10:15 p.m.. The Grand Rex has just fallen into darkness. The cries of the crowd pierce the sleeping eardrums and whirl in the Great Hall. Smartphones and connected watches are compartmentalized in impenetrable mini-bags during the entire concert, which will not be opened until the end, quickly. No pirate film or photo will disturb this show.

Except that taken by Madonna with a Polaroid – which she will sell, in Material Girl, at 2,000 euros, to a fan near her in the pit, after having dusted her for several seconds with her corset (her chest). The average price of a dozen more places for the Queen (in detail, from € 84 to € 386.50), which will be donated to Malawi.

On the stage, like a surreal Hitchcock photograph, Madonna’s shadow cast on a translucent curtain frantically strikes the keyboard of her typewriter. Behind her, the words of the American writer James Baldwin resonate with the shots of many shots, while a dancer twists, also in rhythm in roboting mode. “Art is there to prove that all security is an illusion … Artists are there to disturb the peace”, is composed as an incipit. The stage is set. The show can begin.

“I’m not here to be popular. I am here to be free ”
“Dark Ballet” follow “God Control”, for the first Act of his burlesque and slayer music hall. On the scene, riot police are trying to dislodge her, make her speak, intimidate her. Not without recalling certain futuristic paintings by a certain Luc Plamondon on his musical “Starmania”. She will not give in. Never.

On her turn, Madonna becomes a postmodernist chameleon queen. Sometimes sacred, she opens her heart to “Like a Prayer”, coiled in gospel choirs organized in “X” on stairs. Or by taking up, in complex French, “La vie en rose” by Edith Piaf, almost a cappella. Sometimes profane, she plays provocations. “I’m not here to be popular. I’m here to be free, ”she says in a scripted fashion, in front of an audience of fans who are totally won over.

This interaction is the preconceived thread of Arianne of the show. Our Lady declaims her stand-up in a furious cabaret. It must be said seriously: what happens between them and their fans is a unique connection. And the idea of ​​blaming him would not even occur to them.

It doesn’t matter if she had to cancel a few Parisian dates because of severe knee or hip pain. What does it matter, too, its endless delays (3:30 for the first show, 1:30 for the third). “Do you know many artists who have such an aura?” », Questions Hervé, who after having seen the date of February 18 canceled, managed to buy another seat on the parallel market.

Ode to Latin sounds
Act III of this Madame X Tour, the most streamlined, highlights the rhythms of the world and its syncretic influences. This table is devoted to the tones of fado, under a decoration of Azulejos geometry. Like an ode to Lisbon, where the diva has lived for several months to support her son David Banda, 14, who joined the Benfica training center.

It is also a clever means of interweaving morna rhythms, plaintive music emblematic of Cape Verde where it is accompanied by a dozen singers, met three years earlier on its route to the African continent. She connects the Hispanic titles (“Medellín”, “Batuka”, “Extreme Occident”) which surround her masterpiece “La Isla Bonita” mixed with the bass of trap music, while dancing during the concert.

Very involved in the defense of LGBTQ rights since the beginning of her career, and the appearance of the AIDS virus, Madonna will close her last Act by raising the standard of the rainbow flag, before going down in single file in the alley of the pit of the room, to touch a few hands, and leave the Grand Rex on “I Rise”, his anthem dedicated to the community.

“Thank you Paris,” she punctuates before spinning straight away in her van, heading for the Hôtel du Crillon. No, really, it’s us who thank you Madame X. Thank you for choosing France and its capital to close this intimate and human tour. And never give in, for 2h30.

Auto translated from nouvelobs.com