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Madonna: Rebel Heart Tour

Madonna's record-breaking Rebel heart Tour featurins 24 tracks performed around the world on her 10th global trek. This two hour spectacular is everything (and more) you'd expect from The Qu... Read all Madonna's record-breaking Rebel heart Tour featurins 24 tracks performed around the world on her 10th global trek. This two hour spectacular is everything (and more) you'd expect from The Queen Of Pop. Madonna's record-breaking Rebel heart Tour featurins 24 tracks performed around the world on her 10th global trek. This two hour spectacular is everything (and more) you'd expect from The Queen Of Pop.

• Nathan Rissman
• Lilly Melgar
• Kevin Antunes
• Kupono Aweau
• 14 User reviews
• 2 Critic reviews

• Self - Guitar, Ukulele & Vocals
• Self - Musical Director & Keyboards

• Self - Dancer

• Self - Unapologetic Bitch

• Self - Background Vocals

• Self - Drums
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• Trivia The remix for "Like a Virgin" was originally released in 2009 by a French music producer named Denis Zabee, also known as Dens54. It was handpicked by Madonna 's team for an inclusion in the Rebel Heart Tour setlist in 2015.
• Soundtracks Iconic Written by Madonna , MoZella , Toby Gad , Symbolyc One , Chance the Rapper , D.J. Dahi and BloodPop Performed by Madonna , Chance the Rapper and Mike Tyson

User reviews 14

• samanthanotfox
• Jun 23, 2020
• How long is Madonna: Rebel Heart Tour? Powered by Alexa
• December 9, 2016 (United States)
• United States
• Official site
• Madonna: A lázadó szív turné
• Allphones Arena, Sydney Olympic Park, Sydney, New South Wales, Australia
• Live Nation Global Touring
• Live Nation
• See more company credits at IMDbPro

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• Runtime 2 hours
• Black and White
• Dolby Stereo

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Rebel Heart Tour

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From her Virgin Tour to her Rebel Heart shows, Madonna has pioneered live performances, setting the bar for every large-scale pop production since.

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There were signs – even at the very start. The New York clubs had given Madonna Louise Veronica Ciccone a decent grounding in basic stage technique, but 1985’s Virgin Tour, drawing more frenzied attention week after week during its limited stateside trek, had originally been designed for theatres – not the arenas the star was now packing out with ease. Luckily, she proved a fast learner on those big stages, and those first live dates delivered flashes of the legendary showmanship that would continue to captivate audiences in the decades ahead.

Madonna proved an early master of the high-impact entrance; those snappy dance moves – emulated by an army of fans – were bathed in a knowing charisma; and her delivery of those glorious pop songs was different somehow: there was a humor and accessibility at the heart of the performance. This really was a different kind of pop idol – still commanding and enigmatic, but cheeky, warm, and seductive too.

A thrilling combination of song and dance

Across 82 shows in 55 cities during late 2015 and early 2016, Madonna’s Rebel Heart Tour demonstrated just how much had developed in her performance, but also just how much of that maverick energy and natural charisma had remained the same. More than one million people attended those concerts, and the CD, DVD and Blu-ray release captures her effervescent showmanship to dazzling effect. No living artist comes close to delivering this thrilling combination of song and dance.

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As Madonna’s early hits, movies, and groundbreaking promotional clips shattered records, international demand for live dates reached fever pitch, and 1987’s Who’s That Girl World Tour was the first look audiences around the planet got at this now-global phenomenon. Critics were blown away by the confidence of Madonna’s performance, drawing on her larger-than-life platinum video persona and a smash-hit catalog already lengthier than many artists manage in an entire career. But if that 57-date marathon shone bright enough, then 1990’s Blond Ambition World Tour was when Madonna’s star truly went supernova. If you’re looking for a shortcut to the genesis of one of the world’s best live performers, this is where you should start.

Blond Ambition World Tour 1990. Photo: Rob Verhorst/Redferns

Crucial to understanding her art

Crafted with her brother Christopher and largely drawn from her first universally acknowledged masterpiece – 1989’s Like A Prayer album – Blond Ambition World Tour was actually art theatre cleverly framing a collection of the era’s most successful pop songs. It was certainly cheeky and self-referencing at times, but its important messages of empowerment and personal responsibility, which Madonna widely championed, had an enormous impact. The horror of the AIDS epidemic, sexual liberation, the often-unyielding grip of religion, and the empowerment of self-belief were all themes the 17-song set touched upon. The Christian establishment reacted in horror at the perceived sacrilege, but Madonna’s intention was to question and challenge, not ridicule or denigrate. The distinction was subtle, but is crucial to understanding her art – both then and now.

And, of course, the shows created an image Madonna has never truly been able to leave behind. The iconic Jean-Paul Gaultier-designed conical bras embodied the stratospheric power of the star at her critical and commercial peak more than half a decade after her breakthrough. With the single exception of the legendary Elvis comeback show, no other artist would ever inhabit an image so immortal from a live show.

Rolling Stone would bill Blond Ambition World Tour the best of the year, and the production would set the bar for every stadium show to follow. Time has failed to diminish its impact, with almost everything you see in a big pop production today drawing from its template: key arcs of creative themes parceling together songs into cohesive chapters; multiple costume changes, shape-shifting staging, battalions of backing dancers; narrative-enhancing filmed inserts and out-of-this-world graphics-and-light-shows. It was a masterclass in how to create 21st-century entertainment a decade ahead of the millennium, and drew on Madonna’s phenomenal video performances to shape a generation of artists coming up behind her, with almost all of her peers at once being left far behind.

Drowned World Tour. Photo: Nicky J. Sims/Redferns

If 1993’s The Girlie Show World Tour developed those themes with a more confrontational tone, then Madonna’s triumphant return to more regular live work, 2001’s Drowned World Tour, was faster-paced and more diverse than many had expected, drawing on the many different strands of her already lengthy career.

A ferocious spirit

As thematic tours started to regularly support the release of successive albums, Madonna’s great skill of reinterpretation became ever more apparent, with hits from across her career re-crafted to reflect the tone of each individual album and tour. Routinely branded a creative chameleon, her restless appetite for change continues to reshape old favorites to dramatic effect. Take the performance of “Material Girl” from Rebel Heart Tour, where this early hit – once dismissed by the Queen Of Pop as something she now struggles to relate to – was reimagined as a humorous electro ballad and staged as a wry homage to classic-era Hollywood.

But it’s on the dancefloor, which Madonna famously claimed was where she felt most free, where she lets her ferocious spirit really soar. “Living For Love” was a triumphant hook-heavy highlight of the 24 songs she took to the world on her multi-city Rebel Heart Tour extravaganza. Combining high-concept style, cutting-edge choreography, and a euphoric production, the performance represents a tiny fragment of a stellar career, but speaks so powerfully of Madonna’s ability to remain contemporary while drawing on the classic elements that first defined her pop phenomenon.

As she sang so many years ago, you can dance for inspiration. Well, Madonna is still dancing – and we remain inspired.

Madonna’s Rebel Heart Tour DVD can be bought here .

November 24, 2018 at 2:15 pm

NO ONE! I mean NO ONE does live like her!

August 16, 2020 at 6:37 pm

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Madonna: Rebel Heart Tour

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Concert special featuring the iconic superstar as she performs in packed arenas around the globe. Featuring new hits and beloved classics that showcase Madonna's signature visual theatrics, exquisite costumes and awe-inspiring choreography. With exclusive behind-the-scenes access that reveal the pop icon and her legion of dancers as they pour blood, sweat and tears into creating an astonishing arena show celebrated by fans around the world.

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Concert Review: On the Rebel Heart Tour, Madonna’s Still Asking, ‘Who’s That Girl?’

“I’m ME, motherfuckers!” Madonna declared to a sold-out Madison Square Garden last night — although, naturally, no one was arguing with her. We’d already been treated to an ornate, vaguely Asian-inspired rendition of “Bitch I’m Madonna,” and some among us had purchased $60 tank tops emblazoned with those words. Yes, Madonna has officially entered her tautological phase, and Rebel Heart , the album she’s currently touring, contains countless bald-faced references to her own legacy. There’s the weary-but-triumphant “Veni Vidi Vici,” the lyrics of which are basically just a string of Madonna-song-title puns (“I expressed myself / Came like a virgin down the aisle”), and the show opener “Iconic,” which flaunts her unimpeachable status while also using it to inspire her devotees to find their own greatness (“Just shine your light like a beautiful star / Show the world who you are”). Like the album, the Rebel Heart Tour finds Madge grappling with her history — and, it seems, having complicated feelings about what she sees in the rearview mirror.

Last night was the second date on which Amy Schumer opened the tour, and she still seemed in a state of shock. “Who better than me to open for Madonna?” she asked, beaming theatrically, before making a signature pivot towards self-deprecation: “Any band. Literally any band .” The pairing might seem odd, but when you think about it, it’s a stroke of genius on Madonna’s part: It saves her from worrying that some young pop upstart will upstage her every night, while at the same time reinforcing her singularity in the current musical landscape. (“Who could possibly open for Madonna ?”) Schumer’s set was similar to the one I saw ( and loved ) on the Trainwreck  comedy tour. She’s as barbed as ever, still making Jessica Biel (and Alba) jokes, even if they’re now intercut with stories about meeting (and embarrassing herself in front of) Hillary Clinton and Bradley Cooper.

Before we get to the queen herself, I would like to shout out the supporting players of the Rebel Heart Tour; as ever, being one of Madonna’s dancers still seems like one of the most demanding but illustrious gigs in the business. Plus, there are so many of them! This show is a veritable clown-car of sexy priests, pole-dancing nuns, and — during a particularly inspired setpiece to go with the sprightly Rebel Heart cut “Body Shop” — sexy mechanics. (Speaking of the supporting cast, one of the best things about this concert was that Kelly Ripa and Andy Cohen were there together, and that the Jumbotron kept cutting away to them.) When Madonna is onstage, there’s no question who’s in charge; but while she’s in costume changes, Madonna has become particularly good about deflecting the spotlight to her dancers. Rather than forcing us to watch the expensively shot perfume-ad-style montages that usually run during diva-pop arena shows, Madonna gave us human spectacle: a double-jointed man doing a mesmerizing dance with a billowing sheet, pairs of dancers writhing on gravity-defying beds to the subtle tune of “Sex,” and, most impressive, some guys in top hats flying through the air on wobbly stilts that had the whole audience gasping and the gentleman in front of me, who’d spent most of the concert checking his email, suddenly staring up in rapt focus and hitting record on his phone. Also, let us pause for a moment in appreciation of Madonna’s minions, both seen and unseen. Fun fact: When Madonna is thirsty in concert, she will command, “Water, please,” and a man in a long black coat will suddenly appear presenting a bottle of Fiji water with a red crazy straw, from which Madge will take a few dainty sips before sending him away. Aspirational.

I still can’t really get behind Rebel Heart , and overall, the show leaned too heavily on new material for my taste. I don’t think I was alone in this. When I looked around the crowd during “Living for Love” — the live staging of which is pretty similar to her lackluster Grammys performance  — more than half the audience was seated and looking visibly less than thrilled, likely thinking, I wish this were “Like a Prayer.”   That’s not a great reception for the big single from the album she’s currently touring. Rebel Heart is often hindered by clumsy lyrics, and these come to the forefront live: The “Iconic” chorus of “I CAN / ICON / Two letters apart” still grates, as does all of the maudlin “HeartbreakCity” (“Now I’m in the middle of heartbreak city / ’Cause I’m in the middle of a world not pretty”). “Bitch I’m Madonna” was more of a crowd-pleaser, as was the dance-hall-inflected Rihanna knockoff “Unapologetic Bitch,” during which she brought a stunned audience member named David onstage, declared him “the unapologetic bitch of the night,” and awarded him the appropriate prize of a ripe banana and a public spanking. She’s HER, motherfuckers!

One of the most disappointing moments of the night came in the middle of a performance of “Holy Water,” a Rebel Heart cut that feels like a Xerox-of-a-Xerox-ed version of any Madonna song that provocatively blends sex and religion. Madonna, naturally, was flanked by a gang of nuns ascending stripper poles, clad in cutoff habits and exposed briefs. For a moment, she launched into a teasing, halfhearted verse of “Vogue” … and then just as quickly returned to an extended mix of “Holy Water,” which had already overstayed its welcome by several minutes. I’m sure Madonna must be sick to death of singing “Vogue,” “Express Yourself,” and “Like a Prayer,” but the Rebel Heart Tour’s ultimate disappointment is that she’d rather sing new songs that reference the legacy of these timeless classics than the classics themselves. You know what’s better than “Veni Vidi Vici”? Literally every song mentioned in “Veni Vidi Vici.”

That’s the strange predicament of Madonna in 2015: She always wants to show how hard she’s working to impress us when, in reality, we’d be happy with so much less. Some of the best moments of the night were the most simplistically staged: an electro-pop reimagining of “Like a Virgin” played solo, an acoustic sing-along of “True Blue,” a ukulele-led rendition of “La Vie en Rose.” (My friend insisted that this last one was a subtle way of saying, “Anything  Gaga can do , I can do better”; I am unconvinced by this conspiracy theory but would like to put it out there for discussion.) Madonna’s current relationship with her fans is resolutely unsentimental; when she does throw you a crowd-pleasing bone, she makes it clear that you’d better work for it. An acoustic rendition of “Who’s That Girl?” began as a very sweet moment, and then soured when she chastised the audience for not knowing enough of the words. (Among the guilty parties: Kelly Ripa.)

And yet “Who’s That Girl?” was the moment I realized what I’d most love to see Madonna do next is the Back to Basics Tour — just her and a guitar and an audience pouring its heart out to every memorized line. (And also maybe a Kelly Cam to the side of the stage, where we can monitor Kelly Ripa’s every reaction.) Madonna seems to be in a complicated emotional place right now, and there’s a palpable melancholy undercutting these new songs that I wish she’d feel more comfortable exploring in her live show. After concluding “Who’s That Girl?” she sighed, “I still don’t know the answer to that question.” As far as slogans go, that’s not as catchy as “Bitch, I’m Madonna” — but it felt a hell of a lot more honest.

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