On February 5, 2012, Madonna performed the Super Bowl XLVI halftime show at the Lucas Oil Stadium in Indianapolis as part of Super Bowl XLVI. The performance featured Madonna with special guests LMFAO, Nicki Minaj, M.I.A. and Cee Lo Green. Madonna’s performance broke a record as the most-watched Super Bowl halftime show in history at the time, garnering 114 million viewers. Lady Gaga’s 2017 show is the current record holder with 117 million viewers.
Madonna performed Vogue, Music, Give Me All Your Luvin’, Open Your Heart/Express Yourself and Like A Prayer.
On January 30 2020, glowing reviews of Madonna’s first Madame X show in London were published:
Music critic Neil McCormick (The Telegraph) had this to say: Anarchic and experimental – her best show ever? 5 STARS (out of 5)
I’m not sure who was having more fun at the opening of Madonna’s London residency, the audience or the star. She sang, she danced, she joked and she beamed with almost childlike glee at the crowd’s adoring response.
“How happy I am to have made it this far,” she declared, calling London “my second home”.
Madonna first played the city in 1983 to 1,500 early adopters at the Camden Palace. Her next London gig was Wembley Stadium. She was clearly delighted to be back in a venue where she could not just reach out and touch the audience, she could descend from the stage and sit in their laps. “It’s so intimate. It’s gorgeous and a thrill for me to be able to see all your faces.”
David Smyth of the Evening Standard gave the show 4 STARS (out of 5): Madame X is tireless, imaginative and powerfully intimate.
Such drama before Madonna could even take to the stage for her first theatre tour since 1985! Would she arrive drastically late? Would she cancel at the last minute? Tenterhooks all round.
Monday was supposed to be the first of a planned 15 nights at the Palladium, cancelled on doctor’s orders. It was the 10th dropped concert of the Madame X Tour, which began in New York in September and gathered complaints for its late start times.
But tonight at 8.45pm, there she was, dressed as a bloodstained, eyepatch-wearing revolutionary soldier. She was also a spy, a protest marcher and a Portuguese fado singer in the course of a tireless, imaginative show that was far from shrunken arena pop. Thanks especially to an extraordinary troupe of dancers, it was a spectacle that felt more powerful up close.
Like Bruce Springsteen, who showed a different side of himself in his recent Broadway run, and Kate Bush, whose live comeback was more theatre than concert, the 61-year-old has unearthed something new late in her career. The Madame X album may have plummeted out of the charts in an instant, but here its songs dominated and found their purpose.
Batuka, tuneless on record, was euphoric when performed with a mass of smiling, rump-shaking Batuque drummers from Cape Verde. I Rise was far more powerful when backed by footage of anti-gun protests and gay pride marches.
Alexis Petridis of The Guardian, also gave the show 4 STARS (out of 5) and noted: London residency short on hits but big on British banter.
She sings the bare minimum of big hits – Vogue, Like a Prayer, Human Nature – with Express Yourself and La Isla Bonita reduced to interstitial roles (the former performed as a sweet, but brief a cappella duet with her daughter Mercy), and American Life performed in full.
Still, it occasionally serves to remind you that some of Madame X is better than its relatively muted commercial response might suggest – Medellín sounds like the hit single it wasn’t, as does the gorgeous album track Crazy. This is presumably part of the point – the other part being a certain screw-you intransigence designed to underline that we are in the presence of an artiste, not a pop star.
And the BBC had a few fun notes to add in their review:
The audience were required to store mobile phones in sealed pouches as “an intervention for us all”. However, Madonna admitted that even she was getting anxious without a phone nearby.
“I’m having little panic attacks,” she joked. “I’m like, ‘Why is no-one taking my picture?'”
But the gambit worked: Freed from distractions, the audience gave the concert their undiluted attention; while Madonna seemed to relax and have fun without a phalanx of tiny cameras recording her every move.
At one point, she slipped into a British accent and recalled how she’d been ridiculed for developing similarly plummy vowels during her marriage to Guy Ritchie.
“I didn’t know what anyone was talking about until I heard old interviews of myself,” she said. “And then I was horrified and flabbergasted. Why did you let me do that to myself? I’m from Michigan!”
“It’s all Guy Ritchie’s fault,” she decided. “He made me to it.”
On November 27 1990, the MTV network announced it had banned Madonna’s Justify My Love video due to extremely strong displays of sexuality.
“We respect her work as an artist and think she makes great videos,” said MTV executives in a statement about the clip. “This one is not for us.”
“When I did my Vogue video…I’m wearing a see-through dress and you can clearly see my breasts,” Madonna told ABC’s Nightline in 1990. “MTV told me that they wanted me to take that out, but I said I wouldn’t and they played it anyways. So I thought that once again I was going to be able to bend the rules a little bit.”
On October 14 1993, Rolling Stone magazine featured Madonna (several times) in an article featuring The 100 Top Music Videos.
Rolling Stone included the following Madonna music videos: Express Yourself at #10, Like A Prayer at #20, Borderline at #24, Vogue at #28, Justify My Love at #43 and Oh Father at #66 – Madonna had more videos on the list than any other artist or group.
“I’m not here to be popular. I’m here to be free,” Madonna declared to a packed, adoring audience on Tuesday night at the Brooklyn Academy of Music’s Howard Gilman Opera House. It was the premiere of her Madame X Tour, named after the album she released in June that she has said was influenced by the music in Lisbon, her adopted home. The show follows her decades of arena spectacles by scaling the same kind of razzle-dazzle — dancers! costumes! video! choir! — for a theater stage.
Unlike jukebox musicals or “Springsteen on Broadway,” Madame X is a concert focusing on new songs and the present moment. In other words, Madonna is still taking chances. She will reach arena-size attendance in only a handful of venues on the eight-city tour, but with much longer engagements; the Gilman Opera House holds 2,098, and she booked 17 shows there, through Oct. 12. Onstage, “selling” a selfie Polaroid to an audience member who happened to be Rosie O’Donnell, she claimed, “I’m not making a dime on this show.”
Concertgoers arrived to what was billed as a phone-free experience. Cellphones and smart watches were locked into bags at the door, though quickly unlocked afterward. It helped prevent online spoilers; it certainly removed the distractions of waving screens. (No photography was permitted, including press.)
As both album and show, Madame X is Madonna’s latest declaration of a defiant, self-assured, flexible identity that’s entirely comfortable with dualities: attentive parent and sexual adventurer, lapsed Catholic and spiritual seeker, party girl and political voice, self-described “icon” and self-described “soccer mom,” an American and — more than ever — a world traveler.
Yes, she is 61, but her music remains determinedly contemporary, with the drum-machine sounds of trap, collaborations with hip-hop vocalists (Quavo and Swae Lee, shown on video) and the bilingual, reggaeton-flavored Latin pop sometimes called urbano (with the Colombian singer Maluma, also shown on video). The concert, with most of its music drawn from the Madame X album, was packed with pronouncements, symbols and enigmatic vignettes to frame the songs. Madonna often wore an eye patch with an X on it, no doubt a challenge to her depth perception as a dancer.
By the time Madonna had completed just the first two songs, she had already presented an epigraph from James Baldwin — “Artists are here to disturb the peace” — that was knocked out onstage by one of the concert’s recurring figures, a woman (sometimes Madonna herself) at a typewriter.
Gunshots introduced God Control, which moves from bitter mourning about gun deaths to happy memories of string-laden 1970s disco, while Madonna and dancers appeared in glittery versions of Revolutionary War finery, complete with feathered tricorn hats, only to be confronted by police with riot shields. Dark Ballet had Joan of Arc references, a montage of gothic cathedrals and scary priests, a synthesizer excerpt from Tchaikovsky’s “Nutcracker” and Madonna grappling with masked dancers, until cops pulled her off the piano she had been perched on. The signifiers were already piling up.
And there were more. Film-noir detectives pursued and interrogated Madonna in another disco-tinged song, I Don’t Search I Find; Crave, which warns, “My cravings get dangerous,” flaunted a full-sized disco ball. A pair of robotic but sinuous dancers, with red lights for eyes, flanked Madonna as she sat at a piano for the ominous Future, while the video screen filled with images of urban and environmental destruction. She surrounded herself with a choir of brightly robed women and geometric Arabic designs in Come Alive, which used the metal castanets and triplet rhythm of Moroccan gnawa music to back her as, once again, Madonna’s lyrics rejected unwanted opinions and restrictions.
The concert’s unquestioned showstopper was Frozen, a somber ballad from the 1998 album Ray Of Light that offers healing: “If I could melt your heart, we’d never be apart.” Madonna appeared as a tiny figure onstage, surrounded by giant video projections of a dancer moving from a self-protective clutch to a tentative, then joyful unfurling and back. It was her oldest daughter, Lourdes, affirming the family connection in movement.
Madonna was more suited to the harder beat of Batuka a song based on the matriarchal, call-and-response Cape Verdean tradition of batuque. Backed by more than a dozen batuque drummers and singers — Orquestra Batukadeiras — and doing some hip-shimmying batuque moves, Madonna conveyed the delight of her discovery, even as the hand-played beat gave way to electronic percussion.
Forty-one musicians, dancers and singers appeared throughout the two-hour-plus show, which came with the same wardrobe changes as any of Madonna’s large-scale extravaganzas (one, before Vogue, was executed before the audience, shielded by a dressing table). The singer wasn’t onstage for one of the most powerful dance moments, a break between acts when a row of performers convulsed gracefully at the lip of the stage to irregular breaths, set to a recording of Madonna intoning lyrics from Rescue Me.
Madonna spoke to and with the audience repeatedly, taking advantage of the intimacy of the room to tell bawdy jokes, apologize for starting the show late and sip a fan’s beer. But in songs and stage patter, she sometimes conflated self-realization and self-absorption with social progress. Contrasting freedom and slavery after Come Alive, she announced that slavery “begins with ourselves,” forgetting that the slave trade was not the same as being “slaves to our phones.”
Yet with Madonna, the spirit is more about sounds and images than literalism. I Rise, which ends both the album and the concert, samples a speech by Emma Gonzalez, a survivor of the shooting at Marjory Stoneman Douglas High School in Parkland, Fla. then goes on to some clumsy lyrics. But in a small theater, with a gospelly beat, raised fists, images of protests worldwide, a rainbow flag, and Madonna and her troupe parading up the aisle — close enough for fans to touch — there was no denying the conviction.
- God Control
- Dark Ballet
- Human Nature
- Express Yourself
- Madame X Manifesto (video interlude)
- I Don’t Search I Find
- Papa Don’t Preach / American Life
- Coffin (video interlude)
- Fado Pechincha (with Gasper Varela)
- Killers Who Are Partying
- Welcome to My Fado Club / La Isla Bonita
- Extreme Occident
- Rescue Me” (video interlude)
- Come Alive
- Like a Prayer
- I Rise