A second Hong Kong concert by pop queen Madonna has been announced for February 18 as part of the singer’s Rebel Heart Tour.
Concert organisers Live Nation Lushington (Hong Kong) added the second show after all tickets to the initial February 17 show were snapped up within 30 minutes of going on sale on September 25 – setting what is believed to be a record for the fastest Hong Kong concert to sell out.
As with the first show, tickets will range in price from HK$688 for the cheapest seats to a whopping HK$11,888 for front-row seating. The most expensive package is the “Runway VIP Party Package”, which for HK$16,888 will secure seating for two people alongside the Material Girl’s runway.
Tickets for the February 18 show at AsiaWorld-Arena will go on sale on October 9 at 10am via HK Ticketing.
TAIPEI February 6th
icon presale : OCT 01 @ 10AM CST
public on-sale : OCT 10 @ 10AM CST
vip : OCT 01 @ 10AM CST
HONG KONG February 18th
icon presale : OCT 01 @ 10AM HKT
public on-sale : OCT 10 @ 10AM HKT
vip : OCT 01 @ 10AM HKT
Madonna performed for a sold-out audience at Chicago’s United Center on Monday evening, and judging by comments from people leaving the show, it was the best concert Madonna had given in Chicago during her 30-year performing career. Madonna brought out the best in herself and her fans. Madonna made performers like Katy Perry, Taylor Swift, and Lady Gaga seem like “Beta” pop stars, and that’s saying a lot, since all the mentioned performers are great.
Despite rumors to the contrary, Madonna still does a lot of choreography in the show and barely seemed stiff, although it appeared that she almost lost her balance again during “Living for Love,” but — thankfully — didn’t fall down the stairs. She still dances with a lot of energy, but that’s not what thrilled the audience the most. It was Madonna the vocalist that ruled the show.
Madonna opened the show with “Iconic” from her Rebel Heart album. She then went into “B***h I’m Madonna” and got the whole crowd clapping along when singing “Burning Up.” Then, there was the obligatory blasphemy segment of the night with Madonna performing “Holy Water,” which doesn’t make reference to the type of moisture you may think. She even added in some stripper nuns with white panties before singing some bars of “Vogue” and then recreating The Last Supper with herself as the main feast. While it’s easy to see why some could be offended by this, Madonna delivered it with a huge sense of irony and self-parody.
While the audience was impressed with the first part of the show, they didn’t catch on fire until the second act, when Madonna beautifully sang “True Blue.” There were some longtime fans in the audience with tears coming out of their eyes. She then sang “Deeper and Deeper” from her 1992 album Erotica and even though she displayed some impressive dance moves, her powerful singing is what really made the performance come alive.
Madonna then fought with a dancer on a staircase while singing “Heartbreak City,” a forgettable track from Rebel Heart. However, when she switched to “Love Don’t Live Here Anymore” from 1984’s Like a Virgin, she brought the audience to their feet just by belting out the lyrics. Madonna then performed the Like a Virgin title track very playfully, almost like she was imitating herself from 30 years ago.
By the time Madonna performed “La Isla Bonita,” the audience wasn’t only on fire, but exploding with joy. She did a slow version of “Who’s That Girl,” which had fans lighting their phone flashlights all over the arena. Perhaps the night’s best performance was “Ghosttown,” the song that followed. Even though it’s a relatively new song (and wasn’t a huge hit), the audience still knew the words and sang along as Madonna’s voice was filled with the amount of raw emotion and intensity rarely seen throughout her career.
Madonna thrilled the audience by bringing back a jazzy version of “Music” and “Material Girl,” which had her throwing dancers in tuxedos down a photo slide that must have cost several thousand dollars to make. She then talked about marriage (“It goes downhill from here!”) and then stunningly sang Edith Piaf’s “La Vie En Rose.”
Madonna brought a Britney Spears clone on stage during “Unapologetic B***h” before closing the show with the album version of “Holiday” while wearing the American flag. It was a night Madonna reconnected with her longtime fans, some who doubted that she still “had it.” As expected, Madonna proved that age is just a number. More importantly, however, Madonna proved that her she can thrill people with her voice just as much as she can with all the usual bells and whistles from her shows.
Source : TheInquisitr
Even before Madonna took the stage Monday at the United Center, the senses hit overload. Warrior dancers hoisted crosses, Mike Tyson issued threats from the video screen, fake blood streamed as if from a tabloid murder photo, and “Twinkle, Twinkle Little Star” provided the soundtrack.
Music isn’t quite incidental to the spectacle that is a Madonna show, it’s more like an ingredient in a multimedia melting pot of outrageous fashion, noir video, theater, dance, performance art and social commentary. There were 20 dancers and three musicians, 22 videos and a whopping 60 people backstage taking care of costumes that ran from Cotton Club fringe to a long, flowing royal cape. There was even a Britney Spears look-alike pulled from the audience.
More difficult to find on many of the singer’s tours was an emotional center. But that wasn’t a problem Monday – the most intimate Madonna tour yet. It’s tough for any pop entertainer, let alone a 57-year-old female artist, to retain her chart appeal for one decade, let alone four. Madonna may still be the most famous woman in the pop world – Beyonce might take issue with that – but she’s had only a few top-10 singles in the new Millennium.
Though she could easily live off greatest hits tours or Vegas residences, Madonna somehow remains engaged. Her latest album, “Rebel Heart,” is a mess, a tangle of proclamations and confessions. She wants it all. There are songs that expose insecurities and fess up to narcissism. And then there are the tunes that basically say, “I’m old enough to be your mom and I can still do anything you can do better – got a problem with that?”
“Who do you think you are?” she barked at the outset. And later she demanded, “Get off my pole!” during a profane ode to oral sex that also quoted one of her biggest hits, “Vogue.” What’s a Madonna concert without a little blasphemy? “Holy Water” staged the Last Supper as an orgy, including a stunt where Madonna mounted a spinning cross while standing atop a dancer dressed as a nun. It’s probably just as well that Pope Francis avoided Chicago on his current American visit.
The defiant attitude, the provocative posturing that defined her early rise to stardom played a part in the show, but these poses felt tired – yesterday’s shock is today’s act of desperation. Fortunately, the attitude became more playful and introspective as the show proceeded through its four major set pieces.
Half the set list was drawn from the commercially under-performing “Rebel Heart,” even though the singer has more than three dozen top-10 hits, mostly from the ‘80s and ‘90s. But even the hits she reprised were often reconfigured, from the jazzy “Material Girl” to the ukulele-led “True Blue.” Whereas her 2012 tour flirted with darkness and death – yes, Madonna can do Goth, too – the current two-hour performance had a lighter, warmer, more personal tone. There were smiles and something approaching vulnerability.
For “Like a Virgin,” Madonna dialed down the bump and grind for a solo performance that came across as quietly celebratory, as though dancing by herself in a darkened bedroom. A solo “La Vie en Rose” may not have approached the towering heart-break of Edith Piaf’s signature version, but Madonna delivered it with a rich tone that would’ve been beyond her during her hit-making prime.
With fans packed closely around her on a heart-shaped stage in the middle of the arena, she prefaced “Who’s That Girl” with a statement: “I’m still trying to figure out who I am.” Who needs shock appeal when you’ve got Madonna psychoanalyzing herself on stage?
“It’s like you’re in a temple, going to meet the goddess, and then you discover that the goddess is a big perfectionist and an incredible woman,” said Alessandro Michele, Gucci’s creative director, about how he met Madonna in rehearsal in New York.
“She is tiny and beautiful,” Alessandro continued. “The thing I really loved about her was her eyes – the most beautiful eyes I have ever seen; super green-blue eyes – I think she must have had the same eyes since she was six years old!”
The passionate designer, who has rocked Gucci with his magpie spirit, mixing inspirations from decades and centuries past, was spotted by über-stylist Arianne Phillips as new fashion blood for the Material Girl’s “Rebel Heart” world tour.
Full disclosure: I was the person who suggested to Arianne at Prada’s “Iconoclast” exhibition in London in February that Alessandro could create a new romantic look for Madonna.
“Essentially, my job is to be an editor for Madonna,” Arianne said, whose list of designers to dress the tour includes Jeremy Scott at Moschino, Prada’s Miu Miu, Fausto Puglisi and Alexander Wang. But she was eager to include Gucci’s Alessandro.
“I became entranced by his return to craft, the personal and feminine aspects that he has brought into his embellishment to the austere, slick Gucci,” Arianne said. “It was like a return to beauty and incredibly inspiring.”
Sitting with Alessandro in the Gucci show room in Milan this week, surrounded by the spring/summer 2016 collection of intensely coloured and decorated outfits, wild with frescoes of flowers, he explained his thoughts about dressing Madonna.
“It was an idea to mix Spanish and Latin attitude with chinoiserie, in the exact pink you can see in that skirt,” the designer said, pointing to a floral outfit on the rail.
“I thought that if Madonna wore the chinoiserie – a skirt with a super-long fringe – it would be like the divas of the 1920s, when the exotic was mixing Japan and Spain together,” he said. Continue reading “DRESSING MADONNA: GUCCI’S ALESSANDRO MICHELE REVEALS (ALMOST) ALL”
BOSTON – If the devil has a place for performers who have blasphemed against God, it’s a safe bet there’s already a human-sized hibachi with Madonna’s name on it waiting for her in hell.
And, if so, Saturday night in front of 13,000 screaming fans at the TD Garden, Madge sealed the deal for eternal damnation, while putting on one hell of a show for her devoted fan base to cherish for years to come.
Then again, this is Madonna, the same risk-taking, taboo-breaking, button-pushing pop provocateur who has never bowed to the heat of controversy or apologized for her indiscretions.
And after 30-plus years in a business in which pop stars burn out and fade as fast as matchsticks, Madonna has not only outlived most of her musical rivals, she has proven to be practically immortal. In the end, she will probably outlive us all.
Madonna, the grand dame of the pop concert stage, knows how to put on a dazzling show. She also knows how to make a memorable stage entrance. And when she wasn’t pushing societal buttons during her spirited 21-song set that lasted nearly two hours Saturday night, she was playing the hits, sometimes unrecognizable and totally revamped, other times faithful and capturing the spirit of the original.
The concert was broken up into four mini-musical vignettes – the over-the-top samurai-sacrilegious part; the down-to-earth, loose and carefree part; the spirited Spanish fiesta part; and the roaring ’20s jazz club part. Continue reading “MADONNA PUSHES HOT BUTTONS IN RAUNCHY TD GARDEN CONCERT (BOSTON SHOW REVIEW)”
Truth or dare?
Truth: Madonna’s performance at TD Garden on Saturday night was a crowning achievement in a year that has unjustly denied her such moments.
Let me put it this way. The narrative surrounding Madonna in 2015 has not exactly been kind to the 57-year-old pop icon. You would think by now she has earned the right, and the public’s trust, to be whomever she wants. And yet the older she gets, the more she has to counter sexist questions of why she’s not acting her age (“I am,” she has said) and what is left for her to do.
Those critiques faded inside the Garden as Madonna reasserted a longstanding hallmark of her career: She is at her best and fights her hardest the minute you count her out.
“Tell me I’m no good/ And I’ll be great,” she sang on the opening “Iconic,” a battle cry from this year’s “Rebel Heart,” a very good pop album that deserved to sell more than it did.
The accompanying Rebel Heart Tour reveals a softer, more reflective Madonna who’s celebrating her legacy while forging her future in the genre. There is no blueprint for her trajectory, so, critics be damned, she’s blazing her own.
And she’s obviously having so much fun right alongside her fans. This new tour is a window into Madonna as both deity and human being. It was heavy on spectacle brought to life by a band, her many elastic dancers, glitzy costumes, and streamlined set pieces that kept the production stylish and fluid. Continue reading “MADONNA’S REBEL HEART ON PROUD DISPLAY AT TD GARDEN (BOSTON SHOW REVIEW)”
We may be in the middle of Fashion Month, a time when the fashion glitterati is typically consumed with designers, new models, and front-row celebs—but the topic at shows has been focused on one fashionable woman, who happens not to be at at the shows: Madonna.
Madonna’s Rebel Heart tour is a must-see, if not for the classic — nay, extremely important — hits, like “True Blue” or “Holiday,” then for the major fashion choices the pop star makes. (There’s a reason Moschino’s Jeremy Scott sat front row opening night in Montreal and that Givenchy’s Riccardo Tisci took time out of his New York Fashion Week schedule to take in the concert.)
The always-evolving Madge has long evolved from her cone bra and rosary look, thanks to longtime costume designer Arianne Phillips, who says that Rebel Heart is her sixth and proudest tour yet with the “Like a Virgin” singer. “Collaborating with Madonna and my incredible team of artisans demands limitless imagination, invention, and thousands of hours of focused work,” Phillips tells Glamour. “It’s the most thrilling wild ride you could ever imagine.”
And she’s not kidding! Look forward to more outfit changes from top designers including custom looks from Prada, Faust Puglisi and more. Standouts include looks for songs like “La Isla Bonita,” for which she wears matador-inspired pants, by Nicolas Jebran, made from black tulle with transparent, beaded side paneling paired with a black and fuchsia jacket, which is covered in Swarovski crystals. The back of the jacket is adorned with the Latin letter M—for the Queen M. There is a flapper number, by Moschino, also crystal-studded, that was paired with dramatically long fringed Opera gloves for “Material Girl.” Madonna and Phillips touched on a vast range of style touch points including from futuristic to tribal, not to mention Latin gypsy (Gucci!), samurai warrior, a little punk rock, and, of course, the chanteuse. Continue reading “ALL THE AMAZING DETAILS OF MADONNA’S AMAZING DESIGNER LOOKS FOR HER REBEL HEART TOUR (GLAMOUR MAGAZINE)”
There’s a long tradition in popular culture of artists who pushed the envelope and redefined the boundaries, but when it comes to pop music, few performers have so gleefully filled the role of iconoclast as Madonna. To say that she’s been a groundbreaker for female music stars would be an understatement, and a short list of current stars who were largely influenced or inspired by her would have to include Beyonce, Lady Gaga, Katy Perry, Miley Cyrus, Taylor Swift, Britney Spears, Pink, The Spice Girls and Nicki Minaj.
But the prototype herself was onstage at TD Garden in Boston Saturday night, and her two-hour extravaganza didn’t disappoint. Madonna may have ventured afield into acting, writing, and assorted charity work, but first and foremost she’s a pop star. In fact, to be more precise, she has always taken immense pleasure in being a “pop tart,” thematically pushing up against the societal norms of sex and proper behavior for young ladies, and not least of which, teasing her conservative Catholic upbringing.
Part and parcel of Madonna’s musical identity has been a virtually unbroken string of dance-pop hits, whether they be updated disco, hip-hop-flavored r&b, or techno-driven beat-heavy epics. Her songs are frequently ridiculously infectious dance numbers, and her lyrics have that knack of getting your attention, whether she’s happily being outrageous or making a serious point about empowerment – and sometimes she’s capable of doing both simultaneously. Controversy may be her middle name, but nobody ever accused Madonna of being boring, and Saturday’s 23-song romp surely was anything but boring, and hardly predictable.
Overall impressions of this “Rebel Heart Tour” would have to center on the sheer spectacle of the night, where you could spend a thousand words describing each song, because the staging and dance routines, mini-dramas and quick and frequently humorous sidelights, were so intricate. But there were also a lot of musical styles covered, and if most of the music was dance-club friendly, Madonna proved herself to be an omniverous and laudably versatile stylist. Continue reading “MADONNA’S “REBEL HEART TOUR” DAZZLES BOSTON (BOSTON SHOW REVIEW)”
The Rebel Heart Tour has provided Stufish a chance to once again work on a spectacular show by Madonna, where the production value and attention to detail is some of the highest in rock and roll/pop entertainment. The stage and set design for the 2012 MDNA tour were incredible, and still, Rebel Heart tops that. Stufish have designed elaborate and bespoke statement props for one of the world’s most iconic performers of all time, as well as an intimate experience for the audience to witness one of the greatest shows of all time.
The show is a seamless transition between staging, choreography, scenic props, performers, musicians, lighting and video. All departments work together to create a bold and individual performance that constantly changes throughout the show.
The stage shape is derived from a hybrid of an arrow, a cross and a heart. A long narrow catwalk leading from the main stage divides the audience down the centre and extends deep in to the arena culminating into the heart shaped stage. Half way down the catwalk is the horizontal cross stage spanning almost the entire width of the arena. This stage formation allows Madonna and her dancers to reach more audience, closer up and more intimately than ever before.
The main kinetic feature of the stage is a complex “machine”, which allows for various acrobatic and scenic moments throughout the show. The machine is a 28ft wide x 16ft high video screen deck that assumes numerous positions; It can be flush with the main stage as flooring, act as an 8ft raised platform, a vertical wall that can tilt from flat to ninety degrees in 30 seconds and be an angled wall that performers can ride. There are specialized bungee points built in to the top edge of the machine which let performers flip, tumble, run and roll up and down the ramp, hang from and free run on the wall in any of these positions.