The Re-Invention World Tour (billed as Re-Invention World Tour 2004) was the sixth concert tour by American singer-songwriter Madonna, in support of her ninth studio album American Life (2003). The tour began on May 24, 2004, at The Forum in Inglewood, United States, and ended on September 14 at the Pavilhão Atlântico in Lisbon, Portugal. Additionally, it marked Madonna's first concerts in Portugal and Ireland. Rumors of a concert tour first began circulating in October 2003, but nothing was confirmed until March 2004. According to some, the title Re-Invention was a dig at Madonna's critics who, throughout her career, had talked about her "reinventing herself"; the singer said she chose this name because she wanted to "re-invent" her old material. A number of songs were rehearsed for the tour, with twenty-four making the final setlist. Like past Madonna tours, Re-Invention was divided into different thematic acts: Marie Antoinette, Military, Circus, Acoustic, and Scottish-Tribal. The wardrobe was created by designers Arianne Phillips, Stella McCartney, Christian Lacroix, and Karl Lagerfeld.
Critical reviews ranged from positive to mixed. The singer was praised for performing the "classic" songs from her catalogue ―which had been absent from her previous Drowned World Tour (2001)― but the concert's themes and political tones were criticized. Nonetheless, it was awarded Top Tour at the 2004 Billboard Touring Awards. Re-Invention proved to be a commercial success, with total sell-outs and multiple extra dates being added. It became the highest-grossing concert tour of 2004, earning over $125million from 56 shows, and an audience of over 900,000. Fellow singer Elton John then accused Madonna of lip-synching, which was denied by her representatives and John later apologized. The documentary chronicling the tour, I'm Going to Tell You a Secret, was directed by Jonas Åkerlund and released in 2005.
Background
In August 2002, Madonna and Steven Klein teamed up together for an art installation project titled X-STaTIC PRO=CeSS. Created to "deconstruct" the "cult of Madonna while trading on her star power", it was shot inside "stark" interiors and featured "twitchy" footage of the singer decked out in "enigmatic" that made her look like a "Byzantine queen".[2][3] It was first exhibited in New York, on March 27, 2003, before traveling to London, Paris, Düsseldorf, Berlin and ending in Florence on May 3.[4] Madonna's ninth studio album, American Life, was released on April 21.[5] To start marketing the album, she embarked on a promotional tour across the United States and Europe; she performed at the Total Request Live studios in New York, the HMV store on Oxford Street, London, and appeared at BBC One's Friday Night with Jonathan Ross and Top of the Pops.[6][7][8][9] On August 27, she opened the 2003 MTV Video Music Awards with American recording artists Britney Spears and Christina Aguilera, performing a medley of "Like a Virgin" (1984) and American Life single "Hollywood".[10] During a Q&A with fans through Madonna's official website in October, her manager Caresse Henry said she would "definitely" go on tour, either in summer 2004, or early 2005.[11] In January 2004, the singer herself said she had "ideas for shows in [my] head", and was waiting for the "best time to step into a world tour".[12] That month, the Las Vegas Sun sent out a press release announcing that Madonna would kick off the 32-city US leg of a world tour on June 1 in San Francisco, California, but nothing was further confirmed.[13]
In March, Scottish bagpiper Calum Frase, whom Madonna had invited to play at her son Rocco's christening, said he was approached by the singer to join her on a five-month tour, tentatively named Whore of Babylon World Tour 2004.[14] Later that month, it was reported by MTV that the singer was "in rehearsals for a summer swing".[15] The Re-Invention World Tour was officially confirmed by Caresse Henry on March 23; "[Madonna] can't wait to get back on stage [...] There is no doubt that this tour will be the pinnacle of her long standing and well deserved reputation as one of the most exciting live performers of our time", the press release read.[16][17] According to Dirk Timmerman, author of Madonna Live! Secret Re-inventions and Confessions on Tour, working on X-STaTIC PRO=CeSS inspired the singer to come up with the tour.[4]
Her first concert tour in three years, it was set to launch in May and run through August, visiting cities in the United States and Europe.[15] Additionally, it marked Madonna's first visit to Ireland.[18] Concerts in Tel Aviv were scheduled but cancelled, as the singer received death threats from an "unnamed Palestinian group".[19] Madonna told Access Hollywood that her manager advised her to not travel to Israel because of the attack on the leader of Hamas. Nonetheless, she said that, "if I had my way, I'd go".[20] The Re-Invention World Tour officially began in Los Angeles on May 24 and ended in Lisbon on September 14, 2004.[17][21][22]
Development
Faraway view of the stage, depicting the screens that were used as backdrops (top), and the V-shaped catwalk used by the singer to walk above the audience in performances such as "American Life" (bottom).
According to Caresse Henry, one of the "major complaints" fans had regarding 2001's Drowned World Tour was the lack of Madonna's "classic hits", thus, "[she] came to the conclusion that it was time to perform more of her entire repertoire".[23] During an interview with TRL, Madonna explained: "We're talking old and new [...] I'm going to be doing songs from my entire career, like they've never been done before. Because that's what life is all about".[24] The title Re-Invention was, according to Christianity Magazine, a "self-confident, ambivalent dig at all the people who for years have talked about [Madonna] 'reinventing herself'". The singer said she chose this name because she wanted to capture "the irony [of my old songs] [...] the only way I could do them was by re-inventing them, approach them from another angle".[25][26] Noted as being "much lighter in tone" than Drowned World, its central theme was "unity vs. violence".[27][28] Henry described it as a "brilliant performance show [...] extravagant, but more in line with how shows used to be and scaled back, but filled with plenty of eye candy".[23] Similar to Madonna's past tours, it was divided into different thematic acts: Marie Antoinette, Military, Circus, Acoustic, and Scottish-Tribal.[29]
Jamie King was once again appointed creative director.[30] Other personnel included Madonna's lifelong backup singer and dancer Donna De Lory, vocalist Siedah Garrett, bagpiper Lorne Cousin, Monte Pittman on guitar, Stuart Price on keyboards, and 12 dancers, including three trapeze artists.[31][32] Auditions for dancers took place from February to March in New York and Los Angeles's Culver Studios,[33][34] with rehearsals taking place at the Great Western Forum.[31][35] Allan Dekko was selected to choreograph the performance of "Express Yourself" (1989), which was given a military theme. Of working with the singer, Dekko recalled that, "I won't say that she is a natural, but what is being asked of her she did well [...] I found her pleasant to work with".[36] Production cost $1 million: the stage had a center stage turntable 13m (43ft) in diameter that could rise up to 3m (9.8ft) in height and spin up to 6.7m/s (15mph), as well as a conveyor belt built into the entire front section, used by the singer to move from one extreme to the other on certain numbers.[37][38] Five moving video screens —three big ones, the largest of which was 7 tons, and two slightly smaller ones— that were moved by 160 motors formed the backdrop.[39] Equipment also included 130 rigging points, an arsenal of moving lights and four tons worth of Claire Brothersline array sound system. Also present was a 22 metres (72ft), V-shaped trusscatwalk that was lowered from the ceiling above the front of the audience.[40][41][42][39] Props for the show included a half-pipe skateboarding ramp and an electric chair.[43][44] Images and footage from X-STaTIC PRO=CeSS were used as backdrop videos.[45]
During rehearsals, a general set list was decided; it featured "Material Girl" (1984), "Dress You Up" (1985), and "I'm So Stupid" from American Life.[46] However, Madonna found it difficult to learn the guitar chords for the last two and were removed. Other discarded songs included the Headcleanr Rock mix of "Love Profusion" (2004), "Swim" from Ray of Light (1998), "Take a Bow" (1994), and "Live to Tell" (1986).[46] Originally, "Vogue" (1990) was chosen as the opening number until Madonna decided to use "The Beast Within" instead. "Nobody Knows Me" was first rehearsed in its Peter Rauhofer's Perfect Private Life Mix.[46] Initially, Madonna planned to perform "Die Another Day" (2002) as closing number, but it was replaced with "Holiday" (1983). The John Lennon song "Imagine" (1971) was also added to the set list; when asked why she chose to cover this song, Madonna simply said: "I wanted to make a statement with the ultimate peace song".[47] "Don't Tell Me" (2000) was rehearsed in two versions —one that featured the video of a French skyline as backdrop, used on the American leg and Paris shows, and one that sampled The Verve's "Bitter Sweet Symphony" (1997), used on the remaining concerts of the tour.[46] "Ray of Light" was also rehearsed during the initial phases, but the singer later decided to eliminate it, as performing the song at the beginning of the show would hurt her voice beforehand. At the end, twenty-four of thirty rehearsed songs made the final set list.[46] According to Dirk Timmerman, two new songs were created for the tour: "The Devil Wouldn't Recognize You", written by Madonna and Joe Henry, and "I Love New York", written by the singer and Stuart Price. The latter was reworked into a dance track for Madonna's tenth studio album, Confessions on a Dance Floor (2005), while the former was included in her eleventh studio album, Hard Candy (2008).[46]
The tour's wardrobe was in charge of Arianne Phillips.[48] When creating the costumes, Phillips recalled: "[Madonna] goes back and revisits older songs and reinvents them, so we used that same philosophy". The designer confirmed the singer would be making five costume changes throughout the show.[48][49] Designers working on the tour included Stella McCartney, Christian Lacroix, and Karl Lagerfeld for Chanel.[50] Lacroix had worked with the singer on X-STaTIC Pro=CeSS and was called back to recreate one of the corsets Madonna had worn on the installation.[51] The result was a Baroque-inspired, champagne-colored crystal-studded corset, used for the opening sequence. The second segment, which was inspired by the American Life album and described by Phillips as "real rock 'n' roll", featured military-inspired garments.[48][51] The third act, based on the work of Federico Fellini and carnavals, featured chorus girl-inspired corsets of "strong and graphic [...] sexy and sassy" colors, created by Lagerfield.[51][49] The fourth act was the "emotional" point of the show, thus the costumes, designed by McCartney, were quieter and focused on displaying the silhouettes of the performers.[51] The finale included mostly kilts, provided by USA Kilts;[52] Phillips decided to merge "hip-hop sensibilities with traditional Scottish elements", something Madonna had already explored on her previous tour. Additional clothing included T-shirts, designed by Jean Paul Gaultier, and shoes by Miu Miu.[51] The official poster used one of the images from X-STaTIC Pro=CeSS and depicted Madonna in a seventeenth century style dress, crawling on all fours towards the camera.[4] No opening act was used.[23]
Concert synopsis
Madonna and her dancers opening the concert with a performance of "Vogue".
The show was divided into five different thematic segments: Marie Antoinette, Military, Circus, Acoustic, and Scottish-Tribal. It began with "The Beast Within"; an ominous reading from the Book of Revelation played, while the screens flashed images and footage from X-STaTIC PRO=CeSS. As the video ended, the singer emerged on a rising platform, wearing the Lacroix corset and striking yogaposes to perform "Vogue". "Nobody Knows Me" followed, and saw Madonna energetically dancing by herself on the conveyor belt with some of the song's lyrics appearing onscreen. "Frozen" closed the act; the singer stood alone onstage and sang while the screens showed an excerpt from Flex (2000), a video instalation with an androgynous naked couple wrestling in water. The film was directed by Chris Cunningham, who also directed the song's original video. The Military segment began with the sound of a helicopter in the background as several dancers dressed as soldiers crawled on their bellies and hugged each other. Madonna then appeared on top of a stack of TV sets, dressed in military fatigues and a beret, to perform "American Life". The backdrops showed footage from the song's original music video interspersed with scenes of wounded children, soldiers, and a George W. Bush look-alike lovingly resting his head on the shoulder of a Saddam Hussein look-alike. Halfway through the performance, the V-shaped catwalk was lowered from the ceiling, which allowed the singer and dancers to walk above the audience. Next came "Express Yourself", in which Madonna switched the opening Come on girls! for Come on boys!, and twirled rifles along with the dancers. Rock versions of "Burning Up" and "Material Girl", with the singer playing electric guitar, closed the act.
A remix interlude of "Hollywood" began the Circus act. It featured a breakdancer, a firedancer, a belly dancer, a tap dancer, a skateboarder, and animations of the Rider–Waite tarot cards onscreen. The interlude was followed by a cabaret-like performance of "Hanky Panky", with the singer surrounded by female dancers and wearing the circus-inspired corset by Karl Lagerfeld. Next, a slow lounge version of "Deeper and Deeper" was performed by Madonna, Donna De Lory, and Siedah Garrett. "Die Another Day" found the singer engaging in a Tango-inspired choreography with dancers, the backdrops showing an old man in his deathbed. Towards the end of the number, several male dancers surround her and strap her into an electric chair on a rising platform, giving way to "Lament". The segment ended with a video interlude set to a remixed "Bedtime Story"; it showed the singer dressed in white, singing in front of a mirror and lying down on a huge scanner. As the video played, three dancers dropped from the ceiling on swings. The Acoustic segment began with "Nothing Fails", sung by Madonna on guitar. Afterwards, she sang "Don't Tell Me", recreating the choreography from the song's video with her dancers. The next song played was "Like a Prayer", which featured Hebrew letters and a choir on the backdrops. During the performance of the combined "Mother and Father" and "Intervention", Madonna once again played guitar as Catholic icons and images of her mother flashed onscreen. "Imagine" closed the segment; footage of war-ravaged children, bombed-out villages and artillery was displayed in the backdrops as Madonna sang.
The final segment, Scottish-Tribal, started with bagpipers marching around the stage in kilts and holding wooden posts. Madonna then appeared onstage wearing a white T-shirt and a kilt to perform the "Into the Hollywood Groove" remix of "Into the Groove" with Lorne Cousin, and rapper Missy Elliott onscreen. She then performed "Papa Don't Preach" decked out in a black T-shirt with the line "Kabbalists Do It Better" ―on certain shows, the T-shirt read "Midwesterners Do It Better", "Italians Do It Better", "Irish Do It Better" and "Brits Do It Better", respectively. Next came "Crazy for You", which the singer dedicated to her fans. The final numbers were "Music" and "Holiday"; the former was set to a slower, hip-hop mix and had a lighted staircase surrounding a DJ, while the latter had the singer and dancers walk on top of the catwalk as confetti fell from the roof. At the end, the screens flashed out the phrase "Re-invent Yourself".
Critical reception
"Burning Up" (left) was, according to the San Francisco Chronicle's Neva Chonin, one of the "singer-songwriter spotlights" in which "[Madonna] showed off her competent guitar skills".[53] On another note, the Daily Herald's Mark Guarino singled out "the spiritual uplift" of "Like a Prayer" (right).[54]
Critical reviews for the Re-Invention World Tour ranged from positive to mixed. Writing for the New York Post, Elizabeth Smith noted that, "unlike 2001's 'Drowned World' tour, which was dark, often hostile, 'Re-invention' returns Madonna to the light. She looks as if she is having a good time [...] [she] presents herself as a vital, joyfully relevant and committed artist [...] giving her fans a taste of the past".[55] Similarly, Mark Guarino from the Daily Herald opined that Re-Invention, "joyfully interchanged past with present".[54]Edna Gundersen, writing for USA Today, gave the show four out of four stars; "whereas her last outing had technical strengths but lacked warmth, Re-invention finds Madonna reinvested emotionally [...] opting for more heart than cleavage and more personality than profanity.[56] For Newsday's Glenn Gamboa, the tour showed "a side of Madonna that she hasn't shown very often — the one that has fun, the one that enjoys the roar of the crowd".[57] On his review of the tour's opening night, Rolling Stone's Barry Walters opined it was "thematically simpler and more focused" than Madonna's past tours. Highlighting the contrast between "the barbarism of war and the necessity of love" in performances such as "American Life" and "Express Yourself", and praising the artist's "remarkably fun-loving and self-assured" mood throughout the entire night, Walters concluded his review by writing that Madonna had done "the most unexpected thing she could: She came back as a great concert singer".[40] Dave Simpson from The Guardian expressed that, although "her star is supposedly waning (recent album American Life was her first-ever flop), this audio-visual spectacular is a reminder that there's no one like Madonna".[35] Sean Piccoli from the Sun Sentinel said that, "vocally, [Madonna] was in fine, flexible form [...] the choreography, both of dancers and of projected visuals, was energizing and erotic in a playfully grown-up way that would never occur to Britney Spears".[58] Similarly, from the Delaware County Daily Times, Anthony J. Sanfilippo praised the "precise" choreographies, the singer's vocals, costumes, and the "great renditions of her classics". Sanfilippo highlighted the performances of "Like a Prayer" and "Music", concluding that, although Madonna "is a much more tame performer now as a 45 year old mother than she was in her days as a provocative sex symbol", she remains "the greatest entertainer on the planet".[59] Glenn Gamboa said that, "[her] latest reinvention may be her best one yet [...] as long as she offers amazing performances like this one, she will have an army of fans backing her up".[57] According to Lucy O'Brien, author of Madonna: Like an Icon, "although musically it had a retro feel, [Re-Invention] showed how Madonna had entered a new phase with her utilization of visual art".[60]
The singer's choice to focus on her old material received praise. The Washington Post's Dave Segal applauded her for working "through whatever issues prevented her from performing her earliest hits".[43]Slant Magazine's Sal Cinquemani highlighted "Burning Up", "Material Girl", and "Like a Prayer", adding that the old songs served as a reminder "of what she does best: making us forget about the bad times, come together, release the pressure, and have a holiday".[28] From The Buffalo News, Benjamin Siegel noted that, "its her '80s hits that keep fans happy, and it looks like she's been paying attention".[61] On her review of the concert in Atlanta, Sonia Murray from The Atlanta Journal-Constitution concluded that, "Madonna simply, finally, appealing to her ravenous audience by doing her ever-catchy hits — 'Vogue', 'Express Yourself', 'Material Girl', after 'Into The Groove' and all — was without question the biggest pleaser".[62] Howard Cohen from the Miami Herald opined that the tour "celebrates what that iconic name [Madonna] has meant for 20 years by dusting off many of her greatest hits", while Rochelle Brenner from The Palm Beach Post, felt that, "the old songs took on a new sound that seemed more fitting to the more mature" singer.[63][64] The San Francisco Chronicle's Neva Chonin singled out the numbers "in which [Madonna] dispensed with lavish theatrics to play artist", such as "Frozen", "Burning Up", "Material Girl", and "Like a Prayer".[53] Jay Lustig from The Star-Ledger singled out "Burning Up", "Material Girl", "Deeper and Deeper", and "Into the Groove", referring to Re-Invention as the singer's most "dizzying and dazzling" show.[65] Joan Anderman, from the Boston Globe, applauded Madonna's ability to control "her spectacle and her music with equal clarity", and "reinvent her reinventions", citing the performances of "Material Girl", "Express Yourself", and "Into the Groove" as examples.[66] Glenn Gamboa highlighted the "playfulness and innocence" of numbers such as "Papa Don't Preach".[57] The Toronto Sun's Jane Stevenson referred to "American Life" as the "biggest production number", but was critical of the third segment, Circus, which she considered the show's "weakest link", that was "saved" by the "wonderfully inventive" performance of "Die Another Day".[44] Tony Clayton-Lea from The Irish Times questioned the inclusion of the singer's "least appealing hits" such as "Die Another Day" and "Hanky Panky", and said of the Slane concert: "Did Madonna rock? No, but she proved why she's the best and most successful female pop star in the world".[67]
Some critics questioned and were displeased with the inclusion of "Hanky Panky" on the set list. In the image, Madonna singing the song during the tours's third act, Circus.
In less enthusiast reviews, Sal Cinquemani felt the concert "often seemed like it was slapped together". He also added that, although it was "much less theatrical" and "more interactive", Re-Invention lacked Drowned World's "fluidity" and wasn't as "emotionally engaging".[28] It was described as "tremendously well-crafted, but also somewhat calculated and soulless" by the Manchester Evening News' Paul Taylor.[69]The New York Times' Kelefa Sanneh said that the "re-invention" tag had proved "over-ambitious", as Madonna appeared to be stuck "shadowboxing" with her past; "there were times when [she] seemed somehow oppressed by the weight of all her old selves, times when it seemed that she just wanted to wipe the slate clean and start over".[21] Howard Cohen pointed out the singer's "enviable body of pop hits", but felt the concert as a whole didn't "cohere" into a clear theme, comparing it to a "massive ice-cream sundae [...] the ultimate guilty pleasure, but also a load of empty calories".[70] Benjamin Siegel expressed that, "new material is not the same as old material recycled [...] which makes the 're-invention' premise a little silly".[61]Jim DeRogatis from the Chicago Sun-Times criticized the songs' arrangements for being "so bizarre that they played like parodies". He also panned the performances of "Lament" and "Imagine": The former for proving how "Madonna was poorly suited to perform in musicals like Evita", and the latter for being "anemic, histrionic and soulless".[71] Neva Chonin and Jay Lustig both criticized the performance of "Express Yourself"; Chonin felt Madona "shot herself in the foot" when she sang the phrase What you need is a big, strong hand/ To lift you to your higher ground as she was being elevated on the back of a rifle, while according to Lustig, "theatrics didn't make much sense accompanying a song about personal empowerment".[53][65] For Chart Attack's Elizabeth Chorney-Booth, "with a name like 'The Re-Invention Tour', one would expect to see Madonna at her absolute finest"; she was critical of the artist's attitude: "Back in the Blonde Ambition[sic] days, her general coldness read as ballsy bitchiness [...] with her new sense of concern for the well-being of the world, her whole onstage persona rings false". The author also pointed out that Madonna didn't look like she was "having fun", and criticized the "hollow" rendition of "Imagine".[68] Writing for Metromix, Greg Kot concluded that, despite "some inspired moments", Re-Invention "is a mess, a hodgepodge of ideas that never quite establishes its tenuous theme".[42]
The show's political tones also attained criticism. JimDe Rogatis wrote that, "as a political commentator, [Madonna] made Bart Simpson seem as sophisticated as Noam Chomsky. [And her] attempts to enlighten us about her arcane spiritual belief system didn't fare much better".[71] Peter Bowes from BBC News pointed out that, "politically, the concert hit a number of raw nerves with the audience [...] but afterwards, many expressed doubts and disappointment about the anti-war message".[72] Howard Cohen opined that, "her anti-war clips trivialized the issue and felt about a year too late", and added that, by getting "whole-hog political", the singer "is no longer Madonna the brave".[63] For Sal Cinquemani, the political imagery felt "completely unrelated" to the songs.[28]Robert Hilburn, from the Los Angeles Times, said that, "[Madonna] may feel her political move is trailblazing, but it felt labored [...] reflecting little of the daring and clarity of Sinéad O'Connor, Ani DiFranco and Patti Smith", and called for the singer to "bring back the sex". He condemned the "weakly political Re-Invention concert [as] unsexy and uninspiring".[73] Finally, Orla Healy from the New York Post wrote that, "Madonna's blond ambition is fading to bland [...] instead of a sexy, flashy, fun-filled show, concertgoers Monday night got an endless dose of political and social commentary".[74] At the 2004 Billboard Touring Awards, Re-Invention received the Top Tour award during the Backstage Pass Conference on November 9; Madonna's tour manager Caresse Henry was awarded Top Manager award.[75] Re-Invention was named Madonna's second best concert tour by both The Advocate's Gina Vivinetto and VH1's Christopher Rosa.[76][77] On Billboard's 2024 ranking, it came in on the tenth position; Sal Cinquemani wrote that, "[Re-Invention] was nothing [Madonna] hadn't done before or wouldn't do better in the future, but —for the first time in years— she was embracing her past [...] [and] was in top form both vocally and physically".[78]
Upon completion, the Re-Invention World Tour grossed over US$125 million, becoming the most lucrative tour of 2004. The images show Madonna singing "Mother and Father" (left) and "Into the Groove" (right).
The first tickets for the tour were allotted to the members of Icon, Madonna's official fan club.[16] VIP tickets were sold through the singer's official website, including a $700 "Madonna Platinum Package" that offered seats in an area near the stage and came with a poster, a laminated tag and access to a VIP lounge; some of these packages were then sold through brokers at prices ranging from $1,000 to $1,800.[79] On the same vein, MTV launched the Front and Center with Madonna contest, where fans were able to win "pit tickets" near the stage at certain concerts — Los Angeles, Anaheim, San Jose, Las Vegas, Washington DC and New York City.[80] The singer said she teamed up with the channel for this contest because she wanted "to give an opportunity to my biggest fans to see the show really close, up close and personal".[24] Within the first five days, dates at Los Angeles, Las Vegas, New York, Boston, Chicago, Toronto, Philadelphia, and Miami sold out.[81] In New York, all six dates were completely sold out; Madonna played in front of 88,625 people and grossed $12,674,925.[82] $23million were grossed from the first ten concerts.[83] According to China Daily, the 39 concerts of the American leg were attended by an estimated 750,000 people.[84] Other American grosses included $7.9 million from the concerts at Chicago's United Centre, $7 million from two sellouts at the MGM Grand Garden Arena in Las Vegas, $7 million from three sold-out shows at the Los Angeles Forum, and $6.4 million from the concerts at the Worcester Centrum.[85]
Halfway through, Billboard predicted the tour to be the top-grossing of the year, with a gross of $120million ($193.57million in 2023 dollars[1]).[38] Although the Evening Standard reported that "thousands of seats were still available just days before" and tickets "sold far slower than expected",[86] Re-Invention proved to be commercially successful in Europe. 14,000 tickets for the first Manchester date sold out within an hour, with prices going from £75 to £150.[87] Overall in England, $9.8 million were grossed from four sellouts at London's Wembley Arena, $6.3 million from two additional shows at the city's Earls Court and $5.1 million from the two Manchester shows.[85] In Paris, where originally only two dates were scheduled, 15,000 tickets sold out in only 30 minutes, prompting organizers to add two more concerts.[88] More than 40,000 tickets for the singer's first concert in Ireland were sold within 30 minutes of going on sale; due to demand, Ticketmaster doubled their staff, added 500 additional telephone lines to their existing 400 and, for the first time ever, doubled the volume of space on their official website.[89] Tickets for the final Lisbon shows went on sale Friday, July 30, with fan club pre-sale taking place three days earlier;[90] 15,000 tickets sold out on eight hours.[91] Upon completion, it grossed $125million ($201.64million in 2023 dollars[1]) and was named 2004's top-grossing tour.[92] Lucy O'Brien noted that, despite being commercially successful, Re-Invention "somehow slipped beneath the mass media radar", and Madonna had to "promote [it] hard, particularly in the US"; she contributed this to "vastly inflated" ticket prices and the lackluster reception towards American Life.[60]
Lip sync allegation and incident
Elton John (picture) accused Madonna of having lip-synched on the tour, but later apologized.
When presenting at the 2004 Q Awards in London, Elton John said he was surprised at Madonna's nomination for Best Live Act as, according to him, she had lip-synched on the Re-Invention Tour; "anyone who lip-synchs in public on stage when you pay $134 to see them should be shot. That's me off her fucking Christmas card list. [...] But do I give a toss? No", expressed John.[93][94] Madonna's publicist, Liz Rosenberg, denied John's allegations and said that, "[Madonna] does not lip-sync nor does she spend her time trashing other artists [...] She sang every note of her Re-Invention tour live and is not ashamed that she was well paid for her hard work [...] Elton John remains on her Christmas card list whether he is nice...or naughty".[93] Madonna herself allegedly sent John a box of chocolates with a sarcastic note.[95] John later regretted his comments and told Entertainment Weekly that he wanted to apologize to the singer, referring to the awards show where he made the claims as "a very drunken lunch":
I don't want to escalate it because I like Madonna, [...] She's been to my house for dinner. It was something that was said in the heat of the moment, and probably should not have been said. [...] Would I apologize to her if I saw her? Yeah, because I don't want to hurt any artist's feelings. It was my fault. I instigated the whole thing. But it applies to all those bloody teenage singers. [...] The reaction to it was so hysterical, It was like I said, 'I think all gays should be killed' or 'I think Hitler was right'. I just said someone was lip-synching. I'm not afraid to speak my mind. I'm not going to mellow with age. I get more enraged about things as I get older because you see that these injustices go on.[96]
While setting up the stage for one of the London concerts, a member of the crew was injured after falling from approximately 30ft. The man suffered injuries to his shoulder and arm and had to be flown to the hospital in an air ambulance. Caresse Henry, the singer's manager, released a statement: "The entire crew, performers and staff, especially Madonna, were very saddened to hear about the accident but are hopeful that he will make a full recovery".[97]
On May 25, 2004, CBS announced a "two-hour, live special" of the tour;[98] according to People magazine, the network offered to pay the singer $10 million to broadcast one of the concerts, but no air date was ever confirmed.[48] On April 22, 2005, it was reported that director Hamish Hamilton and production house The Rude Corp. had sued Madonna, claiming she owed them more than $300,000 in production fees and expenses.[99] The lawsuit alleged that the director and singer had entered into an oral agreement to produce and direct a European television special of the tour; according to Hamilton, it was a "pay-or-play" deal, which meant he would get paid whether not Madonna used his complete services.[100] At her request, the director attended and filmed the tour's rehearsals and various concerts, but was never paid what was promised.[100]
Madonna and the dancers closing the show with "Holiday", one of the performances included on I'm Going to Tell You a Secret.
The documentary film which chronicled the tour, I'm Going to Tell You a Secret, was directed by Jonas Åkerlund, who had worked with Madonna in the music videos for "Ray of Light", "Music", and "American Life".[102] Originally titled The Re-Invented Process, in reference to the tour and X-STaTIC Pro=CeSS exhibition, the idea emerged from the singer's urge to show her artistic side and her devotion towards Jewish mysticism Kabbalah; unlike 1991's Madonna: Truth or Dare, which portrayed Hollywood glamour, I'm Going to Tell You a Secret focused on the singer's views on life and spirituality.[102][103] It premiered on MTV on October 21, 2005.[104]
Critical reception was mixed; Barry Walters pointed out that it lacked the "dishy delights of Truth or Dare. Instead, a more worldly Madge struggles to become a less sound-bite-reliant, more sincere person";[105] Stephen M. Deusner from Pitchfork panned it and said that, "[Madonna's] life as portrayed in this documentary is cloistered and withdrawn, marked by hours of quiet Kabbalah study but very little self-reflection".[106] On June 20, 2006, it was released in a two-disc format: a live album with 14 songs from the tour and the original rock demo of "I Love New York", and the film's DVD.[101] Critical reception towards the live album was more positive than for the film; AllMusic's Stephen Thomas Erlewine opined that, "as Madonna's first live CD, [I'm Going to Tell You a Secret] is strong and entertaining".[107] The live album was nominated for Best Long Form Music Video at the 49th Annual Grammy Awards.[108]
Set list
Set list, samples and notes adapted per Madonna's official website, the notes and track listing of I'm Going to Tell You a Secret, and additional sources.[109][29][110][111]
Madonna Louise Ciccone is an American singer, songwriter, and actress. Regarded as the "Queen of Pop", she has been recognized for her continual reinvention and versatility in music production, songwriting and visual presentation. Madonna's works, which incorporate social, political, sexual, and religious themes, have generated both controversy and critical acclaim. A cultural icon spanning both the 20th and 21st centuries, the Rock and Roll Hall of Fame called her one of the most "well-documented figures of the modern age" in 2008. Various scholarly reviews, literature, and art works have been created about her along with an academic mini subdiscipline devoted to her called Madonna studies.
The Blond Ambition World Tour was the third concert tour by American singer Madonna. It supported her fourth studio album Like a Prayer (1989), and the soundtrack album to the 1990 film Dick Tracy, I'm Breathless. The 57-show tour began on April 13, 1990, at the Chiba Marine Stadium in Chiba, Japan, and concluded on August 5 at the Stade Charles-Ehrmann in Nice, France. Additionally, it marked Madonna's first concerts in Sweden and Spain. Originally planned as the Like a Prayer World Tour, it was supposed to be sponsored by soft drink manufacturer Pepsi. However, the company cancelled the contract following the controversy surrounding the music video of "Like a Prayer".
The Drowned World Tour was the fifth concert tour by American singer-songwriter Madonna in support of her seventh and eighth studio albums, Ray of Light (1998) and Music (2000). The tour began on June 9, 2001, at the Palau Sant Jordi in Barcelona, Spain, and ended on September 15 at the Staples Center in Los Angeles, United States. It was her first tour in eight years, following the Girlie Show in 1993. Set to start in 1999, it was delayed until 2001 as Madonna filmed and starred in the movie The Next Best Thing (2000), began working on Music, gave birth to her son Rocco and married Guy Ritchie.
"American Life" is a song by American singer-songwriter Madonna. It is the title track from her ninth studio album American Life (2003), and was released digitally as the lead single from the album on March 24, 2003, by Maverick Records. It is a pop, techno and folk song written and produced by Madonna and Mirwais Ahmadzaï; the lyrics to "American Life" feature violent transitions and a political and religious view from Madonna. She questions the shallowness of modern life and the American Dream during the presidency of George W. Bush. Towards the end of the song, Madonna raps, naming the people who were working for her.
"Nothing Fails" is a song by American singer-songwriter Madonna from her ninth studio album, American Life (2003). Written by Madonna, Guy Sigsworth and Jem Griffiths, and produced by the singer along with Mirwais Ahmadzaï and Mark "Spike" Stent, it was released as the third single from the album on October 27, 2003. Originally demoed as "Silly Thing", "Nothing Fails" is a love song which has acoustic guitar chords and a gospel choir appearance. Lyrically, the song discusses a lover who is the one, and how their meeting was not just chance. A number of remixes were done, including one on Madonna's remix album Remixed & Revisited (2003).
"Like a Virgin" is a song recorded by American singer Madonna from her second album of the same name. The song was written and composed by Tom Kelly and Billy Steinberg, and it was released as the album's lead single on October 31, 1984. A dance song with two hooks, Madonna sings in a high register while a continuous arrangement of synths are heard along the bassline. The song's lyrics are ambiguous, consisting of hidden innuendos and open to various interpretations.
"Lucky Star" is a song by American singer Madonna from her self-titled debut studio album (1983). Produced by Reggie Lucas, it was written by Madonna with the intention that her friend Mark Kamins would play it in his sets at Danceteria, where he was the resident DJ. In 1982, Madonna was signed on by Sire Records for the release of two 12" singles; after the success of first single "Everybody", the label approved the recording of an album, and the singer decided to work with Lucas. However, problems between Madonna and the producer arose and he ended up leaving the project; she then called John "Jellybean" Benitez, her boyfriend at the time, to work on the remaining songs.
"Holiday" is a song by American singer Madonna from her self-titled debut album (1983). It was written by Curtis Hudson and Lisa Stevens-Crowder for their own musical act Pure Energy, and produced by John "Jellybean" Benitez. Hudson came up with the lyrics of the song while watching negative news on television, and together with Stevens-Crowder worked on the music. They recorded a demo, which was turned down by their label Prism Records. Afterwards, Benitez pitched the track and offered it to several artists, including former the Supremes singer Mary Wilson, but it was rejected. Around the same time, Benitez was working with Madonna on her album; after realizing they needed a song for the project, Benitez thought of "Holiday" and approached Hudson and Stevens-Crowder.
"Burning Up" is a song written and recorded by American singer Madonna included on her debut studio album Madonna (1983). Written by the singer and produced by Reggie Lucas, the song was released as a double-sided single with "Physical Attraction" on March 9, 1983. In early 1980, Madonna was beginning her music career as a member of band the Breakfast Club; together with band drummer Stephen Bray, they formed a new band, Emmy and the Emmys, but shortly after, she decided to pursue a solo career. She and Bray created demos for three songs: "Everybody", "Ain't No Big Deal", and "Burning Up".
"Into the Groove" is a song recorded by American singer Madonna, and featured on the 1985 film Desperately Seeking Susan. Written and produced by both Madonna and Stephen Bray, the main inspiration behind the song was the dance floor; the singer wrote it while watching a Latin American man to whom she was attracted. Its instrumentation features synthesizers and drum machines, with Madonna's voice being double tracked on the chorus. Sexual innuendos and undertones are present throughout the lyrics, which are written as an invitation to dance with the singer. Originally written for her friend Mark Kamins, Madonna later decided to use it on the film, as one of the scenes needed a dance song. It was later added to the 1985 international re-issue of her second studio album, Like a Virgin (1984), and in her compilations You Can Dance (1987), The Immaculate Collection (1990), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).
The Girlie Show was the fourth concert tour by American singer and songwriter Madonna, in support of her fifth studio album, Erotica (1992). It began on September 25, 1993, at the Wembley Stadium in London, England, and ended on December 19 of the same year at the Tokyo Dome in Tokyo, Japan.
"Human Nature" is a song by American singer Madonna included on her sixth studio album Bedtime Stories (1994). It is an answer song to the backlash Madonna endured for the sexually explicit projects released in 1992, particularly her fifth studio album Erotica, and the coffee table book Sex. Written and produced by the singer and Dave Hall, "Human Nature" samples Main Source's 1994 track "What You Need", thus its writers Shawn McKenzie, Kevin McKenzie and Michael Deering are also credited.
I'm Going to Tell You a Secret is a 2005 American documentary film that follows singer Madonna on her 2004 Re-Invention World Tour. Directed by Jonas Åkerlund, the film premiered on MTV on October 21, 2005, and was released on DVD on June 20, 2006, by Warner Bros. Records. The documentary was originally called The Re-Invented Process, referencing the tour and the Steven Klein exhibition titled X-STaTIC Pro=CeSS. It starts with imagery from the exhibition and Madonna auditioning dancers for the tour, continues with her entourage travelling through different cities and performing, the singer's introspection on her life, her marriage, her religion, and her children, and ends with Madonna's visit to Israel in the midst of protests.
The Who's That Girl World Tour was the second concert tour by American singer and songwriter Madonna. The tour supported her 1986 third studio album True Blue, as well as the 1987 soundtrack Who's That Girl. It started on June 14, 1987, at the Osaka Stadium in Osaka, Japan, and ended on September 6 of the same year at the Stadio Artemio Franchi in Florence, Italy. It was Madonna's first world tour and marked her first visits to Japan and Europe. Musically and technically superior to her previous Virgin Tour, Who's That Girl incorporated multimedia components to make the show more appealing.
The Confessions Tour was the seventh concert tour by American singer-songwriter Madonna, launched in support of her tenth studio album, Confessions on a Dance Floor (2005). The tour began on May 21, 2006, at The Forum in Inglewood, United States, and ended on September 21 at the Tokyo Dome in Tokyo, Japan, visiting North America and Eurasia. Additionally, it marked Madonna's first concerts in Russia, Czech Republic and Denmark. Like past tours of the singer, it was divided into different thematic acts: Equestrian, Bedouin, Never Mind the Bollocks, and Disco. It received generally positive reviews, although Madonna's performance of her 1986 single "Live to Tell", which found her hanging on a giant mirrored cross wearing a crown of thorns, was met with strong negative reaction from religious groups; the performance at Rome's Stadio Olimpico was condemned as an act of hostility toward the Roman Catholic Church by religious leaders. Madonna responded saying that her main intention with the performance was to bring attention to the millions of children dying in Africa.
The Sticky & Sweet Tour was the eighth concert tour by American singer Madonna, to promote her eleventh studio album, Hard Candy (2008). It was Madonna's first major venture under a new ten-year 360 deal with Live Nation. Following a series of promotional appearances in support of Hard Candy, the tour was announced in May 2008, with concerts in Europe and North America; additionally, it marked the singer's first dates in Latin America in fifteen years. The first part of the tour began on August 23, 2008, at the Millennium Stadium in Cardiff, Wales, and ended on December 21 at the Morumbi Stadium in São Paulo, Brazil. Afterwards, it was announced that Madonna had decided to resume the tour in the summer of 2009, with twenty-seven more concerts, mostly in European markets she had either never played in or visited in several years; the 2009 extension started on July 4 at the O2 Arena in London, England, and concluded on September 2 at the Yarkon Park in Tel Aviv, Israel. Though initially planned, the tour did not visit Australia and East Asia due to financial problems and the financial recession. The show was described as a "rock driven dancetastic journey" and, like previous tours by the singer, was divided into different thematic acts: Pimp, Old School, Gypsy, and Rave.
The MDNA Tour was the ninth concert tour by American singer Madonna, launched in-support of her twelfth studio album, MDNA (2012). Comprising 88 shows, the tour began on May 31, 2012, at the Ramat Gan Stadium in Tel Aviv District, Israel, and concluded on December 22 of the same year at the Estadio Mario Alberto Kempes in Córdoba, Argentina. Rumors of the singer embarking on a concert tour first began in October 2011, but nothing was confirmed until four months later, following her performance at the Super Bowl XLVI halftime show. As Madonna's fifth tour with Live Nation, the MDNA Tour visited not only Eurasia and the Americas, but marked the first time she performed in the United Arab Emirates, Ukraine and Colombia. Additionally, it was her first visit to Turkey since 1993's the Girlie Show. An Australian leg was planned for January 2013, but was cancelled.
"Bitch I'm Madonna" is a song by American singer Madonna from her thirteenth studio album, Rebel Heart (2015), featuring guest vocals from rapper Nicki Minaj. The artists co-wrote the song with MoZella, Toby Gad, Ariel Rechtshaid, Diplo, and Sophie. It was released as the third single from the album by Interscope Records on June 15, 2015, along with a number of remixes commissioned. Produced by Madonna and Diplo, it is an EDM song with lyrics about Madonna having continuous fun because she is Madonna.
The Rebel Heart Tour was the tenth concert tour by American singer Madonna, staged in support of her thirteenth studio album, Rebel Heart (2015). Comprising 82 shows, the tour visited North America, Asia, Europe and Oceania. It began on September 9, 2015, at the Bell Centre in Montreal, Canada, and concluded on March 20, 2016, at the Allphones Arena in Sydney, Australia. The tour was officially announced on March 1, 2015, through Madonna's website and was led by Live Nation Entertainment's Global Touring Division, helmed by Arthur Fogel; this was the fifth collaboration between Madonna and Live Nation as well as her third tour to be promoted by the company. Additionally, the tour marked the singer's first visits to Taiwan, Thailand, Hong Kong, Macau, Philippines, Singapore, and New Zealand, and was her first to visit Australia and Puerto Rico since the Girlie Show (1993).
The Madame X Tour was the eleventh concert tour by American singer Madonna, in support of her fourteenth studio album, Madame X (2019). It began on September 17, 2019, at the BAM Howard Gilman Opera House in New York City, United States, and ended on March 8, 2020, at the Grand Rex in Paris, France. An all-theater tour, it was the singer's first time playing small venues since the Virgin Tour (1985); she had previously shown interest in doing a smaller-scale show during a 2017 interview. The tour consisted exclusively of dates in the United States, Portugal, England, and France; mobile phones and smart watches were banned from the concerts, which was met with mixed reactions from fans.
↑ "Madonna sells out"(February 15, 2007). Manchester Evening News. February 15, 2007. Archived from the original on September 18, 2021. Retrieved September 18, 2021.
1 2 "Top 25 Boxscores"(PDF). Billboard. Vol.116, no.52. December 25, 2004. p.76. ISSN0006-2510. Archived(PDF) from the original on September 20, 2021. Retrieved September 19, 2021.
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