NothingReallyMatters

I think the fact she does Die Another Day, then Don't Tell Me (please don't tell me to stop), then Mother and Father with David into I Will Survive/LIB which she preceded with a speech about how her children saved her, DCFMA (I had to let it happen, I had to change) is pretty compelling in terms of that section being about how becoming a mother changed her and gave (and gives) her strength to carry on. Then Bedtime Story opens with her in a pose which recalls Frida Kahlo's My Birth, a painting she owns, which has obvious connections to the theme of the previous section but here leads into a creative rebirth.

Yes, Nothing really matters serves as a prologue.
In the second section, I don't totally get Crazy for you (although it's one of my favourite ballads and I am sorry that it's shortened). If it's about criticism and censorship and overcoming the backlash, wouldn't  Secret or I'll remember be better maybe? They would also fit the 90s section better. After "peace" going back to Beast within doesn't make much sense either.
Say goodbye to not knowing when
The truth in my whole life began
Say goodbye to not knowing how to cry
You taught me that
And I'll remember the strength that you gave me
Now that I'm standing on my own
I'll remember the way that you saved me
I'll remember
After solitude, family comes in. The third section is a little chaotic imo. It's about death and family, not stopping, so I don't get La isla bonita and DCFMA.
I see the fourth act as "the future", rising up in the sky. But Rain is just there as a gift for the fans...
 

I'll have a go since I've not seen it anywhere else.
Intro/Nothing Really Matters - an overview of her career, a thank you to the fans and an acknowledgement that she's now at a place of peace and maturity.
Everybody through to Holiday - her early years in New York, both as an artist and as a person with her friends. This ends with AIDS hitting at the end of Holiday which takes us to...
Live To Tell/Like A Prayer/Unholy/Act of Contrition - AIDS wreaking havoc in New York and the world, taking many of her friends and many others. Gay men are trapped inside this nightmare and face a society which thinks they deserve it. Madonna tries to help, not just her friends but by challenging moralism and speaking up for sexual liberation and tolerance. She is a warrior ally, which takes us to...
Erotica through to Vogue - Madonna being transgressive, pushing boundaries, celebrating the underground and the queer community and then...
Human Nature/Crazy for You - the backlash hits, both in Madonna's career and in society which sees a resurgent moralism. Though it's painful and turbulent at the time, Madonna embraces herself from that period, accepting everything she did and that she experienced with love.
Die Another Day through to Don't Cry For Me Argentina - Coming out the other end of the backlash, Madonna keeps going. She is a survivor and keeps going no matter what. A huge part of what enables her to do this is her family, which lays to rest the demons she has always battled regarding her mother's death.
Bedtime Story/Ray of Light/Rain - her embrace of electronic music sees her still pushing forward and breaking boundaries but ultimately takes her back to her roots. She feels the love of her fans again, which brings her peace.
Bitch I'm Madonna/Celebration - ending again with an overview of her career, a celebration of her iconic career, legacy and everyone who's been part of it on the way. But it ends abruptly, because she's not done yet. The future is still unwritten.

But not accurate as mine 💅🏾

Leaving for the show 

I thought I heard a sample of Pet Shop boys It’s a sin in the beast within interlude 

Yes ! And in BS she uses Junior Vasquez Sound Factory mix

Have anybody noticed that she used elements from the Club 69 Radio Mix in the beginning and towards the end of the song? 

Have anybody noticed that she used elements from the Club 69 Radio Mix in the beginning and towards the end of the song? 

I'll be here looking for the links as well.  I'm a little bummed more people aren't streaming her shows. But then again, the last thing I would want to be doing is spending my hard earned money for such an expensive concert and worrying about streaming it.  But it's easier some.  For me, I would feel I was missing out being somewhat present at the concert if I was trying to film it.  I guess it would also be different if you are a fan that is attending multiple concerts.
Yes, it's been shared numerous time in this thread, including on the first page. Though, your list seems to be extremely detailed, so I'm sure a lot of people would be appreciative of you posting this.  Thanks!

Who's ready for tonight's show??
LET'S CELEBRATE!

Yes, I am super late to the party but just returned from 3 shows in London.
Listen, stop judging the show from some shitty live streams. This is simply THE show we've been craving from M, she was in top mood and her voice emotes deep into our souls. I cannot tell you how emotional this show truly is, there were moments where I found myself sobbing for no reasons but simply being in awe of this woman who has seen and stood through so much in her life. 
I urge you all to stop over-analyzing, stop being bitter because she skipped your favorite song from the set list and lets CELEBRATE her legacy, her force, her power, her presence, her voice...etc. etc. BE grateful that she is here and she is giving us the show of our lives. 

Oh cuate, is this real??? Would love to read to read the full thing since much likely she's promoting her Xmas album there... *and why in hell the interviewer would have inserted Madonna here to my Xmas era promo????*

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

Mike McKnight confirmed it in an interview for Drownedmadonna back in 2005. 
Just like Swim, Love Profusion (Headcleanr), Live To Tell, Dress You Up, I'm So Stupid were also rehearsed for Re-Invention Tour but were scrapped during various months of rehearsals.

Well, according to Mike McKnight, yes, it was.
My wish was to You'll See to replace I Will Survive but honestly I don't see M doing justice to it like she did back in 2001. Shame she had to do a "Sophia's choice" for DWT DVD as both You'll See and Gone deserved immortalization.
Again, I get why she chose IWS since it's a much more known song and probably does not trigger her own memories back to Evita times and all their pressure to be "THE SINGER." EDIT: esp with the inclusion of DCFMA at the very end of same section.

The thing is; "I Will Survive" is an important part of her recent health crisis. I can't see that being replaced as it plays a huge role in her story.
It seems to me replacing any of these songs would disrupt the message/story she's trying to tell regarding her career, music and life.  Also, I cannot see her switching out Like A Prayer for Oh Father.  As much as we recognize the tour being "hits" beyond her songs, she just isn't going to eliminate one of her most biggest, successful and impactful songs for another that really isn't known but by the fan base. Not only that, people are expecting those big hits on this tour.  

Those changes required fixing the whole choreography and costume changing around. It's a great visual when she appears with the mirrored catsuit and walks towards the platform with BS and it comes up, then platform takes her for ROL and when she comes down she has the dancer fixing her cape and doing the dramatic Frozen/Rain.
Considering how she works I see more probabilities of blending Frozen with Rain than moving everything around.
Or just sing a  bit of Rain while she walks to the cube and starts BS there?

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

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 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…

It seems we won't. All the insiders agree on the fact that those tracks were cut out because they did not serve the show in M's opinion so it's hard to think she will get them back.
Maybe we will have Frozen instead of Rain, wich won't make me happy at all, since Rain is in my M's top three and especially if the performance is gonna be the same (cape, wind, singing). That point would just need some theatrics, of course the hit would be having some rain from the ceiling at the end 
Anyway for those who thought that ReInvention was not a hits show, in this one the real huge hits are 15, in ReInvention they were 14. I mean ...

From this interview 
https://www.billboard.com/music/pop/stuart-price-madonna-2023-celebration-tour-interview-1235449185/?fbclid=IwAR1KX_pHWq9WV3hh7eHrKEEintBVaRlR5GCQ9XenjuT7X_7VvIqhM2yv3Fk_aem_AW1UpAUPorqLy5NyEz7ka6AiWHxBxHTo5wYf3NF--JIgYYp10YL_g_JHCvZq_dQ3iDs
 
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.
🔥🔥🔥
👀👀👀