Jean Paul Gaultier Retiring After January Fashion Show

Gaultier, who famously dressed Madonna, will retire after his Jan. 22 Paris haute couture show.

Jean Paul Gaultier is retiring. On Friday, the French designer announced that his next fashion show on Jan. 22 will be his final one.

“This show celebrating 50 years of my career will also be my last. But rest assured Haute Couture will continue with a new concept,” Gaultier, 67, tweeted. He hinted, however, “Stay tuned. Gaultier Paris will go on. The Haute Couture continues. I have a new concept.” 

He showed his first collection in 1976 and was named artistic director of Hermès in 2003, before leaving the label in 2010. In 2014, Gaultier announced his last ready-to-wear collection to focus on haute couture.

Gaultier’s Hollywood fans include Christina Aguilera, who recently attended his Haute Couture Fall/Winter 2019-2020 fashion show in Paris and wore his hooded design to the 2019 American Music Awards, as well as Madonna, for whom he created the famous cone bras worn during her Blonde Ambition Tour. He also created Madonna’s veiled Met Gala ensemble in 2018, Miley Cyrus’ black Grammys pantsuit in 2018 and Nicole Kidman’s mermaid gown for the 2011 Grammys. 

His costume design credits include The Fifth Element starring Bruce Willis, a TV movie of Snow White and Dangerous Liaisons starring Catherine Deneuve. Last year for his January couture show, Gaultier teamed with burlesque dancer Dita Von Teese for a musical production dubbed the “Fashion Freak Show.”

Jean Paul Gaultier

@JPGaultier

 

This show celebrating 50 years of my career will also be my last. But rest assured Haute Couture will continue with a new concept.

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“Cape Verde’s music has open arms to receive any influence”

He has lived in Portugal for over two decades and is one of the musicians on Madonna’s Madame X tour. Enjoying an “open” at the eight concerts of the singer in the Colosseum (there will still be five more: from Saturday, 18, until next Thursday, 23, with new stop on Monday), Miroca Paris performs at the Capitol, in Lisbon, with a show in its own name based on its debut album, D’Alma, released in 2017. It’s this Friday, at 21h30.

Miroca Paris was born in a Mindelo family of musicians in Cape Verde on December 13, 1980 (although his official record is mistakenly in 1979). “My great-grandfather offered people music. He would open the backyard door, fiddle himself, and people would sit there listening. My grandfather [Tito Paris’s father, who is Miroca’s uncle] was already playing banjo and was the first person to bring a bass guitar to Cape Verde. ”But there’s more:“ Tito is the loudest name in our family. But there are the brothers, Toi Paris, Manuel Paris, my cousins ​​Nir Paris, Ze Paris, my brother Cau Paris. And my cousins, Deborah, Agnes, are all singers. Now there is also Sarita, who is singing, the sons of Tito, my daughter Malu Paris. There are still many connected to music. ”

Having started on drums at age seven, only then rocking to sing and play guitar at age 13 gives it a rhythmic sense that many guitarists don’t have. “I didn’t realize that at first. But in fact my playing is very rhythmic and now that has become clearer. I need the rhythm. ”He traveled to Portugal in 1998, a few months before the Expo (which he attended), but it was not soon. “He was younger and wanted to enjoy Cape Verde.” He walked here and there during this year until he decided to settle in Portugal. “They convinced me, my mother and my uncles, that I could have a music career.”

A cocktail of rhythms
D’AAlma was released in December 2017: “Releasing a record at the end of the year is almost killing it, because it only has a month. However, in these two years, a lot has already happened, the head is always working, making new songs, and all this feeds these songs better. ”Despite having new compositions, will not use them in this concert. “Because I want to enjoy the album. My first single is called Mund amor, for one reason: it’s not love for one person but also love of neighbor, love of nature, is to waste nothing. So I want to give the record the way it deserves. ”His first performance concert took place at the Womad festival in Las Palmas in November 2017.

 

Miroca Paris did not intend to record a record. “I worked with Cesária [Évora] a long time. I was doing my compositions, but never trying to record. But after she passed away I thought maybe the time had come, because I thought I would travel less. But I traveled more, because I started to accompany six to ten artists. And I couldn’t record because of the tours. It took me five years to finish the album. ”This time, and this learning, were decisive in fixing a sound:“ With all that I heard and learned, it was impossible to make a purely Cape Verdean record; it would be as if it had never left. Cape Verdean music is already a cocktail of rhythms, all mixed together. Because it has open arms to receive any influence. ”

The 11 years he accompanied Cesária Évora (from 2000 to 2011) were essential for the formation of the sound he arrived at in D’AAlma: “I was very inspired by Cesária’s tour. I met a lot of people. Cesaria, until the last days of her life, had no idea how big she was. The places where we played! ‘Carnegie Hall? The room is beautiful! ’ She was even bigger than I could imagine. ”

It was in Paris, the twin city of his nickname, that Miroca eventually broadened the horizons of his music: “I began to mingle with Latinos, with Francophone Africa, with Brazilians. This whole mix, talking about music, instruments, was an overwhelming thing. Then I decided to go back to Portugal in 2005, and that’s when I recorded with Sara Tavares the Balance. ”

But besides Sara Tavares and, before her, Cesária, Miroca has played with many other voices over the last few years: Angélique Kidjo, Aline Frazão, Bana, Bonga, Boy Gê Mendes, Camané, Celina Pereira, Cuca Roseta, Nancy Vieira, Teófilo Chantre, Tito Paris. Now integrates Madonna’s world tour with Madame X: “She is very creative, every second she creates something, she thinks, always gives ideas; you see something and you are already wondering how it can grow soon! It’s amazing, her professionalism! ”

For Miroca Paris, this has been another level of learning: “I have caught this pet of wanting to be more creative. A lot of things are going through my mind right now and the new album has to start recording right after the tour. ”

At the Capitol, with Miroca Paris (voice, guitar, percussion), there will be Vaiss Dias (guitar, ukulele), Cau Paris (drums), Xico Santos (bass), Jessica Bras de Pina (trumpet), Kalu Ferreira (keyboards), Elmano Coelho (saxophones, flute), as well as three guests: Nancy Vieira, Tito Paris and Ric’key Pageot, pianist and accordionist of Madonna, who is also accompanying the singer on this world tour.

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Madonna to the rhythm of Cape Verde and Guinea-Bissau

On stage with the Batucadeiras, Kimi Djabaté’s “Ciao Bella” and the influences of Dino d’Santiago: American superstar Madonna’s album and tour make Cape Verdean and Guinean sounds known to the world.

Batucadeiras de Portugal, born in the Cova da Moura neighborhood, are one of the attractions of Madonna’s live concerts during the world tour that began in the United States in 2019. 14 women from the Cape Verdean women’s group are on stage with the american star.

“We were from the beginning, from the recording of the music video to the tour. We have been doing the concert since July in the United States,” explains Darlene Barreto, one of the Drummers who accompany the American superstar on stage.

“I think for all Batucadeiras, especially for Cape Verdean women, this has great significance. We are mainly representing African, Cape Verdean women, women of the world,” he says.

Sound Brotherhood

Anastácia Carvalho, a singer from São Toméan origin based in Portugal, is part of the artistic cast of Madonna. She is proud to have been invited to join Cova da Moura’s Batucadeiras group, as part of a project that highlights Creole and multicultural Lisbon.

“It has been a great experience, because, in fact, both Sao Tome and Angolans, Cape Verdeans, Guineans, we are a people who are always holding hands,” explains the singer.

“Being here, in this Cape Verdean project, being of Sao Tome origin in Angola, is really the junction of all this and represents unity, brotherhood. It is this mixture of the various nationalities that currently make up the musical landscape of Lisbon”, affirms.

Due to her experience of Lisbon, Madonna conceived her album “Madame X” as a result of the intersection with Latin, Portuguese and other world influences, namely African. One of the musicians who contributed to the pop star’s creative work is the Portuguese-Cape Verdean Dino d’Santiago, who made her listen to warm songs from Cape Verde.

Guinean talent

Kimi Djabaté, who recorded with Madonna the theme “Ciao Bella”, went this Thursday (16.01) to the Lisbon Coliseum to see the concert. The theme brings together coordinates of Afro-mandinga, blues and pop styles. It was at a dinner in Alfama (Lisbon) that Madonna discovered Kimi Djabaté singing.

“She took out her cell phone and started filming. So, there, I saw some sympathy on her part. And from there, whenever she goes somewhere, she makes a point of contacting me to bring her guitar and sing for her. So, our contact started like this “, recalls the artist.

From a griot family, the 20-year-old Guinean musician was proud to have been chosen to be part of the album: “I think all musicians and singers would be proud to be invited by Madonna to be part of this great album. project”.

For Kimi Djabaté, this was a form of recognition of his talent. He says he feels more confident as a musician after his experience with Madonna.

After touring several US cities, Madonna performs live at Lisbon’s Coliseu dos Recreios, from January 12 to 23, touring 37 concerts in London (UK) and Paris (France) from February to February March.

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Madonna’s Lisbon leg of the Madame X tour is an intense cultural cocktail

Review: Madge pays homage to Portuguese traditions in her current home of Lisbon, chucking in a few classics and a dick joke for good measure.

Rating: 3.5 out of 5

14/​01/​20

This show is inspired by my second home of Lisbon,” Madonna declares during an ​intimate” concert at the city’s 4000+ capacity Coliseu de Recreios venue. Across over two hours of chaotic musical indulgence, the Queen of Pop pays homage to the musical roots of her temporary residence. On stage is the Orquestra Batukadeiras group, who ​represent the strength of being female”, while Madonna weaves Portuguese fado, Cape Verdean funaná and batuque into a visually arresting set, built around the titular character of her 14th album Madame X: a secret agent travelling the globe in disguise.

Sailing through a mix of newer tracks and watertight classics like VogueFrozenLike A VirginExpress Yourself and La Isla Bonita, Madonna dips her voice in crisp, crystalline AutoTune and takes it to glass-shattering heights. She stands on top of a piano and sings. She does a handstand on stage. She makes a joke about ​small dicks” and one about ​Mozart coming out of her pussy”. There are flamboyant costume changes, a trio of nuns playing strings, appearances by her children, pagan dancers wearing gas masks, gunshots and police violence, glitter, sequins, and more glitter. It’s a pleasingly wild display of Madonna being Madonna.

Despite the venue’s considerable size, Madge has a go at making the ​intimate” show angle work. At one point, she enjoys a sip of beer from a fan in the audience. Later, she takes a selfie with a Polaroid so she can sell it to a fan for a ‎€1000 charity donation.

Madonna’s emotionally-charged rendition of Sodade, a song by late Cape Verdean star Cesária Évora, is made extra special by the vocals of funaná trailblazer Dino D’Santiago and the virtuoso guitarra playing of fado royalty Gaspar Varela. The show’s cultural cocktail is a head-spinning tour of musical traditions – one that very few artists in 2020 would even attempt to pull off. Unless, of course, they’re Madonna.

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Madame X wraps up third show in Lisbon

Madonna started the show one hour later prior to previous nights at 23.00 because there was heavy rain throughout the day and it leaked through the roof onto the stage. Madonna ended the show around 1.30am today.

Instead of heels Madonna was seen wearing boots, maybe this will help her deal better with her injuries. There was no guest during ‘Sodade’ this time so she sang it on her own. The polaroid sold for 3000EUR and she made three attempts until she got it right (without the eye patch). She told the crowd she was happy to be on her knees for 20 minutes. 

The beer bitch was her good friend Victoria and she tried to impersonate her accent. A very lively and enthusiastic crowd resulted in Madonna being touched on her face and arms at the start of ‘I Rise’ which obviously pissed her off. Security did their best, but there’s only so much they can do. Madonna changed the ‘small penis’ joke and directed it at Brazilian president Jair Bolsonaro instead of Trump. 

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Madonna gave a genius and epic concert – but don’t ask her to sing fado (Lisbon Review)

I have to begin by saying that I am not a fan of Madonna, in the literal sense of the word, although this is irrelevant when we speak of an artist who is on a level reserved for only a very few. That’s why I didn’t attend this Tuesday, January 14, at the Coliseum with eye flaps or metal-plated bras – even though they were all in the washing machine – but I was thrilled to see, for the first time live, the pop queen

Above all I wanted to understand to what extent Lisbon influenced the tour featuring “Madame X”, the singer’s last album. I already knew that there would be references to traditional fado houses, but what other particularities of the Portuguese universe could be part of the show? Would we have a moment dedicated to the typical pickpockets of Tram 28? Or a choreography that symbolizes the difficulties in the north connections to the 25 de Abril Bridge with line by the North-South Axis from the Águas Livres Aqueduct area, and by the A5 in the access from Pimenteira?

My thoughts were happily interrupted by the security guard who searched me at the entrance of the room, with a metal detector, and asked me to put my mobile phone in silence, in a bag that would be sealed and could only be opened in a proper place for this purpose, In case of emergency. That said sounds pretty dramatic, but the truth is that for two and a half hours we were all cut off from the world and strangely no one died. Several posters at the door announced to the most distracted that this was an event without mobile phones, “phone free show” appeared in large letters. I admit there was one or two influences with panic attacks after half an hour of not being able to consult your feed, but normal people held up well. Already in the living room, despite the heat and the seating crowd, the atmosphere was lively. A projected X took up the entire red stage cloth, in which four musicians played unplugged and set the tone for an inevitably more intimate show. Gaspar Varela on Portuguese guitar, trumpeter Jéssica Pina, guitarist Miroca Paris and percussionist Carlos Mil-homem welcomed an audience full of foreigners who accompanied them in chorus every time they listened to an interpretation of an artist’s theme , such as “Who’s that girl”.

Artists are here to disturb the peace
The quartet left the stage, and although no one had cell phones, it felt like a vibration. At ten o’clock those nervous little palms began in repetitive cadence, as if to ask them to ‘get on with it’. There is a big expectation for the show to begin, which “started on Sunday at 9:50 am,” they say beside me impatiently. Finally, the Colosseum breaks into applause as Madonna’s voice comes off, thanking everyone for their presence and asking “let nothing stand between us,” a way of saying: prison of Linhó, please do not use them. That is, keep them in the body hole where they hid them. ” Madonna ends her announcement with one last warning: “remember: none of this is real.”

The show begins with a choreographed moment and a projection that occupies the entire stage, two aspects that will be a constant throughout the performance and that together with a removable and changing scenario set the tone for a more familiar tour, which contrasts with the usual apparatus of the great arenas or stadiums. “Artists are here to disturb the peace,” a phrase by writer James Baldwin that is projected on screen to the sound of gunshots and will be retrieved several times by Madame X throughout the show.

As an art piece, this format is much more attractive while giving fans the opportunity to be closer to the artist. And when I say closer, I mean literally being shoulder to shoulder with Madonna, as happened to a German fan where the singer sat down to talk for a while. The dialogue was not very fluid, given that the fan was about to collapse with nervousness, but the artist tried to put him at ease. She praised the lord’s outfit – this one with a metallic bra and colored shorts – spiked the rest of his beer and returned to the stage. Although I ran out of drink and could not register the moment with a selfie, I imagine that even today this gentleman is nervous. It was one of the interactive moments of the concert, in which Madonna approaches her audience and makes her a character in Madame X’s universe. This figure who assumes herself as a woman of multiple personalities is an alter ego of the artist herself who unfolds on stage and confirms again that at 61, she really is the queen of pop.

Madonna dances, plays the guitar, climbs staircases, climbs up pianos, pins in a “mouse wheel” and at the same time still sings blamelessly – with the exception of the part where she made her fado debut, but already there. I will.

An organ concert
“What do you call a man with a small penis?” She asks in another moment of conversation with the audience. Some fans answer Donald Trump and Madonna replies, “I wouldn’t know, because I’ve never been with one… fuck!” Like all people living in a foreign country, Madonna first learned the blunders, although she confesses that she is the only one. “Bad word” that you know in Portuguese. Now we know where the artist sent the mayor of Sintra when he forbade her to film a video clip with a horse entering a palace.

Still during this mild cavaqueira with the public, happens the most unusual moment of the show. Behind a screen, Madonna uses the eye metaphor as windows to get to know the world and explains that there are other windows as well, at which point she opens her legs and announces that the Mozart excerpt we are listening to in the columns is coming out of her vagina. Although it makes some sense to be classical music, since we’re in the midst of a sixty year old, it was just a weird moment. And I must assume I’ve seen some things I wouldn’t expect to get into a vagina, let alone get out – I’m a person with some free time, ready – but a Mozart piece I confess was the first time. Does it work with bluetooth?

We do not accept card payments
At the end of the classic “Vogue” theme, one of the few hits in the lineup, Madonna takes a selfie with a polaroid camera. Being the only selfie anyone could take inside that room, but especially from Madonna herself, this is a very appealing article for fans and collectors. Madonna knows this, so as she puts the photograph between her legs to see if the revelation hurries, she jokes, “This is a hot pussy” – then announces that she is going to do a charity auction right there. “Whoever gives more takes this picture home,” he says, challenging people to come to her and do business.

After some initial hesitation, we began to see a movement in the audience to make room for an interested first. “How much have you got?” The singer asks bluntly. You say you have a large credit card amount, but Madonna rejects and says you only accept cash payments. You probably thought that since you play classical music and reveal photographs, perhaps passing through the slot also made payments, but not. Then there appeared another fan who offered 300 €, which Madonna found a trifle and finally the picture was eventually bought for 1,000 € by a Spanish gentleman named Juan – and who today should be selling the picture on ebay for 2,500 € with the title “Exclusive Madonna polaroid selfie that has been in her hot mozart playing pussy”. I clicked.

Silence that will “sing” the fado
In the third act of “Madame X”, soldiers carry a US flag-covered casket on their shoulders, while a video with images of the world map, caravels, and sea allude to the Discoveries. It is the motto for the performance of the Cape Verdean Orchestra that enters the audience, dressed in rigor and with an energy that puts everyone dancing to their feet. The sounds, colors and rhythms of Lusofonia fill the stage of one of the greatest international artists and with it Portugal begins to draw as a source of inspiration for this show, which also counts with the participation of Dino de Santiago with whom ahead would go sing “Sodade”, in honor of Cesária Évora.

Madonna is back alone on stage, just with us, and explains what it was like to live the last three years in Portugal. She assumes she’s a soccer mum, and it was her son David who convinced her to come to Lisbon to practice at the best club in the world – this last description I added, but it was clear from the way she told her. Benfica word that Madonna agrees with me. That is, as we all know, it’s Benfica’s fault! The singer described that she enjoyed riding a horse in Comporta, drinking her cold white Amarguinha and Porto, but lacked a sense of community, group, friends with whom she could share the experience. It was a Colombian friend who took her one day out and made her aware of Lisbon’s fado houses, where the pop queen met Celeste Rodrigues, the sister of the fado queen. The rest is history we already know, Madonna fell in love with Lisbon, fado, mornas and funaná. He mourned the death of Celeste Rodrigues, who he said was an “extraordinary person” and took the opportunity to stage the grandson of fado singer Gaspar Varela, a musician who plays Portuguese guitar and accompanies the singer on this tour.

Madonna explains that Celeste taught her a fado and, to the surprise of fans, announces that she will risk singing it. “Want it?” She asks an enthusiastic audience. “Do you really want to?” The audience shouts yes and Madonna debuts in Lisbon as a fado singer, with a block of “Fado Pechincha”, a classic immortalized by Celeste Rodrigues. In the end, the audience applauded, but deep down we all thought the same: Celeste Rodrigues’ death was a great loss, yes sir, but on the other hand we always spared you from having to hear that. Let’s say Madonna has the same way of singing fado, and me, of throwing darts with my eyes closed. Still, she can sing fado better than at least three members of the Pereira family.

After this fun moment, the scene turns into a very stylized fado house – almost like a living copy of painter José Malhoa’s “O Fado” – which provides the space to hear some more songs from the new album, mostly with Latin sounds.

And it feels like Home
“Like a Prayer” is the theme chosen to end the concert, at least until it returns to the encore and to bid farewell to the Colosseum audience. Accompanied by the amazing singers who support her throughout the show, Madonna ends the song by highlighting the verse “and it feels like home”, as if to imply that although she no longer lives here, she still feels at home in Lisbon.

It was beautiful, the Colosseum clapped standing and in the audience Fernando Medina wept with excitement that he no longer had the pop star as his citizen. Already I was glad to be able to watch a show that is really unique, but above all surprised to be able to read all the notes I wrote in the dark, in the notebook I took. Ok, it’s not as impressive as playing Mozart for the syrup, but that’s what we have and as Madame X would say “artists are here to disturb the peace”, which is like saying, who gives the most has no obligation.

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Madonna records tour in Portugal and fans wait for DVD

At shows on her Portugal tour, Madonna sings fados and shows inspiration from the country for performances.

Madonna fans are hopeful and it seems that Pop Diva is preparing an audiovisual record of her tour, “Madame X”, which debuted in Europe this week. The singer will perform a total of eight shows in Lisbon, where she chose to live a few years ago. From there, she goes to London and Paris, where he ends her performances.

The premiere of “Madame X” in the Portuguese capital took place on Sunday (12). Fans who watched the show realized that everything was being recorded by a video team, which did not happen in the United States. Responsible for the images would be Krypton International, the same company that made the documentary “The World of Madame X,” available on Amazon Prime Video.

Social media began to circulate credential images that would be used by members of the artist’s team, with free access to all areas, in order to facilitate mobility during the event.

The direction of the project would be Ricardo Gomes and Nuno Xico, longtime collaborators of the singer. In his latest Instagram posts, Gomes shared two photos of Madonna in Lisbon and then the image of a monitor that appears to be from a recording made in the city with the caption: “Be grateful. I love what I do ”and the hashstag #Work, I work in Portuguese.

Shows in Portugal

Madonna really seems to be feeling at home in Lisbon. In the second show held in the Portuguese capital, this Tuesday (14), the singer said happy to sing in the city. “You can’t imagine how long I waited for this moment to show what inspired me here,” celebrated Diva Pop.

Very comfortable on stage, Madonna told jokes, spoke a bad word in Portuguese – Car **** – and sang fado, a local rhythm, accompanied by guitarist Gaspar Varela, great-grandson of Celeste Rodrigues, a fadista whose American artist is an admirer. .

Madonna also joked about the “25 injuries” that affect her. “Don’t pay attention to what’s going on from the waist down,” she said. The Queen of Pop’s ill health caused her to cancel a series of shows in the United States last year: two in New York, one in Los Angeles, three in Boston and the last, which was scheduled for December 22 in Miami

Singing 1994’s “Human Nature,” the singer ended the number of women surrounded, including her daughters Stella and Estere. Already after performing “Medellin”, she dropped the crown and came down from the stage to talk to a fan in the audience. The chosen one was a German named Ben.

Local press complimented the artist’s performance and highlighted the participation of the Batukadeiras Orchestra as one of the highlights of the show. Madonna performs in Lisbon until January 23rd. She then performs 29 other shows in London and Paris.

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Madonna covers Mode Lifestyle Magazine – ‘Madonna Like a Virgin to Madame X’

The Art Issue 2019 –
Mode Lifestyle Magazine

The living icon continues to highlight social injustice through music

Story: Terry Check
Editor: Sarah Curtis

Design: MODE Studio
Cover Photo: Terry Check
Mode Art Issue Cover Image Artist: Eduardo Kobra

 

Madonna, the Queen of Pop, has continued to top the Billboard charts for the past 35 years. She refuses to be hampered by critics and stereotypes, breaking from traditional expectations with creativity beyond measure. Selling more than 400 million records worldwide, she is celebrated as the best-selling female recording artist of all time by Guinness World Records. As one of the “25 Most Powerful Women of the Past Century” Time Magazine recognized her as the most influential figure in contemporary music, constantly reinventing both her music and image with disregard to critics.

The rebellious teenager moved from Michigan to New York City with $35 in her pocket, and pursued modern dance at the famed Martha Graham School noted for the superb instruction and strict dress protocol. Attending school classes, the non-compliant Madonna said in a recent interview, “At one point I took my leotard and ripped it from the top all the way down to my pubic bone and then I took tiny little gold safety pins and safety pinned it all the way from my vagina to… my fanny.” Every day Madonna would attend class with a new fashion look applied to the standard dancer uniform, and would be asked to leave and change her clothes. After numerous warnings, her strategy worked to meet “in-person” the famed dancer-choreographer, Martha Graham.

Madonna recalled that Martha said, “I’m going to start calling you Madame X from now on,” and I said “Why?” and she said, “Because you’re like a secret agent. You’re like a spy. Every time I see you, you look different. I pass you in the hallway, I’m not sure it’s you. You keep changing the way you look, your identity.” And I said “Yeah, that sounds good, I like that. I’ll take that.”

After dance classes, she worked as a waitress at Dunkin Donuts, and as a backup singer, eventually writing songs and promoting herself as a solo act. From one radio station and night club to another, male managers requested sexual favors in exchange for playing her music. “No” was always the answer, and then, she met disc jockey, Mark Kamins, who introduced her to Seymour Stein of Sire Records. The single, “Everybody” was recorded as part of her debut album, Madonna in 1983.

In 1985 The Virgin Tour, the debut concert tour by the American singer-songwriter-performer extraordinaire, featured her first two albums, Madonna and Like a Virgin in the United States and Canada. Shunning the typical tour of a singer singing and a “lame-ass” band in the background, the self-possessed performer wanted male backup dancers to accentuate her provocative moves on stage, and a multitude of avant-garde costumes designed by her friend, Maripol from Greenwich Village.

The sell-out tour was a reflection of herself, energizing the audience with every song, and ending the show performing “Like a Virgin and “Material Girl”. Wherever she performed, the fans, called Madonna Wannabes, would flock to retail stores like Macy’s to purchase Madonna-inspired clothing, crucifix earrings, and fingerless gloves. The tour was recorded and then released as Madonna Live: The Virgin Tour.

In one of Madonna’s most famous singles, “Like a Virgin” smiling she sang a few lyrics,

“Like a virgin, hey

Touched for the very first time

Like a virgin

With your heartbeat

Next to mine”

She liked the innuendos of living or reliving one’s sexual ecstasies over and over again.

Time moves on and in the year 2000, Madonna with Mirwais Ahmadzai wrote and produced the 8th studio album, Music, a collaboration of dance-pop and electronica vibe together with folk, country, and rock. Dedicated to her husband, Guy Ritchie, “the coolest guy in the universe”, Madonna wrote, “I Deserve It”, a testimony to her life’s journey as Guy entered her life. Performed as an acoustic track with a hip-hop groove, the unpredictable music icon sang acapella the lyrics in part:

“This guy has danced for me

And I have danced for him

This guy has cried for me

And I have cried for him

Many miles, many roads I have traveled

Fallen down on the way

Many hearts, many years have unraveled

Leading up to today

I have no regrets

There’s nothing to forget

All the pain was worth it

Not running from the past

I tried to do what’s best

I know that I deserve it”

The subsequent tour, Drowned World Tour, featuring songs from the Ray of Light and Music albums, was a huge success that played to more than 700,000 fans in the United States and Europe. Receiving mostly positive reviews, Michael Hubbard from Music OMH commented that “you’d struggle to find a better show than Drowned World and you’d find it difficult to find a mainstream artist who can command near-universal respect for anything like as long as this fine lady. She displayed that temptress quality which has beguiled us for nearly two decades and that, combined with her exquisite music, is why Madonna is so special.”

Life’s journey is ever-changing, and for Madonna moving to Lisbon for her son’s education brought her a new perspective to music. In a recent interview, she reminisced, “I started getting invited to people’s homes and they have things called living room sessions. So everyone would congregate. People would bring wine, they would bring food, sit around the table. And then suddenly musicians would get up and start playing instruments and singing fado music and morna music and samba music. I was like, ‘Wait. What’s going on here? Like artists just get up and perform and you don’t get paid and they’re just doing it for fun and love and passion?” Meeting, conversing and partying with artists, painters, and musicians, she felt connected to an unknown universe of creativity challenging her to record an album.

Fast forward to 2019 with the release of Madame X, the nickname given to her by her former dance instructor, Martha Graham, Madonna was forever experimenting with her vision of life, constantly pushing boundaries with her music and performances. In the promo video, Madonna declared that “Madame X is a dancer, a professor, a head of state, a housekeeper, an equestrian, a prisoner, a student, a mother, a child, a teacher, a nun, a singer, a saint, a whore in the house of love. I am Madame X.” Together with the French producer Mirwais, she tackled social issues in the album including gay rights, racism, freedom of speech, sexism and gun control. Like Bob Dylan, Madonna the songwriter/performer with a fan megaphone of tens of millions, has shined a spotlight on today’s social injustice. Madonna may be the next recipient of the Nobel Prize for Literature.

After the release of her 12th studio album, the worldwide fans have loved the music, making the album No. 1 on 60 countries including the United States. Commencing on July 2019, the Madame X Tour would not perform in the traditional large stadiums of previous tours; but instead in small venues where she can become more intimate, more personal with the audience. The tour sold out within hours of the ticket release with 81 dates scheduled so far. It will kick off in New York City with 17, that’s right, 17 performances at the Howard Gilman Opera House, a historic theater with less than 2,200 seats. Not surprisingly, Madonna continues to break the rules.

……………………………..

Madonna Cover Image Artist Eduardo Kobra

The self-taught artist, Eduardo Kobra painted graffiti as a teenager in his hometown, San Paulo, where authorities arrested him for vandalism, gave him a sentence of painting a mural on the police station and said, “His artwork is amazing.” Studying the work of muralists like Banksy, Eric Grohe and Keith Haring, Kobra developed his own signature of a kaleidoscope of bold lines and bright colors superimposed on the portraits of historic persons contributing to mankind. His portraiture work includes Michael Jackson, Mother Teresa, Albert Einstein, Salvador Daly, David Bowie, John Lennon, and countless others. Today, the world renown artist has created murals, some small like Madonna (40” x 50”) to large like a football field size, mural for the Olympic Games in Rio de Janeiro, Brazil.

 

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Lisbon and Liberty, Madonna’s choices (Lisbon Review)

In the second concert at the Coliseu dos Recreios, Madonna again raised the room for Portugal, for its music and its causes.

Even before appearing on stage, in a voice-over, Madonna explained to the audience why she decided there would be no cell phones in the room – at the entrance, they are tucked into small tamper-proof bags and only unlocked at the exit. “I want you to be here and enjoy this trip with us. Don’t let anything get in the way,” she said, anticipating her first appearance behind the projection of a huge, burnt and faded US flag. Later and twice there will be to speak out against the leadership of his country: she calls Donald Trump “a man with a small penis” and then a “” psychocopath “who has no shame in” inventing a war “to deal with an impeachment process. ” ongoing. “God bless America,”

“Madame X”, revealed on last year’s album of the same name, rose on Tuesday for the second time on the stage of the Coliseu dos Recreios to offer a show where the pop queen reciprocated the “inspiration” that Lisbon gave her. In about two and a half hours, with the songs of the new album, brought to the stage the fado, warm funaná and their timeless songs.

The concert was music, but also political and manifesto about world news. It raised its arm against war, the proliferation of weapons in the US, discrimination and climate emergency. During “God control”, she stressed that we were “all in the same boat. If the ship sinks, we all sink. But we will not let that happen,” she says of the urgency of “a new democracy.”

The political ambition is large and global in scope, but Madonna wants a show of intimacy, in communion with the public. She demanded that everyone surrender, but returned everything unreservedly, despite the injuries and pains she revealed to have in her legs (which led to the cancellation of some US tour concerts). Madonna, 61, sang, played, danced and interacted abundantly with the room.

On her return to her “second home”, as she called Lisbon and where she starts the European tour that also passes through London and Paris, she again explained the move to the Portuguese capital. The story is known. Her son’s passion for football and training at Benfica drove her out of her “comfort zone” and discovering new sounds and great women she is said to have fallen in love with. Talks of the singer Celeste Rodrigues, whose great-grandson Gaspar Varela invited to accompany her in this show with the Portuguese guitar; by Cesária Évora, from whom she sings Sodade “with Dino d’Santiago; and from the Batukaderas of Cape Verde, who catapulted to fame and with whom she swings on stage.” Be proud of you because you created all these fantastic women. ”

There was a sense of belonging when the stage turned into Madonna’s Fado House, where the American ventured to sing in Portuguese: “I asked a fadista / What is your devotion / I pointed a guitar / And it beat my heart”. Several times he wanted a Amarguinha or a White Port – but only drank beer on stage – and to the end reserved some of the most cherished themes by the public.

“Like a prayer” was perhaps the song with which the room was most buzzing, although the audience barely sat down during the concert, which ended with the singer announcing the word “Home”. Madonna has also returned to an encore, with “I rise.” The screen displays images of burning forests, Parkland’s attack, war victims and amputees. Her eternal struggle, Madonna says, is for Freedom. it turns into a huge LGBTQ + flag and Madonna left the room across the main hallway of the Colosseum, fist raised, singing, “Power to the people.”

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Madonna makes unexpected revelation at the Coliseu dos Recreios “I already feel Portuguese”

In the second concert in Lisbon, the American singer once again became a fan of codfish and surprised national spectators with a declaration of love for Portugal. “This is my second homeland,” assumed the interpreter of “Frozen.”

Madonna makes unexpected revelation at the Recreational Coliseum.

Madonna made an unexpected revelation last night at what was the second of eight concerts scheduled at the Coliseu dos Recreios, in Lisbon, until the 23rd. American of Italian descent, who again praised the faithful national friend. “I no longer live without cod,” guarantees the interpreter of global hits such as “Borderline”, “Justify my love”, “Frozen” and “Live to tell”.

During the declaration of love to Portugal, Madonna made a surprising comparison. “Do you know what is the difference between the Americans and the Portuguese? Americans live to work and the Portuguese work to live,” said Madonna, who continues to imply that she intends to return to live in the Portuguese capital after the end of the current international tour. , which you can (review) next, ending March 11 in Paris, France.

Contrary to what happened in the first performance at the Coliseu dos Recreios in Lisbon, yesterday’s show Madonna won no more than € 1,000 for the polaroid that takes off on stage and sells, for solidarity purposes, in one of the sections of the show. At the concert on the first day, I had an offer of € 5,000 from a Brazilian fan. Yesterday, he was once again a male admirer getting photography. The third concert of the singer in the capital takes place tomorrow.

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Finally, eye to eye with Madonna (Lisbon Review)

Much more than just a concert, Madame X is a mix of political rally, religious celebration and worldly celebration. That was the concert on Tuesday night, the first open to journalists.

Still a few minutes to the start of the concert and as it fills up, the sometimes so big of a room of the Coliseu dos Recreios in Lisbon seems to get smaller and smaller. After all, it’s not every day you see one of the world’s biggest pop stars so close, literally “eye to eye,” as Madonna herself will make a point of underlining when she later takes the stage. This is therefore not a concert like the others. You can feel it on the street, a multinational crowd that neatly forms two lines to enter the coliseum, but especially in the living room, where anxiety levels are calming to the sound of a quartet composed by Madonna’s Lusophone entourage, the Carlos Mil-Homem percussionists. and Miroca Paris, guitarist Gaspar Varela and trumpeter Jessica Pina, who said goodbye to the sound of an instrumental version of Like a Virgin, all sung in chorus.

When the lights went out and for the first time Madonna’s voice was heard, speaking in the spectacle “eye to eye”, “no cell phones in the middle”, the silence was utter, as in the initial choreography by a dancer, just at the sound of a typewriter while projecting a few sentences by African-American writer and activist Js Baldwin. “Art is here to prove that all security is an illusion,” reads at some point on the stage, as if anticipating the nearly three hours of spectacle about to begin. More than just a pop concert, Madonna’s performance is closer to the concept of musical, in which the songs, the sets and the choreography serve to convey a political message. Supporting minorities, the struggle for freedom, feminism, the individual emancipation of each. In short, the right to be happy. And songs like the ones that make up the latest Madame X album are the perfect soundtrack for such evangelism, as we saw in Lisbon at the very beginning of the concert, to the sound of God Control, with Madonna alerting the audience – “this is your wake up call “- for the urgency of a” new democracy “.

The first big explosion of the night, however, comes with Human Nature, the theme of the 1994 album Bedtime Stories, in which Madonna shares the lead with Portuguese trumpeter Jéssica Pina, before finishing singing in the chapel, accompanied by a choir of Black women, including daughters Esther, Stella and Mercy: “I’m not your bitch, don’t hang your shit on me.”

The stage is followed by changes of scenery, staircases, balconies, walkways and all kinds of structures, where dancers and musicians go up and down. Behind a screen Madonna shifts right there, leaving only her legs open. “They say that the eyes are the eyes of the soul, but there is another part of the body that lets the soul see much better,” provokes, before saying a resounding “fuck”, the only blunder she knows in Portuguese, confesses. “Who do you think of when I talk about small dicks?” The public response was automatic, and somewhere in Washington, the president of the United States must have had his ears burning. “I have no empirical knowledge on this subject, but I know that size really matters,” she says. Strike a Pose, however, is heard, anticipating yet another outburst of the crowd, by now all standing, despite the chairs, to dance to the sound of Vogue, the 1990 classic. The return to Madame X happens with I Don´t Search I Find, which serves Madonna to explain who this new alter ego is: “She is a dancer, teacher, head of state, prisoner, student, mother, child, nun. She is a queen, but she is also a prostitute. Who is she?” do you prefer me to be, the queen or the prostitute? ”

Alone on stage, Madonna then takes a polaroid of herself, “the only photograph there will be tonight,” she stresses, recalling again that it is a concert without mobile phones (the devices are stored in pouches, only open on the way out). As happened in the remaining concerts of Madame X’s tour, Madonna auctiones the photograph right there. In the first night it yielded five thousand euros, paid by a Brazilian fan, and yesterday another thousand, disbursed by Juan, who came on purpose from Spain to see it.

Donald Trump, “the psychopath who invented a war,” returns to the fray as an introduction to American Life, the opening theme of the album of the same name, released in 2003. The mood is however about to change, as one notices when the Cape Verde Batukadeira Orchestra bursts into the room. Already on stage, sitting in a semicircle around Madonna, they interpret with her the theme Batuka, in one of the most moving moments of the night, which ends with all holding hands. Madonna then comes to the front of the stage to tell the audience the story of her relationship with Lisbon, the people she met here and how the city inspired her. The speech is often interrupted by declarations of love from the public in various languages ​​and accents. Madonna enjoys and also makes a declaration of love to “great friend Celeste Rodrigues”, who honors singing a fado, accompanied only by the Portuguese guitar of Gaspar Varela, great-grandson of the fado singer. “Another great woman, Celeste,” he blurts out before returning to Madame X with Killers Who Are Partying: “The world is wild, the road is lonely,” he once again sings in Portuguese.

Meanwhile the curtains open and the scene is now transformed into a typical Lisbon fado house. “Welcome to my fado club, where you drink bitter.” You hear La Isla Bonita, which merges with Sodade. Madonna then calls on stage the “king of Funana”, Dino D ‘Santiago, with whom he plays a chilling version of Cesária Évora’s classic. In the audience, everyone sings and some Cape Verdean fans can’t contain their tears. “I really wanted to sing this song to an audience who knew the lyrics,” she confesses at the end.

The temperature gets hot again with Medellin, in another duet, this virtual duo, with Colombian singer Maluma, during which the singer descends to the audience, to dance among the audience. She’ll be back later, this time with her son, David, to sit in the front row, resting for a while, next to Ben, a young German nurse dressed in a cone-shaped bra, identical to what Madonna wore in 1990, during the Blond Ambition Tour. “What’s in there?” He asks, while sharing a beer with the fan, who replies that “it’s just a pair of socks”. “See? Size really matters,” she shoots before returning to the stage to play Extreme Occident, another theme from the new album, which she also sings in Portuguese – “What hurts the most is that I wasn’t lost.”

This is followed by a return to the past, this time to the sound of Frozen, the ballad included in the 1998 album Ray of Light. Madonna plays the song behind a semi-transparent screen, where a choreography featuring the eldest daughter is projected. , Maria de Lourdes. After this most intimate moment, the political theme returns with Come Alive and Future, two of Madame X’s most pamphletal themes, with the American singer seizing the occasion to give a speech on “the value of freedom”, urging all present to like themselves “freedom fighters”. The artist warns that there is only one song left, but no one is left standing after Crave’s lively disco party – not even missing a giant mirror ball, reminiscent of the old days of Studio 54 in New York, where Madonna started singing . Everyone knows that one of the most awaited moments of the night is still missing and when you hear the first chords of the classic Like a Prayer the Colosseum explodes as it had not happened before. Everywhere sings and dances to the sound of the gospel choir that accompanies Madonna on stage.

Now it could end, but no, something was still missing. The typewriter keys are heard again: “artists exist to disturb peace,” appears drawn on the walls of the coliseum, in a new quote by James Baldwin that seems to perfectly sum up Madonna’s entire career. On the screen then comes the image of Emma González, the young American anti-gun activist, who in 2018 survived a massacre at her Florida school. From her are the words heard at the beginning of I Rise, the manifesto ending Madame X – the record and the concert. Clenched fist and raised arm, Madonna chants the last slogans, accompanied by all the musicians, dancers, and singers: “Yeah, we’ll get up. Yeah, we’ll get up. Yes, we can, we can get it together.” ” Then disappears into the crowd, as if she were just one of us. In fact, this is more than just a concert.

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Madame X Lisbon facts, prices and filming!

Madame X started the show again around the clock of 10pm and finished around 00.30am. The show hasn’t been changed and despite the knee injury M is still climbing the stairs throughout the show, dancers lending a helping hand.

The show was filmed again and two camera’s were placed on both sides of the stage, two at the rear of the theater and two more moving through the crowd. Madame X wasn’t entirely satisfied with the filming of the first night and ordered more material. The next show will possibly be filmed as well. They weren’t booked until this past Saturday so it wasn’t scheduled previously. 

There wasn’t as much merchandise as expected (as let’s say in the pop up shop), but here are some of the prices:

  • 30 EUR programme
    35 EUR Lisbon t-shirt
    30 EUR bottle
    15 EUR patch

Stay tuned for more updates coming live from Lisbon with many thanks to our team members Fred and Dave

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Madonna (triumphant) at the Coliseum: The queen descended from the throne to sit next to us (Lisbon Review)

This Tuesday, in the late afternoon, the Coliseu dos Recreios street in Lisbon had even more traffic than usual. The reason? Madonna The American artist took the stage of the Lisbon room for another concert of the tour of “Madame X”, album that the “queen of pop” released in June 2019 and was influenced by Lisbon, her “foster home”.

“Welcome to the world of Madame X,” Madonna says in a recording before the red curtains of the playground coliseum open. “There will be nothing between us tonight,” he adds at the start of the second concert in Lisbon.

And the initial promise is honored: After hundreds of concerts over decades in big halls around the world, Madonna is more intimate than ever – in interviews and on social networks, the American artist has confessed that she wanted to risk being closer to the fans. It’s a unique opportunity to see one of the biggest music stars in a small room. As the cliché says, close to each and every one.

At every concert of this tour, Madonna’s commitment is always the same: it offers an intimate and unique artistic experience. And maybe that’s why mobile phones are forbidden – at the entrance of the Coliseu dos Recreios, fans have to put their smartphones in sealed bags.

The album “Madame X” is the protagonist of all concerts and this Tuesday was no exception. Similar to what has been going on throughout the tour, Madonna kicked off the show with “God Control”, one of the strongest themes of her latest album and where the artist leaves some thoughts on the state of democracy, the direction of the United States. and gun control.

The shows of Madonna’s current tour are perhaps the most political of her career – like “Madame X”, the concerts are intense and full of strong messages that the singer wants to get echoed.

After “God Control,” Madonna continued her trip to “Dark Ballet,” with the singer leaving a number of strong messages, which were engulfed in beats that gained momentum every second. In between, there’s a kind of ‘break’ with piano and distorted voices that transported audiences into a fantasy and futuristic world.

After two themes, the audience already felt totally inside Madame X’s universe, Madonna’s “home”, a very Portuguese “home” – Lisbon, where Madonna moved in 2017, is in the soul of the concert and all His experiences in the Portuguese capital were transformed into songs and inspired the creation of the tour.

“You can’t imagine how long you waited for this moment, for this return to Lisbon to show you what inspired me here,” shot Madonna.

On the third theme, the first trip to the past with “Human Nature”, from the album “Bedtime Stories”. On stage at the Coliseum of Playgrounds, Madonna turned the 1994 single into a confession, ending up surrounded by a dozen women, including her daughters Stella and Estere.

After introducing her daughters, Madonna gave the word Stella, who shouted “Hashtag #TimesUp!”, Deserving a big ovation. Then Madonna, with her daughters and a choir sang a cappella “Express Yourself”.

Before following a trip through the alignment, and while preparing behind a mirror, the singer talked to the audience and ventured an anecdote. “What do you call a man with a small penis?” He asked. “Donald Trump,” shouted several voices from the audience. “I wish that was the answer, but I have nothing to prove it. The answer is: I don’t know why I never had to call a man with a small penis,” he joked, ending the joke by saying “c *** lho” in Portuguese.

The lineup was followed by “Vogue”, “I Don’t Search I Find” and “American Life”, which served as a soundtrack for another trip to the pop queen’s past. to auction off a photograph taken on stage with a polaroid – a fan offered a thousand euros for the photographic record (the amount will be donated to an institution).

After “American Life,” the stage curtains of the Coliseum of Playground closed and “Mary, Mother of Jesus” was heard as a group of dancers carried a coffin. Shortly thereafter, the side doors of the room opened and the Batukadeiras Orchestra entered through the crowd and took to the stage for the theme “Batuka”, stamping one of the highlights of the night.

After the party with the Cape Verde drummers, Madonna remembered a little of her coming to Lisbon and remembered Celeste Rodrigues. On stage with Gaspar Varela, great-grandson of the Portuguese fado singer, the artist ventured to sing a few lines of “Fado Bargain” – judging by the applause, the challenge was successfully overcome.

The theme in Portuguese was the motto to “open” your fado house on stage. Between tiles and coffee tables, Madonna featured “Crazy”, the theme of her latest album, and traveled back to the past with “La Isla Bonita”, which featured a few extra lines about a fado house.

Besides the scenery and constant references to Portugal, during the tour concerts, Madonna also pays tribute to Cesária Évora. At Tuesday’s concert, the ‘queen of pop’ had Dino D’Santiago with her for the theme song ‘Sodade’, which was sung with one voice by the audience and with considerable echo.

Already after dancing and cheering the crowd with “Medellin”, Madonna did what she probably never had the opportunity to do throughout her career: get off the stage and sit in the audience to talk to a fan. This Tuesday, the privileged was Ben from Germany.

After the conversation, the singer returned to the stage for “Extreme Occident”. This was followed by “Frozen”, one of the most applauded themes of the night, “Come Alive”, “Future” and “Crave”. The three themes of “Madame X” paved the way for “Like a Prayer”, which was celebrated triumphantly by all fans and served as Madonna’s first ‘goodbye’.

A few minutes later and with the audience asking for “just one more”, Madonna returned to the stage for “I Rise”, theme that is part of the last album. In communion with the public, the artist descended from the stage and traveled the entire central corridor to the exit of the Coliseu dos Recreios.

Even after Madonna’s ‘goodbye’, the cheers rang for long minutes. The first comments began to be exchanged shortly thereafter and “unique” was one of the most heard words in the hallways of the Coliseum.

For about two hours and 40 minutes, Madonna surprised and intimately revealed the world of “Madame X” – having the ‘queen of pop’ so close is something many fans couldn’t imagine in their best dreams.

Song after song, the singer surrenders to be closer to everyone, yet is one of the biggest stars of the song. And every detail – scenery, costumes, lighting fixtures and alignment – helps build the perfect ambience.

Throughout her career, Madonna has never shied away from risking it. The concerts of “Madame X” are further proof of this and are at the same time a testimony of her glory and madness – because it is in her difference that Madonna finds her greatest asset.

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Saint Madonna of the Colosseum sang for all that is sinful (like her) Lisbon Review

Photo: STUFISH

Madonna does not need to win anyone, this is no longer objective. Already conquered fans are long before this tour, before this new album, before even knowing that both things were on their way. Madonna is the monarch who inspired all who followed her with ambitions to inherit a place in pop royalty. That’s why you do what you want: live the way you want it, the albums as you like, the tours you want them to. More than 30 years after tours of arenas and stadiums and other large estates, I saw her in small rooms, such as the Coliseu dos Recreios in Lisbon (“my second home”, confesses, for the thrill of a very local) to be able to receive the who adore her with all the perks of those who know and can welcome. Of course the tickets are expensive. It’s Madonna, bitches, there’s no going back.

No phones allowed in the room, no photos, videos, recordings, nothing. Photographer? Only the officer. Who wants to see her is there, on stage, among the fans. In a woman’s natural habitat, which actually has more habitats than can be counted on with the fingers of both hands. Madonna was all, plus what she is now and hadn’t been. It is said and shown on stage warrior, secret agent, semi-fadista at least in spirit, feminist, activist, politician, owner and boss of things in general, singer, guitarist, dancer, conversationalist and quasi humorist, Mrs. Madonna 61 years old. An age that for an ordinary mortal would never be enough to put so much together in the same place, in the same experience and in one voice.

The Madame X tour concerts take place in smaller venues, but what you see on stage is not minimalist, not a reduction in the artist’s performance ambitions. Quite the contrary. In the latest album, Madonna has sex and religion, change, technology, politics and how it all goes and is affecting everyone’s life. How does this ball become a smaller show? It does not transform. Because it is not necessarily smaller. Madonna has no way for such downgrades. The space is smaller than usual, but with more latitudes than normal for the limits in question.

“I didn’t want screens separating us”
Before the concert started, there was the best there could be before a Madonna concert: more Madonna. With Gaspar Varela and Miroca Paris circling a few American classics, wrapped in fado and warm and other less traditional things, to warm up a room that was not sold out but was nearby. And it’s good to see how Madonna fans are such a big happy and in tune community, especially when there are no phones as a company before the party. It was watching them talking, cheering, shouting and singing, as people do with each other. Very pretty.

Still the cell phones, which were with their owners but in closed bags that were only opened again outside the Colosseum: as there were few watches on the wrist, hardly anyone saw the time. Here’s a vow that the concert started late, but that doesn’t matter either. It’s been two and a half hours, more thing less thing, and it’s this count that will stay in history.

The Circus Begins: James Baldwin’s words on the giant screen (and it was really big, the bastard). “This is your wake up call,” says Madonna. “God Control”, choreographed sound record in detail, is like watching a flesh-and-blood music video and it’s great. Party on stage, but the craziness of weapons and their dangers in the lyrics is no mistake, it is irony of the good. The audience at hand. It’s done, they no longer leave.

The night is almost like that, a mix of techno party and political and social messages. With the focus clearly pointed on the songs of the album Madame X, but with good hand in time to fit themes of other times. Not many, sure, but well crafted. “Human Nature” (huge song) shouts “express yourself, don’t repress yourself”, entitled to an included asparagus pin that will have left many thinking about limb flexibility after 60; “Vogue” as we always know it, remembering that it doesn’t matter if youre a boy or a girl; “Future”, Madonna’s version of the things that these days do the crossover R&B-hip-hop-trap-etc, accompanied by images that say “guys, if you’re not careful, this is all over and there’s no other world”. And the last one, “I Rise,” out of the center of the room, lost fans trying to figure out how they could touch the diva and others in ecstasy because they did it. Blessed be.

“I’m finally in a place where I don’t need to explain what fado is”
Portugal and Cape Verde appear in the middle of the night. Madonna, a born conversationalist, with a humorous timing, yes, tells the story of her landing in Paris, how she came because her son came to play for Benfica, but suddenly, “football, horseback riding in the Comporta, cod and Port wine ”did not reach him. Appears the only friend in town, tells her that this is not possible, leaves home, meets people, Celeste Rodrigues, Dino D’Santiago, put his ears on fado, in the warm, likes everything, likes everyone, starts working on a new album, shoots a kind of pop bimby what he listened to (which came to reggaeton) and now on stage thanks.

Sings a fado with Gaspar Varela (not a fado singer, but Madonna is singing the fado and that goes) and sings “Sodade” by Cesária Évora. Moment, by the way, was stolen by the same Dean who taught him how to sing the old Cize classic. The man D’Santiago and his amazing voice. If there is adjective to use, we agree. Too strong for Madonna to win. In the middle, the Batukadeiras, to play and sing “Batuka”. There is a lot of coolness right now from who knows how the industry works, like who says, “Look who I found out, I know, pay attention to me.” But Madonna genuinely likes what she achieved with this cross reference. Of course you do. It is notorious, impossible to deny.

True, Madame X, the record, sounds like the great confusion, twists and turns in which the landscape is not all that seductive, from time to time seemingly lacking structure, an element that often makes the difference between great songs and others. But on stage, there is a framing that appears. There is still a lot of confusion, but suddenly it is chaos that makes sense. As if music had been created to allow this happening in these days at the Recreational Coliseum to come into the world. Not surprisingly so. Madonna knows how this works: showbiz, entertainment, life on stage, pop. Because, let’s face it, much of it was she who (re) invented it. Now make use of your toy as you wish. And this desire to never fail to create deserves a bow.

“My ego needs to be satisfied”
And bows had many. Enough. Madonna looks for them. You need them to live. “My ego needs to be satisfied,” he says at one point. He explains that he only knows a bad word in Portuguese, but repeats it whenever he can, aloud: “dude ** o”. A treat. “Don’t talk when I talk,” he warns, then say “I love you too” when someone shouts “I love you,” which happened throughout the night.

It is the politics of proximity at work, such intimacy that the artist herself explains was one of her wishes with this digression. He declaims political slogans and salutes the Portuguese for not having “a psychopath in power”. Take the children on stage, sing and dance, tell everyone that there is a leg that is not well, she limps, that’s what it is, that no one is scared. Make toasts with the bottles that make up the scene, the beer is hot, but so what? Every night there’s a unique polaroid with a portrait of you to sell. Got a thousand euros this Wednesday. Not bad. Money on the table, vivinho da silva. And she sits next to a German boy in a brassiere, just because, because this is his “Late Night,” a live show with a seasoned host. Talk show host with future, someone give you a chance.

In the end, Madonna comes to “Crave”, dancing to a mirror ball, and it seems obvious: even though she is ill on one leg, she is happy, serene, fulfilled, but always incomplete, which gives her a lot of time to do new and return to the old man who is timeless. Shoots with “Like a Prayer” from the album that in 2019 turned 30 years old. She is dressed as a preacher and occupies the place well. It has the whole gospel in the obligatory choir and a crowd of believers ready to witness any miracle. Saint Madonna and her sinners. There would still be encore with “I Rise,” but the profession of faith was already done. And there are six more of these in Lisbon.

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Madonna was among us (Lisbon Review)

A surprisingly intimate artistic experience for being the pop constellation. The queen’s restless, provocative, creative, and generous imagery was at large in the Recreational Coliseum. Queen of pop? From the world at large. Today it felt that way.

Madonna brought Madame X to Lisbon – the “place where she belongs”. The words are from the galactic singer who was inspired by the rich sounds of Lisbon to create the new album and the musical and visual spectacle that the alter ego Madame X personifies. Madame X unfolds into a series of identities and sips the world’s cultural diversity and then shares it. It is “a dancer, a teacher, a head of state, a housewife, an amazon, a prisoner, a student, a mother, a daughter, a nun, a singer, a saint, a prostitute and a secret agent.” They are women of strength of arms and thought who live in the “house of love” as Madonna calls it. Today they were all on stage.

The sum of the imaginations of the multiple identities, the excellence of the invited Lusophone musicians, a body of top dancers and the laid-back interaction between Madonna and the audience has resulted in a grand, magnetizing and sometimes almost immersive performance that may well lead the way. podium of the concerts of the year. The show of the new persona of the queen will snatch, warm, approach and drive Lisbon until the 23rd.

Madonna has been on stage with the two families who have been accompanying her in recent times. The usual one (the children Esther, Stella, Mercy James and David Banda) and the newest family she has met in Lisbon where she has lived since 2017. A handful of musicians – dear and close – shone with the North Star. American. Madonna’s gratitude for having the Portuguese Gaspar Varela (on the Portuguese guitar), Jessica Pina (on the trumpet) Carlos Mil-Homem (on percussion), Cape Verdean Miroca Paris (on the congas), the Orquestra das Batukadeiras de Lisboa and Dino D’Santiago next to the stage. “I waited so long to come to Lisbon to show what has inspired me,” he confided to us. Thanks to his muse Lisbon was recurring and reciprocated with the same honesty. Dino D’Santiago, the man who introduced the city’s musicians and sounds to Madonna, also thanked the queen for bringing Portuguese and Cape Verdean cultures to the hearts of the world.

Before we continue with tonight’s experience report, a more practical note. Once again, Madonna stepped ahead of the others. At the entrance of the Colosseum, the mobile phones had to be housed in a few woven bags (Yondr bags) that were only opened at the exit. Everything went well and surely there will be those who follow suit. No one cared about the requirement. In the middle of the show, Madonna, who spared no sense of intelligent and keen humor, still wondered if anyone was feeling bad about being without a mobile phone. A resounding “no” gave him the answer. Only a future memory will have a photographic record of the night. Madonna took a selfie and auctioned it off. Simple, effective and cost effective. Juan, who came from Spain, helped the people of Malawi by paying the singer a large sum for the relic. No one got hung up for not having a mobile phone. It was, indeed, a pleasure to rediscover what it is like to see a concert with only the senses absorbing every angle of what was going on on the stage. Madonna – 1. Technologies that only disturb the experience – 0.
 
So much has happened on the stage that it has taken practically all the senses to absorb this closer encounter with Lady Madonna. The Michigan constellation has swapped big stadiums for halls and theaters to be closer to the public and … it was Madonna was among us. She walked down the aisle, always airy, seductive, and happy, sat in a chair in the audience, and flirted with a privileged being who took one of the golden seats in the front row.

The show was human, warm and intimate, but also theatrically and rigorously staged. Nothing could escape the transposition of Madonna’s imagined settlement onto the stage. Without stopping between the songs and the respective “scene changes”, the mind-blowing narrative Madonna wanted to tell was divided into four acts and a festive and colorful encore. We saw the artist of micro detail, but also a more humanized, grateful and confessional Madonna. An open-breasted Madonna who still dazzles with the heartbeat of music when played casually in bars or fado houses. The artist, who set the course for pop in the 1980s, was happy to share with us what she rediscovered at this stage of the journey.
 
Around ten o’clock in the evening, the colossal curtains opened to see the first drives of Madonna’s “crazy” and wonderful world. The X has given way to a seductive, blond figure wearing period clothes reminiscent of the Revolutionary War for Independence in the United States. Moving with her respectable authority, never enforced, the 61-year-old singer came on the scene singing ‘God Control’ from her latest album. “Art is here to prove that security is an illusion. Artists are here to disturb peace” were the first words to jump out of the show.

they were the first words to jump from spectacle to consciousness. The words of activist and poet James Baldwin were being “typed”, on the screen, compassionately. The artistic manifesto inaugurated the list of urgent subjects that startle the artist.

Madame X has the mission of stirring consciousness and getting them to dance right away. The sounds of gunfire and “security forces” invading the stage helped us realize that the focus was primarily on US domestic issues such as easy access to weapons and police violence. The struggle for women’s individuality, the battle for the rights of the LGBT community and the defense of freedom of individual expression were the other messages that the performer’s cultured and vindictive heart put on stage. ‘Express Yourself’, sung a capella with the help of the singer’s two daughters, Stella and Esther, and ‘Human Nature’, shared with Jessica Pina’s trumpet prowess and Miroca Paris’s organic rhythm on percussion, finished off the first act . ‘Vogue’, ‘I Don’t Search I Find’ and ‘American Life’ followed in alignment to compose the second.

In addition to this larger place of freedom, Madame X’s stunning and multicultural artistic experience has traveled elsewhere – from our warm Lisbon to Colombia – with a simple stop in Cape Verde’s rhythmic, solar purity. ‘Batuka’ had the joy of the Batukadeiras Orchestra, a group of Cape Verdean women who bring to life the traditional batuques of the African islands on the outskirts of Lisbon. Madonna accompanied them in singing and dancing with almost childlike happiness.

Madonna’s inspiration is obvious and concerns us. It is then in this “new Lisbon”, as sings the musician Dino D’Santiago invited by Madonna to take the stage. Together they shared a recreation of the lukewarm ‘Sodade’ celebrated by another queen, barefoot diva Cesária Évora and also an inspiration from Madonna. In addition to the hottest sounds in Africa, and other sounds in the world, what inspires Madonna is also the fado we have nailed to our chest. Madame X sang us one. ‘Fado Bargain’ was honored in the royal voice of the queen who wanted to pay tribute to this form of exclusive expression of the Portuguese people.

After being in a fado club, imagined by Madonna, or the leap we took to Colombian Medellin, we were still surprised by the introspective and moving interpretation of the ballad ‘Frozen’. At the piano, behind a giant screen, Madonna gave way to a hologram where a dancer was dancing. Graciously occupying the screen was the singer’s eldest daughter, Lourdes Maria, who, even at a distance, starred in one of the most emotional moments of Madame X’s show. Sharing the experience with her children showed us a frilly mother. Beautiful to behold.

‘Come Alive’, ‘Future’ and ‘Crave’ closed the sequence of themes for debuting on national soil. The ‘Like a Prayer’ prayer made the Colosseum a place of worship with everyone in the room with arms in the air and replicating the tics we recognize from the most synchronized gospel choirs.

The ending was with ‘I Rise’ and Madonna and the dancers leaving the room down the main corridor. The queen was close to us, giving us her vision of freedom. As Nina Simone would say, “Freedom is not being afraid.” Well, Madonna, once again, dared to be free. And being free returns the true peace we need.

Auto translated from Radio Comercial

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