"Die Another Day" is a song by American singer Madonna,recorded as the theme for the 2002 James Bondfilm of the same name. Following the lukewarm commercial performance of Garbage's "The World Is Not Enough" (1999),Metro-Goldwyn-Mayer (MGM) Pictures sought a globally recognized artist for the franchise's next theme. Madonna,then one of the most prominent figures in pop music,was selected as their top choice. She co-wrote and co-produced the track with Mirwais Ahmadzaï,with additional composition by Michel Colombier. Musically,"Die Another Day" blends electroclash and dance music with orchestral strings,and features lyrics exploring psychological themes such as ego destruction,including a reference to Sigmund Freud. The song plays during the film’s opening sequence,in which James Bond —portrayed by Pierce Brosnan—is tortured in North Korea.
Commercially,"Die Another Day" proved successful. In the United States,it peaked at number eight on the Billboard Hot 100 —making it the first Bond theme to reach the chart’s top ten since 1985—and was the best-selling dance single of both 2002 and 2003. It reached number one in Canada,Italy,and Spain,and entered the top ten in several other countries,including a peak at number three in the United Kingdom. The accompanying music video,directed by Swedish collective Traktor,features Madonna in Bond-inspired scenes,including a torture chamber and a fencing duel with her doppelgänger. With a production cost of $6.1million ($10.66million in 2024 dollars[1]),it is the second most expensive video ever made. Its use of Jewish symbolism attracted controversy from some religious scholars. Madonna performed "Die Another Day" live on her Re-Invention (2004) and Celebration (2023–2024) concert tours,while a remixed version was used a video interlude on 2008―2009's Sticky &Sweet Tour.
Background and development
Mirwais Ahmadzaï co-wrote and co-produced "Die Another Day" alongside Madonna.
By early 2002,reports surfaced that Madonna was in talks to write and perform Die Another Day's theme song and possibly make a cameo appearance.[3][4] She confirmed her involvement in a March interview on Larry King Live,where she explained her unconventional approach:"Everybody wants to do the theme song of a James Bond movie,and I never liked to do what everybody else likes to do. [...] I thought about it and I said,you know what? James Bond needs to get techno".[5] The song originated from a demo with electronica influences Madonna and Ahmadzaïcreated during the American Life sessions.[3] Initially met with skepticism by MGM executives and director Lee Tamahori —who wasn't convinced with its "stops and starts" and felt lacked emotional resonance—Madonna reworked the track after viewing a rough cut of the film.[3] She eventually renamed it "Die Another Day",a change that helped secure the studio’s approval.[3] According to producer Michael G. Wilson,the song went through "various interpolations" before reaching its final form.[3] Madonna's cameo was confirmed on July.[6] She was cast as Verity,a fencing instructor she described as the only woman not interested in Bond.[7]
20-second audio sample of "Die Another Day". It features Madonna chanting "I guess I'll die another day" over electroclash beats and atmospheric strings. The first refrain ends with a pointed nod to Austrian neurologist Sigmund Freud.[8]
To merge the electronic production crafted by Madonna and Ahmadzaï with the orchestral tradition expected of a James Bond theme, French composer Michel Colombier was enlisted to add "cinematic" strings.[3][9] Recorded with a 60-piece ensemble at AIR Lyndhurst Studios, Colombier's arrangements were later digitally deconstructed by Ahmadzaï, who adopted a minimalist, futuristic approach aligned with his ongoing work on American Life.[3][10] The result was a hybrid of glitchy beats and live instrumentation, described by Colombier as "completely Mirwais" —a manipulation of real strings into audio fragments "chopped like fabric."[3]
Lyrically, Madonna took a psychological angle on the Bond trope of good versus evil, framing the conflict as an internal battle. "It's about destroying your ego," she explained, adding that the lyrics were a metaphor for "fighting myself."[11][12] Departing from past Bond songs, "Die Another Day" omits references to the titular character, instead invoking Austrian neurologist Sigmund Freud and his theory of the death drive in lines like: "Sigmund Freud, analyze this / I'm gonna keep this secret / I'm gonna delay my pleasure / I'm gonna destroy my ego."[3][8][13]
Musically, the song has been noted a "pounding" electroclashdance track composed in C minor, set at 124 beats per minute.[a] Its autotuned vocals and fragmented production recall earlier Madonna singles such as "Everybody" (1982) and "Music" (2000), while the orchestral opening nods to "Papa Don't Preach" (1986).[18][13] Critics noted the track’s experimental nature, with The Village Voice likening its dissonant finale to the microhouse genre —a "cacophony of harmonic fragments".[19] Madonna later called it one of her favorite songs for its "cinematic" atmosphere, its "chilling" strings, and the opportunity to work with a live orchestra.[3]
Usage on Die Another Day and release
"Die Another Day" plays over the film's opening sequence, in which James Bond (Pierce Brosnan) is shown imprisoned and tortured in a North Korean military facility.[3] Anita Camrata, executive vice president of MGM Music, remarked that the song "nailed" the essence of the scene and helped "set up the story."[3] Its early placement in the film also allowed composer David Arnold to focus more fully on the overall score. However, longtime Bond title sequence designer Daniel Kleinman later admitted he was not fond of the choice: "If I had a decision about which music track would have gone with [that sequence], I probably wouldn’t have chosen that particular song."[3]
In the United States, the physical single of "Die Another Day" was released on October 22, 2002.[20] It was originally scheduled for October 10, but was leaked ten days earlier to a New York radio station.[21] According to wesbite Hollywood.com, Madonna and her team were reportedly "beside themselves" over the premature leak.[22] The single was released in most European countries on October 28.[b] It was later added to American Life, and included on Madonna’s compilation albums Celebration (2009) and Finally Enough Love: 50 Number Ones (2022), the latter featuring a remix by Deepsky.[23][24][25] Additional official remixes were produced by Deepsky, Victor Calderone, Dirty Vegas and Thunderpuss.[26]
Critical reception and recognition
Upon release, "Die Another Day" received mixed to negative reviews and has often been cited as one of the weakest entries in the Bond theme song canon. Criticism was given to its heavy use of Autotune, perceived lack of melody and detachment from the Bond aesthetic.[c] Positive feedback came from Entertainment Weekly's Craig Seymour, who praised its "dance-floor urgency" and self-referential lyrics.[18]James Hannaham, writing for Spin magazine, was also favorable, calling it a brilliant, melodramatic piece.[34] Others, however, were far less impressed: Billboard referred to it as "disjointed" and "nonsensical", while Rikky Rooksby —author of The Complete Guide to the Music of Madonna— criticized its "repetitive" melody and claimed it marked a decline in Bond songwriting.[15][13] Additional reviewers dismissed the song as "cheerless", "half-dead", and "rubbish".[35][36][37]
Despite its initial reception, retrospective opinions have grown more favorable. In a 2006 MORI poll for the Channel 4 program James Bond's Greatest Hits, "Die Another Day" ranked 9th among 22 Bond themes and was the overwhelming favorite among respondents under 24.[38]The Daily Telegraph later hailed it as "brutally modern" and "evocative of the dark heart of Bond", while Vogue magazine celebrated its bold break from ballad tradition, calling it "hilariously early-naughts sounding" yet still "one of the greats".[32][39] Critics like Samuel Murrian, Jon O'Brien, and Matthew Jacobs acknowledged it as a divissive "weird fit" for Bond, but praised its role in modernizing the franchise's sound.[23][16][40] Music historian Jon Burlingame deemed it the "most sonically edgy" Bond theme, and author Daryl Easlea highlighted its "poignancy" and "experimental darkness".[3][11] According to biographer Mary Gabriel, much of the backlash was likely amplified by Madonna's role in the critically panned Swept Away, with music critics "feeling obligated" to dislike the song.[9]
"Die Another Day" achieved strong commercial success worldwide. In the United States, the song debuted at number 41 on the Billboard Hot 100 —then the highest debut of 2002— and later peaked at number 8.[15][47] It marked Madonna's 35th top-ten hit, pushing her ahead of the Beatles and placing her just one behind Elvis Presley's record at the time.[48] It also became the first James Bond theme to reach the Hot 100's top ten since Duran Duran's "A View to Kill" in 1985, and would remain the last until "Skyfall" by Adele a decade later.[47][49] On Billboard's Hot Dance Club Songs chart, it became Madonna’s 28th number-one single, and was the best-selling dance single of both 2002 and 2003.[50][51][52] By 2013, it had sold over 232,000 digital downloads in the US, ranking among Madonna’s top pre-2005 digital singles.[53][54]
In Canada, “Die Another Day” peaked at number one and remained there for four weeks, earning double platinum certification.[55][56] The song also performed strongly across Europe, hitting number one in Italy and Spain, and reaching the top ten in countries such as Germany, Sweden, and the Netherlands.[b] In the United Kingdom, it debuted and peaked at number three with first-week sales of 52,500 copies —held off the top spot by DJ Sammy and Yanou's rendition of Bryan Adams' "Heaven", and "Dilemma" by Nelly and Kelly Rowland.[57] It ended the year as the UK's 80th best-selling single and was certified silver in 2015.[58][59] Additional certifications included gold in France and Australia, where the song reached number five.[60][61][62] In New Zealand, it was less successful, peaking at number 22.[63]
Traktor was contacted months earlier with a handwritten letter and a demo from Madonna, initially prompting skepticism. After confirming the offer, Sanders met with Bond producer Barbara Broccoli at London's Pinewood Studios and later with Madonna herself. According to Sanders, the singer was meticulous, clear, and highly involved in the creative process, demanding precise and well-prepared contributions from the team.[64] The video was conceived as a standalone piece, "Bond-inspired" but containing no footage from the film.[64]
Scene of "Die Another Day" in which two Madonnas ―one in black, the other in white― fight each other.
It opens with Madonna being dragged by soldiers into a torture chamber, battered and marked with three Hebrew letters —Lamed, Aleph and Vav— on her forearm.[9][67] After being violently thrown around and submerged in icy water, she breaks into a defiant, provocative dance amid chains and broken glass.[9] Intercut throughout is a fencing duel between two Madonnas —one in black, one in white— inside a sterile glass-lit room. Their inflicted wounds mirror those of the tortured Madonna. The sequence features nods to past Bond films, including a portrait of Pierce Brosnan and a character with "deadly bowler hats", portrayed by the nephew of actor Harold Sakata, who starred in Goldfinger (1964) as Oddjob.[4][9]
In the final act, Madonna wraps phylacteries around her arm and hides behind an electric chair before being strapped in by her captors. As one soldier pulls the switch, the white Madonna defeats the black one with a speargun. The tortured Madonna vanishes, leaving only the burned Hebrew letters on the chair, much to the captors' shock. The video ends with her escaping the chamber, followed by the Bond gun barrel sequence.[65]
Santiago Fouz-Hernández, co-author of Madonna’s Drowned Worlds, interpreted the fencing duel between Madonna and her doppelgänger as a symbolic split of identity.[70] Mary Gabriel further interpreted the white Madonna's triumph over the black-clad version as a metaphorical "death of the ego".[9] The Hebrew letters —Lamed, Aleph, and Vav— seen tattooed on Madonna’s arm and later scorched into the electric chair, form one of the 72 names of God and are linked to ego transcendence in Kabbalistic tradition.[9] Joanna Rydzewska, writing in Representing Gender in Cultures, saw the video’s violence as a reflection of Madonna's tumultuous marriage to actor Sean Penn, contrasting with her image as a fiercely independent artist.[71] Gabriel concluded that despite being surrounded by male captors, "[Madonna's] the toughest of them all".[9]
The video's use of Jewish symbolism sparked some controversy. Rabbi Yitzhak Bazri publicly condemned Madonna for wearing phylacteries —a ritual typically reserved for men— calling it "forbidden" and "disgraceful".[72] Michael Berg, one of Madonna's Kabbalah advisers, explained that phylacteries represent a spiritual shift from selfishness to generosity, though he acknowledged it was rare for women to wear them and some might see it as sacrilegious.[9][73] Madonna's publicist Liz Rosenberg defended the video, saying the singer's intentions were "honorable".[74] Gabriel also noted that not all reactions were negative; some Jewish scholars believed Madonna’s performance could even inspire lapsed Jews to reconnect with their faith.[9][73]
Initial reports by The Observer suggested Madonna would sing "Die Another Day" before Queen Elizabeth II at the film's London premiere, though said performance did not materialize.[80] A tango-inspired version was later featured on 2004's Re-Invention World Tour, with "abstract" ballroom choreography, Madonna in circus-themed costuming, and visuals of X-rays and a dying old man.[81][82][83][84] The number concluded with the singer strapped to an electric chair, a moment Toronto Sun critic Jane Stevenson called "wonderfully inventive".[81] A recording of the performance appeared on her first live album, I'm Going to Tell You a Secret (2006).[85]
A remix by DJ Enferno was used as video interlude on 2008―2009's Sticky & Sweet Tour.[86][87] Onstage, two dancers dressed as boxers fought in a stylized match, while video screens showed a battered and bleeding Madonna, also in boxing gear.[86][88]Slant Magazine's Paul Schrodt praised the visceral staging, noting the singer's willingness to "get dirty" for her art.[89] The number was included on the Sticky & Sweet Tour live album release (2010), filmed in Buenos Aires.[90]
On July 26, 2012, during the MDNA Tour, Madonna performed a mashup of "Die Another Day” and MDNA album track "Beautiful Killer" at Paris's Olympia hall.[91] A decade later, it was included on the Celebration Tour (2023–2024), opening with a quote by Greek–Armenian philosopher George Gurdjieff flashing on screen: "To be born, we must first die, and to die, we must first awake".[92] Dressed in leather cowboy hats and dusters, Madonna and her dancers delivered an "intricately choreographed" routine amid laser beams and mystical undertones.[93][94]Variety's Mark Sutherland praised the spectacle but criticized the lack of a live band during the “glitchy” segment.[95]
↑ Die Another Day (UK 2 × 12-inch promo vinyl liner notes). Madonna. Maverick Records. 2002. SAM 00721.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (US 2 × 12-inch promo vinyl liner notes). Madonna. Maverick Records. 2002. PRO-A-101005.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (UK 2 × 12-inch vinyl liner notes). Madonna. Maverick Records. 2002. W 0595 T.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (US 2 × 12-inch vinyl liner notes). Madonna. Maverick Records. 2002. 42492-0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (European 2 × 12-inch vinyl liner notes). Madonna. Maverick Records. 2002. 9362 42492-0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (US 7-inch vinyl liner notes). Madonna. Maverick Records. 2002. 7-16684.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (US CD single liner notes). Madonna. Maverick Records. 2002. 5439-16681-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (European CD single liner notes). Madonna. Maverick Records. 2002. 9362 42494-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (US Maxi CD single liner notes). Madonna. Maverick Records. 2002. 42492-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (European Maxi CD single liner notes). Madonna. Maverick Records. 2002. 9362 42492-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (AU Maxi CD Single). Madonna. Maverick Records. 2002. 9362-42492-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (Japanese Maxi CD single liner notes). Madonna. Maverick Records. 2002. WPCR-11398.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (German CD single liner notes). Madonna. Maverick Records. 2002. 9362 42495-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Die Another Day (Australian CD single liner notes). Madonna. Maverick Records. 2002. 9362-42495-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ "Luis Miguel se impone". El Siglo de Torreón (in Spanish). October 20, 2002. Archived from the original on September 25, 2022. Retrieved March 13, 2025.
↑ "Classement Singles la 2002" (in French). Syndicat National de l'Édition Phonographique. Disque en France. Archived from the original on May 10, 2011. Retrieved March 13, 2025.
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