The Rebel Heart Tour was the tenth concert tour by American singer Madonna, launched in support of her thirteenth studio album, Rebel Heart (2015). Comprising 82 shows across North America, Europe, Asia, and Oceania, the tour was officially announced on March 1, 2015, through Madonna's website and promoted by Live Nation Entertainment's Global Touring Division under Arthur Fogel—her fifth collaboration with the company and third tour led by its division. It began on September 9, 2015, at the Bell Centre in Montreal and concluded on March 20, 2016, at Allphones Arena in Sydney. The tour marked Madonna's first performances in Taiwan, Thailand, Hong Kong, Macau, the Philippines, Singapore, and New Zealand, and her first appearances in Australia and Puerto Rico since the Girlie Show (1993).
Rehearsals began soon after the announcement and ran 10–12 hours per day, involving a large team of creative directors, designers, producers, and choreographers. Inspired by elements of Cirque du Soleil, Chinese New Year festivities, and the films 300 (2006) and Grease (1978), the production was directed by Jamie King, with choreography by Megan Lawson and Jason Yong. Costumes were designed by Moschino, Prada, Miu Miu, and Gucci, with additional Swarovski jewelry. The staging featured an elevated platform with a cross-shaped runway leading to a heart-shaped B-stage, and multimedia content created by Moment Factory; lighting and sound were supplied by Clay Paky and DiGiCo. Like many of Madonna's previous tours, the show was divided into thematic acts—Joan of Arc/Samurai, Rockabilly Meets Tokyo, Latin/Gypsy, and Party/Flapper—and featured more than twenty songs spanning her career alongside material from Rebel Heart.
Despite several incidents, critical reception was generally positive, with reviewers praising Madonna’s stage presence, vocals, and the tour's visual presentation. Commercially, the tour was successful: all dates sold out, drawing over 1.05million attendees and grossing $169.8million ($222.47 in 2024 dollars[1]). This extended Madonna’s record as the highest-grossing solo touring artist, bringing her overall career gross to $1.31billion beginning with 1990's Blond Ambition World Tour, and ranking her third on Billboard's all-time Boxscore list behind the Rolling Stones and U2. The concerts on March 19–20, 2016, in Sydney were filmed by Danny Tull and Nathan Rissman for the television special Madonna: Rebel Heart Tour, which premiered on Showtime on December 9, 2016. A live CD/DVD and Blu-ray of the tour was released on September 15, 2017.
Background
In March 2015, Madonna released her thirteenth studio album, Rebel Heart, following a troubled rollout after extensive leaks in December 2014.[2][3] Soon after, media outlets reported that a supporting concert tour was being planned, and Madonna officially announced the Rebel Heart Tour on March 1, 2015.[4][5][6][7] Initially scheduled to begin on August 29 in Miami and end on December 20 in Glasgow,[8] the tour was produced by Live Nation Entertainment's Global Touring Division under Arthur Fogel—her fifth collaboration with the company. Fogel later noted that, despite the disruption, the leaks had unexpectedly increased public interest in the new music.[9]
On May 21, 2015, Madonna postponed the first five dates due to logistical issues, rescheduling them for January 2016 and moving the tour's opening to September 9 at the Bell Centre in Montreal.[10]Billboard magazine described Rebel Heart as an all-arena tour that would reach several cities she had never visited before. Dates in Australia and New Zealand were added for early 2016, marking her first shows in Australia since the Girlie Show (1993) and her debut performances in New Zealand.[9][11][12] Two concerts in the Philippines were also confirmed for February 2016.[13]
Singapore was included for February 28, 2016, with an adults-only rating from the Media Development Authority (MDA).[15] Ahead of the Australian leg, Madonna also announced a special intimate event, Madonna: Tears of a Clown, held on March 10 at Melbourne's Forum Theatre and described as a blend of music, art, and comedy created specifically for her Australian fans.[16]
Development
Conception and rehearsals
While working on Rebel Heart, Madonna said she often had "fleeting moments of ideas" about how the eventual tour might look. After completing the album's promotional performances, those ideas began to solidify into a clear visual direction. In March 2015 she explained, "I like to create personas, and then the persona changes and grows into other things… I'm at the beginning of that process right now".[17] Rehearsals ran 10–12 hours a day, with Madonna fully involved in the creative development.[17][18] She also confirmed that, unlike on the MDNA Tour (2012), her son Rocco would work behind the scenes rather than perform onstage.[19]
By July 2015, she and her team of creative directors, producers, designers and choreographers were finalizing the set list. Madonna described the tour as a "theatrical spectacle" built around songs from across her career.[20] She emphasized the challenge of transitioning between Rebel Heart tracks and older material, noting that "thematically and sonically, they have to go together".[21] The show was organized into four thematic sections: Joan of Arc/Samurai, Rockabilly Meets Tokyo, Latin/Gypsy, and Party/Flapper.[22] Its overarching theme reflected the duality implied by the title Rebel Heart, blending personal statements, love, romance, and the interplay of sexuality and religion.[20] Creative inspirations included Cirque du Soleil, Chinese New Year celebrations, and the films 300 (2006) and Grease (1978).[23]Jamie King served as creative director, with Megan Lawson and Jason Young choreographing an ensemble of 20 dancers. Madonna, drawing on her own dance background, aimed to find "unique and original dancers" and design routines that felt fresh.[24]
French choreographer Sébastian Ramirez assisted in selecting the dancers from auditions that drew more than 5,000 applicants in Paris, New York City, and Los Angeles. Impressed by his work, Madonna asked him to choreograph two numbers. Ramirez later noted the fast-paced, collaborative atmosphere, explaining that the singer would describe the emotional tone of a song and then allow the choreography team to build from it.[25]
Madonna teased the tour through short clips on Instagram, showing rehearsals for album tracks "Devil Pray" and "Iconic" with flamenco elements, pole-dancingnuns, oversized props, and large-scale staging.[26] Additional photos and videos continued to preview the show.[27] She also chose comedian Amy Schumer as the opening act for her New York dates—an unusual departure from her typical use of bands or DJs—because she viewed Schumer as a strong role model for young women.[21]Diplo, one of Rebel Heart's producers, opened the Montreal shows.[28]
Stage and venue setup
The stage featured a long, cross-shaped runway that ended in a heart-shaped B-stage (left), and a floor-rising video screen that dancers could slide and sway across (right)
For the stage design, Madonna hired creative and logistical firm Stufish, who began working with her and Jamie King in January 2015 after a 25-song set list had been assembled. The central Rebel Heart theme was reflected in a runway shaped like an arrow or cross, ending in a heart-shaped B-stage.[29] Stufish had also designed the MDNA Tour, and their new layout featured perpendicular runways that extended into the crowd, giving the singer and dancers greater reach.[30] Architect Ric Lipson later joked that Madonna immediately noticed the stage's phallic outline, quipping that "hearts and penises are clearly very linked".[29]
The main stage was elevated at the end of each arena and connected to a long catwalk with a circular platform at its midpoint. Openings along the runway and a network of causeways underneath allowed performers to enter and exit through various points. Three large video screens framed the back of the main stage, with the band and backing vocalists positioned in front. Mojo Barriers supplied black aluminum barricades separating the stage from the audience and production zones.[31] A number of barriers and encasing were supplied by Mojo Barriers to separate the stage from the audience and the production areas upfront. All barriers were supplied in black aluminium.[32]
A complex, motorized stage machine allowed the set to shift shape throughout the show. Its central 28ft ×16ft (8.5m ×4.9m) video screen doubled as the stage floor, could rise into an elevated platform within seconds, or tilt into an angled wall for choreography. Built-in bungee points enabled dancers to flip and roll across the structure.[30] Visuals were created by Moment Factory and Veneno Inc. Other major props included a 16ft ×8ft (4.9m ×2.4m) steel spiral staircase, engineered from a single block of steel. Though unusually heavy, Madonna insisted on using it after finding it reliable during rehearsals. Simpler pieces included a 23 feet (7.0m) table with illuminated 4.4 feet (1.3m) tall candelabras for "Vogue" (1990) and specially designed crosses for the pole-dancing nuns—finalized after 17 prototypes and reinforced so both Madonna and a dancer could perform on them.[29]
Design Week magazine's Tom Banks described the area beneath the stage as a 6 feet (1.8m) tall "subterranean maze" of tunnels, props, and hydraulic lifts used to send performers up to the main level.[33] Dancers changed costumes there, and Madonna used a small backstage trolley to travel quickly from one end of the stage to the other. She also kept a temporary makeup station below for quick touch-ups between songs.[29] Transporting the production required 27 semitrailers and a crew of 187 across Europe and North America, while the Oceania leg used three Boeing 747 cargo planes. Madonna traveled between cities by private jet and typically arrived at each venue mid-afternoon for rehearsals and safety checks. Backstage, she maintained a personal lounge area with catering, hospitality space, gym equipment, and flowers.[33] She later described the backstage environment to Entertainment Weekly as highly disciplined and physically demanding:
Everyone has to be super organized and vigilant. There's no room for error. There are 30 seconds to change. You’re passing people under the stage, there are lifts going up and down. There’s a lot of dangerous stuff happening, and you have to fight through all of that and fight your fatigue or whatever personal issues you might be having that evening and get out there. It’s showtime! No matter what’s going on, you have to push through it and be a warrior.[34]
Costume design
Costumes designed for the Rebel Heart Tour included a custom-made traje de luces (top) and cape (bottom) from Zaragoza, both worn during "Living for Love".
The show required eight costume changes for the singer and dozens more for the dancers, vocalists, and band. Phillips had been developing concepts since December 2014, with full construction beginning once the set list and staging were finalized in April 2015.[36] Michele's contributions blended chinoiserie and Spanish–Latin influences, evoking what critic Suzy Menkes called an "exotic, dancing Frida Kahlo", while other designs nodded to 1920s glamour. Madonna met with Michele during rehearsals in Manhattan, offering notes that shaped the final pieces.[37]
Each act of the tour had its own visual identity. For the opening section, inspired by the album cover and Joan of Arc imagery, Phillips incorporated liturgical fabrics and referenced samurai armor from an exhibition at the Los Angeles County Museum of Art. Prada handled the second act's rock-and-roll looks with touches of Japanese street fashion. The Latin-themed third segment featured matador-inspired costumes by Puglisi and Jebran, echoing the "Living for Love" (2014) music video; one standout piece paired black tulle pants with a fuchsia-trimmed jacket embellished with Swarovski "M" crystals.[36] Michele also designed flamenco-influenced pieces, including lace shawls, skirts and a jacquard bodysuit. For the final act, Madonna and Jeremy Scott created a "Harlem-flapper-meets-Paris-in-the-Twenties" ensemble with a Swarovski-covered dress and long fringed gloves for songs like "Material Girl" (1985).[36][38] Additional costumes were commissioned from a tailoring company in Zaragoza, Spain, which produced two traje de luces bullfighting suits and a cape. Working under a confidentiality agreement, the team replaced traditional religious motifs with a capital “M” and completed the outfits in twelve days using measurements sent remotely. The designs drew criticism from PETA.[39]
Two weeks before opening night, the design team moved into the rehearsal space at Nassau Coliseum in Long Island to complete final fittings and adjustments.[36] Wang made last-minute modifications to ensure Madonna could move comfortably, while Michele delivered his finishing touches a week later. Phillips noted that costumes were only approved once the choreography and staging were fully locked, ensuring each look functioned seamlessly within the performance.[36]
Multimedia and videos
Mike Tyson in the opening video (top), and Clay Paky strobes illuminating the stage during "Body Shop" (bottom)
Montreal-based multimedia company Moment Factory was brought on to create the tour’s visuals, marking their third collaboration with Madonna after the Super Bowl XLVI halftime show and the MDNA Tour.[40] Working closely with King and Madonna, the team designed and produced the video backdrops displayed across the show's three large screens. The opening film featured boxer Mike Tyson—who appears on the album track "Iconic"—portraying a feral, captive figure.[41] Tyson later admitted he feared the imagery might be seen negatively. Madonna previewed portions of the video on social media, showing scenes of her pushing against a cage, embracing a shirtless man, and marching soldiers.[27]
British director Danny Tull, a longtime collaborator since 2006's Confessions Tour, also contributed to the tour’s video design. He described Madonna as intensely detail-oriented, with every backdrop carrying a specific narrative or emotional purpose. The opening sequence explored themes of confinement, love, sex, and violence; in contrast, "Bitch I'm Madonna" featured bright, abstract visuals meant to amplify the song’s chaotic energy. The backdrop for "Devil Pray" combined images of drug intake, snakes, churches, crosses, and baptismal imagery to reflect the song's religious and moral tension.[42]
Because Madonna rehearsed during the day, Tull and his team typically met with her at night to review concepts, source footage, secure permissions, and decide whether to use stock footage or create new graphics. The idea to showcase fan artwork during "Rebel Heart" emerged during these discussions.[42] Madonna's website launched a contest inviting fans to submit illustrations, which were then displayed as a live digital gallery during the performance.[43] Most of the videos required extensive layering and rendering, using software such as Adobe Premiere Pro, After Effects, Avid, and Final Cut Pro. Tull noted that the biggest challenge was adapting quickly to the demands of each visual sequence, often incorporating last-minute changes as the show evolved.[42]
Light and sound
Lighting designer Al Gurdon worked with Stufish and Tait Towers on the tour's lighting system, supplied by PRG. The three large video screens were angled to improve visibility for fans seated along the sides of the arena. Content playback ran through a Hippotizer V3 media server operated by PRG Nocturne's Will Stinson. The production also used PRG’s new GroundControl followspot system—remote, high-definition spotlights mounted above the screens and paired with Clay Paky Stormy Strobes for additional impact. Console director Joshua Hutchings controlled their color, beams, and shutters, noting that the entire lighting design was time-coded to match the choreography.[44]
For audio, the crew used DiGiCo SD7 consoles, with front-of-house sound mixed by Andy Meyer and monitors handled by Matt Napier and Sean Spuehler. Since Madonna wanted her vocals to sound live, Spuehler blended her mic feed with effects before sending it to the house mix. Her movement across the stage—especially when she walked to the end of the catwalk—required constant adjustment of levels and microphone spill, all synced to the same time-code system used for lighting. Musicians wore in-ear monitors, with additional monitoring for music director Kevin Antunes, drummer Brian Frasier-Moore, and the dancers. All audio inputs ran through the SD7 system, and each show was recorded via Multichannel Audio Digital Interface(MADI) to RAID drives, then archived on 4TB hard disks.[45]
Concert synopsis
"Iconic" was performed as the tour's opening number.
The Joan of Arc/Samurai opening segment began with a video of Madonna in a gown, intercut with Mike Tyson speaking from inside a cage. Ten dancers in black-and-gold samurai armor entered carrying large pikes, and Madonna descended in a steel cage to open with "Iconic". The section continued with "Bitch I'm Madonna" featuring geisha-inspired dancers and martial arts choreography, with Nicki Minaj appearing on the screens. Madonna then performed "Burning Up" on a Gibson Flying V guitar before launching into "Holy Water", where dancers dressed as nuns performed on tall cross-shaped poles. Madonna climbed one of the poles to deliver a brief excerpt of "Vogue", followed by a Last Supper–inspired tableau. "Devil Pray" closed the act with Madonna overpowering her dancers before disappearing backstage.
The first video interlude played "Messiah" over scenes from the "Ghosttown" music video, leading into the Rockabilly Meets Tokyo act. Madonna performed "Body Shop" in top of a 1965 Ford Falcon in a workshop set, followed by an acoustic ukulele version of "True Blue". She then sang a disco-inspired "Deeper and Deeper" at the end of the catwalk. A descending spiral staircase set the stage for a mashup of "HeartBreakCity" and "Love Don't Live Here Anymore", ending with Madonna pushing a dancer off the top. A remix of "Like a Virgin", performed amid floor fans, closed the segment.
The final interlude, "Illuminati", featured dancers swaying from 20-foot poles over the audience. The last segment, Party/Flapper, brought Madonna and her dancers back in 1920s-inspired costumes for a mashup of "Music", "Give It 2 Me", and "Candy Shop". "Material Girl" reimagined the singer as a runaway bride, ending with her tossing a bouquet into the crowd. She then performed "La Vie en rose" on ukulele before closing the main set with "Unapologetic Bitch" bringing an audience member onstage. The show ended with "Holiday", during which Madonna danced wrapped in the host country's flag as confetti fell. She concluded the concert by ascending into a harness and flying above the stage before disappearing behind the screens.
Critical reception
North America
The performances of "Dress You Up" (left) and "Music" (right) were singled out by Billboard's Joe Lynch.[46]
Critics generally praised the Rebel Heart Tour for its energy, theatricality, and the unexpectedly light, playful mood Madonna maintained throughout. Jim Farber of the New York Daily News noted that the real surprise was not the provocative staging but how relaxed and smiling the singer appeared.[47] Jordan Zivitz of the Montreal Gazette echoed this sentiment, observing that after the intense opening, the show loosened up and revealed a "sense of self-confidence and a sense of play", highlighted by her rendition of "La Vie en rose".[48]The Washington Post's Chris Kelly wrote that any doubts about whether Madonna "still had it" vanished as soon as the show began.[23]
Alex Needham of The Guardian awarded the Madison Square Garden concert five stars, calling it proof that "there is simply no other performer like [Madonna]".[49]The Village Voice critic Hillary Hughes described Madonna as "pop's patron saint of revolution in action", while Rolling Stone's Rob Sheffield praised her musical and emotional reach, comparing it to the ambition of 2001's Drowned World Tour.[50][51] Joe Gottlieb of The Boston Herald added that Madonna's vision felt "smart" and meticulously crafted in a way imitators rarely match.[52]
Billboard's Joe Lynch gave the show four out of five stars, highlighting Madonna's "restless creative spirit" and praising Amy Schumer's opening set along with performances of "Music", the "Dress You Up" medley, and "Body Shop".[46]Jon Pareles of The New York Times wrote that, while Madonna's past tours pushed "hot buttons", Rebel Heart often felt more like she was doing what she enjoyed rather than courting controversy—something he saw reflected in the inventive remixes of older hits.[53] Ashley Lee of The Hollywood Reporter agreed, calling the show a display of Madonna's "creative vision and onstage expertise", rich with visual and thematic variety.[54] There were reviewers who offered more critical responses. Melissa Maerz of Entertainment Weekly gave the tour a B+, praising Madonna's warmth but noting that the shift from the dark opening to a more playful tone created an uneven structure.[55] Lindsay Zoladz of New York magazine admired the dancers and several stripped-down moments, but argued that the show leaned too heavily on Rebel Heart material.[56]
Europe, Asia and Oceania
Across Europe, Asia, and Oceania, the Rebel Heart Tour received mostly positive reviews. Germany's Volksstimme described the Cologne show as a "Madonna-show in miniature", noting that the classic hits drew the strongest audience response.[57] In Stockholm, Anders Nunstedt of Expressen found the tour superior to MDNA, praising its interactive nature and Madonna’s tribute to the victims of the November 2015 Paris attacks with "Like a Prayer" (1989).[58]Vanity Fair Italia's Andrea Annaratone offered similar praise for the Turin concerts, though he criticized the singer for starting late.[59] Peter Vantyghem of Belgium's De Standaard felt the Latin/Gypsy section's musical transitions were uneven but commended the show's finale and its messages of love and positivity.[60] Hester Carvalho of NRC Handelsblad awarded the Amsterdam performance four stars, observing that the concert became increasingly cohesive and highlighting the stage design and extended catwalk.[61]
In London, The Times critic Will Hodgkinson gave the O2 Arena show five stars, crediting Madonna's "tenacity" and calling the concert a reinvigorated return.[62] Neil McCormick of The Daily Telegraph also awarded five stars, describing the production as a "dazzling hi-tech, multimedia mélange" and noting the crowd's loud reaction when Madonna successfully removed her cape during "Living for Love", a nod to her Brit Awards fall earlier that year.[63] Peter Robinson of The Guardian rated the show four stars, calling "Iconic" the "perfect" opener and praising the faithful rendition of "Deeper and Deeper".[64] Nick Levine of NME felt the set leaned heavily on Rebel Heart material but concluded that Madonna still "works harder and delivers more thrills" than her younger peers.[65] Mark Savage of the BBC wrote that the tour's most powerful moments came when Madonna performed alone onstage.[66]
In Asia and Oceania, Lauren James of the South China Morning Post called the Hong Kong performance "tightly choreographed" and "far too much fun to be a one-night stand".[67] In Bangkok, Manta Klangboonkrong of AsiaOne praised Madonna as a dynamic dancer, singer, and entertainer."[68] Jojo Panaligan of the Manila Bulletin highlighted the singer's unapologetic stage presence in Manila and the audience's enthusiastic reception.[69] Reviewing the Sydney show, Michael Lallo of The Sydney Morning Herald gave four-and-a-half stars, writing that from the Blond Ambition World Tour (1990) to Rebel Heart, Madonna had "re-asserted herself", and that the show’s polish was what made it "so magnificent".[70]
Rebel Heart marked Madonna's third and final tour under her ten-year, $120 million multi-rights deal with Live Nation, signed in 2007.[9] General ticket sales began on March 9, 2015, with North American online purchases bundled with a digital copy of the Rebel Heart album. Members of her fan club, Icon, received early access to tickets and VIP packages, while Citi cardholders also had presale privileges.[7] Ticket prices were similar to her previous tours, ranging from roughly $35 to $350, though prices for the Manila concerts ranged higher, from $70 (₱3,145) to $1,300 (₱57,750).[71][72][73]
Jesse Lawrence of Forbes reported that early secondary-market prices suggested Rebel Heart would be the most expensive tour of 2015. Average resale tickets were valued at $452.33—significantly higher than Taylor Swift's 1989 World Tour—and 51% above Fleetwood Mac's On with the Show, making Madonna the year’s priciest live act.[74] The October 24 Las Vegas date averaged $949.21 on the resale market, while Edmonton was the least expensive at $164.30, according to Viagogo.[75] Lawrence also noted that secondary-market demand exceeded that of the MDNA Tour, indicating strong overall interest.[76]
Ticket sales moved quickly worldwide. Shows in Edmonton, Paris, and Turin sold out within minutes, prompting additional dates.[77][78][79] Live Nation also promoted the tour through a partnership with gay geosocial networking app Grindr.[80] In Australia, lower-priced seats sold out during Telstra's presale, leaving mostly VIP and premium options; fan-club members, Citibank cardholders, Telstra customers, and Live Nation members all received staggered presale access before the general onsale on July 6.[81] Madonna’s first-ever concert in Taiwan sold out in 15 minutes, and Hong Kong set a local record when its tickets sold out in ten minutes—both markets requiring second dates to meet demand.[82][83]
Boxscore
With the Rebel Heart Tour, Madonna extended her record as the highest-grossing solo touring artist. In the image, she performs "Holiday", the show's encore, in Taipei.
A report in the New York Post claimed that Rebel Heart's ticket sales were weaker than those of the MDNA Tour, noting that venues such as New York City still had seats available after the first day. Arthur Fogel dismissed the claim, explaining that high-budget tours like Madonna's are designed with open dates to allow for additional shows: "A tour with a budget like [Madonna's] counts on adding second and third nights in markets."[84] Writing for Forbes, Jesse Lawrence likewise rejected speculation about slow sales, noting that the singer was commanding some of the year's highest secondary-market prices and remained "among the upper echelon of pop music's elite."[85]
Billboard's first boxscore reports in October 2015 showed the opening ten dates grossing $20million from 132,769tickets sold, with Montreal alone bringing in $3.4million and New York $5.2million.[86] A second report in November added another $25.4million, bringing the first leg to over 300,000 attendees and $46million in gross. Among single-date arenas, Las Vegas's MGM Grand Garden led with $3.5million, while Brooklyn's Barclays Center drew the highest one-night attendance at 14,258.[87]
The European leg continued the strong sales. Swedish newspaper Svenska Dagbladet reported a record-setting audience of over 40,000 at Stockholm's Tele2 Arena (later adjusted by Billboard to 39,338).[88][89] Additional reports listed $7.5million from dates in Zurich, Manchester, Birmingham, and Glasgow.[90] By the end of 2015, the tour ranked No. 11 on Pollstar's "Year-End Top 100 Worldwide Tours", earning $88.4million from 49 shows and attracting 693,061 attendees.[91]
In March 2016, Billboard released the North American figures for the final stretch, raising the totals to 819,792 tickets sold and $107.3million grossed.[92] When the tour concluded, Billboard announced its final numbers: $169.8million in total gross and 1,045,479 tickets sold.[93]Pollstar's 2016 Mid-Year ranking placed Rebel Heart at No. 4 worldwide, with $85.5million from 33 shows.[94] The tour's success extended Madonna's record as the highest-grossing solo touring artist, bringing her career concert revenue to more than $1.31billion and placing her third on Billboard's all-time Boxscore list, behind the Rolling Stones ($1.84billion) and U2 ($1.67billion).[95]
Incidents
Madonna performing "Unapologetic Bitch" with 17-year-old Josephine Georgiou in Brisbane. During the performance, the singer accidentally exposed the teenager’s breast, prompting public criticism.
Several notable incidents took place during the tour, largely concerning late start times, flag protocol, and ticketing issues. Madonna drew criticism from fans in cities such as Manchester, Hong Kong, Taipei, and Brisbane for beginning shows up to two and a half hours late.[96] In Manchester, sections of the audience booed her late arrival, to which she responded onstage that technical difficulties were responsible.[97][98] Delays in Hong Kong prompted a small protest outside the venue.[99]
Madonna also faced political controversy in Asia. An Instagram post made upon her arrival in Taiwan drew criticism after she was seen wearing an outdated Kuomintang badge associated with the White Terror period, rather than the country's national emblem. During the concert, she later wore Taiwan's national flag and expressed affection for both Taiwan and China.[100] In the Philippines, Madonna incorporated the national flag into her encore costume, prompting government criticism because Philippine law prohibits the use of the flag as attire. Officials warned of potential sanctions, including a possible performance ban.[101]
Ticketing issues arose during the New Zealand dates in March 2016, when several attendees were denied entry after their tickets were deemed invalid. According to Stuff.co.nz, the problem stemmed from changes made by Ticketmaster to the venue's seating plan without notifying a third-party vendor, resulting in refunds for affected customers.[102] The tour also drew attention in Brisbane after Madonna accidentally exposed the breast of 17-year-old Josephine Georgiou during an onstage interaction. Although the incident sparked debate online, Georgiou defended the singer, describing the experience as "the best moment of my life".[103]
In March 2016, Madonna announced that the Sydney concerts on March 19–20 would be filmed for a tour DVD, with longtime collaborators Danny Tull and Nathan Rissman directing the project.[104] That September, she revealed on Instagram that she had viewed a rough cut of the film and confirmed its imminent release.[105] The concert film, titled Madonna: Rebel Heart Tour, premiered on December 9, 2016, on Showtime and combined footage from the Sydney performances with behind-the-scenes material.[106] International distribution rights were later acquired by Alfred Haber Distribution Inc. (AHDI).[107] A live release titled Rebel Heart Tour followed on September 15, 2017, issued in DVD, Blu-ray, CD, and digital formats.[108] The package included a 22-track double live CD and bonus content, such as footage from the Madonna: Tears of a Clown show.[109]
Set list
The following set list was obtained from the concert held on December 1, 2015, at the O2 Arena in London, England.[66] It does not represent all concerts for the duration of the tour. Samples taken from the notes and track listing of Rebel Heart Tour, and additional notes.[22][110]
Act 1: Joan of Arc/Samurai
"Revolution" (Video introduction; contains elements of "Iconic")
The "Dress You Up" medley and "Who's That Girl" were not performed at every show; additionally, during the Montreal and Washington, D.C. concerts, the medley also incorporated "Everybody".[47][111]
During the Manchester concert, Madonna abandoned "Secret" after forgetting the chords and instead performed "Open Your Heart";[122] technical issues caused a late start and several songs were cut, with the show ending after "Material Girl".[123][122]
↑In Stockholm Madonna gave a speech regarding the victims of the Paris attack, explaining that she had considered cancelling the show "because in many ways I feel torn. Why am I up here dancing and having fun when people are crying over the loss of their loved ones?" However she changed her mind thinking that cancelling the show would let the terrorists win.[137]
↑After the show, Madonna traveled to the Place de la République and performed an impromptu performance in honor of the Paris victims, singing "Ghosttown", "Imagine" as well as "Like a Prayer". She was accompanied by her son David and guitarist Monte Pittman.[138]
↑During the show at SSE Hydro, the lights came up with the encore performance of "Holiday" still left to be started. Madonna chose to continue performing the song with her dancers and asked the audience to join her in a sing-along. Representative of the venue reported that the power was cut off by Madonna's production team to avoid late fines.[139]
↑The concert of January 20, 2016, at the Philips Arena in Atlanta was originally scheduled to take place on September 2, 2015, but was postponed due to arrangement logistics being incomplete within the time given.[10]
↑The concert of January 23, 2016, at the American Airlines Arena in Miami was originally scheduled to take place on August 29, 2015, but was postponed due to arrangement logistics being incomplete within the time given.[10]
↑The concert of January 24, 2016, at the American Airlines Arena in Miami was originally scheduled to take place on August 30, 2015, but was postponed due to arrangement logistics being incomplete within the time given.[10]
↑The concert of January 27, 2016, at the Coliseo de Puerto Rico in San Juan was originally scheduled to take place on September 5, 2015, but was postponed due to arrangement logistics being incomplete within the time given.[10]
↑The concert of January 28, 2016, at the Coliseo de Puerto Rico in San Juan was originally scheduled to take place on September 6, 2015, but was postponed due to arrangement logistics being incomplete within the time given.[10]
↑Following the shows in Philippines, media reported that Madonna would face a ban from the country, since during her performance she had used the country's flag, which is not allowed per law.[141]
12Valentish, Jenny (December 19, 2015). "Anatomy of a Madonna tour". The Sydney Morning Herald. Archived from the original on September 17, 2017. Retrieved May 9, 2017.
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