Madonna performs at the Brooklyn Academy of Music (BAM) in Brooklyn New York on September 17th 2019

Stufish
An intimate evening that felt sacred yet sleazy — the ultimate Madonna combination

Madonna has never shied away from taking chances. Thirty years after she set fire to the Eighties with the disco basilica Like a Prayer, she’s as gloriously weird as ever. Hence her excellent new Madame X tour, a testament to the genius in her madness. Instead of a full-blown tour, she’s doing these shows as residencies in intimate venues, starting with 17 nights at the Brooklyn Academy of Music’s Howard Gilman Opera House. The tiny rooms are the perfect place for Our Lady to strut her stuff. Like her Madame X album, the show is messy, but anyone who’s scared of a mess should avoid Ms. Ciccone entirely, because as any fan knows, her weirdness is where she finds her greatness.

The show follows Madonna’s adventures around the globe. “Everybody knows I moved to Lisbon to become a soccer mom,” she said on Thursday night. “I found myself alone, without friends, a little bit bored.” So after too many Sundays at her son’s soccer games, she started going out to Lisbon clubs and flipped for Portugal’s fado rhythms, which got her creative juices flowing again. As she announced, “From now on, I’m Madame X and Madame X loves to dance!”

The show started extremely late — she didn’t go on until nearly 11 p.m., which she kept joking about all night. “Forgive me if I kept you waiting too long this evening,” Madonna purred seductively, stretched out on top of a piano. “I don’t like to keep you waiting. But I have an injury. I have six kids. I have a LOT of wigs.” Then she had a couple of her dancers help her off the piano and improvised a pop melody: “I bet you had more sleep than meeee!” No rest for the wicked, indeed.

It was a cellphone-free show, with the audience’s phones locked into Yondr pouches that got unsealed at the end of the night. (Honestly, all shows should be this way.) Madonna kept mentioning how much she enjoyed looking into the audience and seeing our eyes as opposed to screens. “The eyes are the window of the soul. But there’s one window you’re forgetting.” She opened her legs, to a blast of orchestral music. “Ladies and gentlemen, this is what it’s like to have Mozart coming out of your pussy! I am one classy broad!”

The Madame X songs work much better in a theater setting — the album has always felt more like a soundtrack to a stage spectacle, an Original Cast Recording, than an actual listening experience. She had a small army of dancers, plus scene-stealing musicians like trumpeter Jessica Pina and cellist Mariko Muranaka. One of the highlights came early on: “Human Nature,” one of her most enduringly great Nineties hits. She turned it into a stripped-down confession, writhing athletically before doing a bongo solo. It ended with Madonna surrounded by 11 black women — including three of her daughters, Stella, Estere and Mercy James — chanting, “I’m not your bitch!” Madonna yelled at the end, “Have we made ourselves cleeeear?” Just in case, she handed the mic to the very young Stella, who said, “Hashtag #TimesUp!” For good measure, the ladies sang an a cappella chorus of “Express Yourself.”

The show opens with a motto from James Baldwin: “Art is here to prove that all safety is an illusion…Artists are here to disturb the peace.” Fighting words, but Madonna lived up to them in “God Control,” an elaborate production number with cops attacking the dancers under a video montage of news footage. Points were made, including gun control, police brutality and why Madonna doesn’t approve of smoking dope.

 

Her comic banter was as stellar as the music — she was loose, salty, spontaneous, thriving on her closeness with the crowd. At one point, she crashed in a vacant seat next to a London fan named Dan, flirted, drank his beer, apologized for going on so late, drank more of his beer (“I come from a long line of alcoholics”) and then said, “Dan, you’ve been a great crowd, but I need to get on with my journey.” As she explained, “Freedom is the theme of this show. And the theme of my life, for that matter.”

Madonna performs at the Brooklyn Academy of Music (BAM) in Brooklyn New York on September 17th 2019. Photo by Stufish

The night’s two big emotional powerhouses came near the end. She sang “Frozen” all alone, visible behind a video screen of her eldest daughter Lourdes doing an interpretive dance, with her “MOM” knuckle tattoo. It was a beautifully simple moment — just the singer, the daughter and that song, a show-stopper from the album (Ray of Light) where she fully embraced her hippie-mama spirituality. It also demonstrated that for all her love of theatrical excess, she’s a singer before she’s anything else. The night climaxed with a full-choir “Like a Prayer,” a moment that felt sacred yet also sleazy — the ultimate Madonna combination.

Madame X has the global sprawl of her 2001 Drowned World Tour, which this fan would definitely have to pick as her best live show ever. She included a a fantastic fado interlude, starring the Portuguese guitarra of 16-year-old Gaspar Varela. Madonna sang a fado chestnut made famous by his great-grandmother, the late Celeste Rodrigues. There was also a showcase of Batuque musicians from Cape Verde, the all-female Orquestra Batukadeiras, working a centuries-old percussive tradition. She picked up her guitar to cover the Cesária Évora classic “Sodade” — a fangirl moment very much in the Madonna tradition, because what makes her a pop genius is the way she moves so fluidly between fangirling and creating her own art. It echoed her last tour, when she covered Edith Piaf’s “La Vie en Rose,” which somehow wound up as Lady Gaga’s big drag-show performance in A Star Is Born. (Don’t be surprised if “Sodade” shows up in Gaga’s next Oscar-winning film?)

As always, she focused on new material, doing almost all of the erratic Madame X. (Alas, not “Bitch I’m Loca.”) But the most powerful moments came when she revamped her classics. “Vogue” became a B-movie fantasia with a troop of femme fatales in a black-and-white film noir cityscape, wearing blonde wigs, shades and trench coats. She strummed “La Isla Bonita” as a guitar cha-cha. “This is my striptease right here,” she announced. “This is as X-rated as it’s gonna get tonight.” Then she peeled off one glove, in homage to Rita Hayworth in Gilda and Natalie Wood in Gypsy. One of the night’s big musical surprises: “American Life,” which holds up remarkably well, as she vented her eccentric political rage with Mirwais Ahmadzaï’s vintage Francodisco frisson.

 

The stronger songs from Madame X came alive in this setting — especially “Extreme Occident,” “Crave” and “Crazy,” where she dropped to her knees before one of her dancers and sang, “I bend my knees for you like a prayer,” a foretaste of the “Like a Prayer” climax to come. She did “Medellin” with a video boost from Maluma. She did just one verse of “Papa Don’t Preach,” as an excuse to change the key line to “I’ve made up my mind / I’m not keeping my baby.” (The song could have used that tweak back in 1986, but better late.)

The crowd was camp as Christmas and twice as loud, gathering Madonna worshippers from all over the world, dressed to the nines. Shout out to the silver fox rocking his vintage “Frankie Say Relax” T-shirt. (Bet he’s the same guy wearing that shirt in the new Beastie Boys Book, in the photo of fans outside their 1985 NYC show as Madonna’s opening act.)

In some ways, this show is Madonna’s version of Springsteen on Broadway, scaling down to an intimate theatrical setting to tell one account of her life story. It’s yet another bond for these two oddly linked legends, who’ve been topping charts together since the days when Like a Virgin went up against Born in the U.S.A. In June, Madonna’s latest concept album debuted the same week as Bruce’s Western Stars cowboy trip, giving them the Number One and Two albums. How gratifying that these two Eighties icons are not only still topping the charts, they’re doing it with their wildest, most experimental work. We chose well when we picked these two as our heroes, right? As Madame X proves, Madonna will never be the kind of superstar who repeats her successes, sticks to her strengths, or plays it safe. Instead, she’s getting weirder with age. Thank all the angels and saints for that.

Set list:

“God Control”
“Dark Ballet”
“Human Nature”
“Vogue”
“I Don’t Search I Find”
“Papa Don’t Preach”
“American Life”
“Batuka”
“Fado Pechincha”
“Killers Who Are Partying”
“Crazy”
“La Isla Bonita”
“Sodade”
“Medellin”
“Extreme Occident”
“Frozen”
“Come Alive”
“Future”
“Crave”
“Like a Prayer”
“I Rise”

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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