a persona and more a person. And at one point, she and Monte stopped playing and the entire arena of 20-some thousand people took over singing it. I don’t have to tell you that I am not the kind of artist that frequently experiences my songs being born aloft by the masses that way. It was incredibly affirming.”

Madonna cut it from the setlist because she didn't want the song to be a single because it sounded too similar to Beautiful Stranger but Warner Bros did and were ready to bypass Madonna by using a filmed performance from the tour as the video so she cut it to prevent them from doing that.