The Virgin Tour was the debut concert tour by American singer-songwriter Madonna. The tour supported her first two studio albums, Madonna (1983) and Like a Virgin (1984). It started on April 10, 1985, at the Paramount Theatre in Seattle, United States, and ended on June 11 of the same year at the Madison Square Garden in New York City. Although initially planned for an international audience, the tour was restricted to the United States and Canada. Warner Bros. Records decided to send Madonna on tour after Like a Virgin became a success. After an official announcement on March 15, 1985, Madonna and her team began production plans. She wanted the tour to be a reflection of her own self and collaborated with designer Maripol for the costumes.
Beastie Boys were signed as the opening act, while record producerPatrick Leonard was the music director. The stage was triangular, with walkways and ramps around it, with lighting arrangements hanging about 30 feet above. Four giant screens lined three sides of the stage's outer perimeter. The setlist consisted of songs from her first two records, Madonna and Like a Virgin. Madonna was backed by two male dancers as she moved energetically across the stage. The show ended with her in a wedding dress, performing "Like a Virgin" and "Material Girl".
The tour received a mixed reception from critics, but was a commercial success, with many newly-obsessed Madonna fans in attendance. As soon as it was announced, tickets were sold out nearly everywhere. Macy's New York department store created a “Madonna department”, where shoppers could find not only official tour merchandise, but also clothing, jewelry, and accessories to replicate what was considered (at the time) to be the Madonna “style”. The store was flooded with fans, who bought everything from chunky bracelets and bangles, scrunchies and headbands, to pearl necklaces and rings. The store also carried shoes, shirts, denim jackets, large sunglasses, and Madonna’s “signature” accessories: rosary-style necklaces, crucifix earrings, fingerless gloves, and even a replica of her iconic belt, with the metal buckle carved to say “BOY” in all capital letters. On its end, the tour was reported to have grossed over $5million ($14.16million in 2023 dollars[1]), with Billboard Boxscore reporting a gross of $3.3million ($9.35million in 2023 dollars[1]).
The tour was recorded and released on VHS, Betamax and LaserDisc, as Madonna Live: The Virgin Tour, which received a gold certification by the Recording Industry Association of America (RIAA). With the commencement of the Virgin Tour, a wide-ranging audience—especially young women—thronged to attend, all nearly decked-out in Madonna-inspired outfits. This frenzy surrounding Madonna gave rise to a new term called Madonna wannabe—a reference to her obsessive followers (during the mid-1980s) that would be officially recognized by the Webster's Dictionary in May 1991.
The Virgin Tour was officially announced on March 15, 1985, by Warner Bros. Records.[2] Prior to the tour, Madonna's only live performances were limited to evening shows at Danceteria, CBGB and Mudd Club, and only the 1984 MTV Video Music Awards, where she performed her song "Like a Virgin".[3] Following the success of the Like a Virgin album, the record label wanted to milk-in the success of the album by sending Madonna on a worldwide tour. However, the tour was restricted within United States and Canada. It did not visit Europe, Asia or other continents.[3] Early on there were plans to schedule dates in Australia and Japan due to Madonna's large fan bases in both countries; however, the final schedule did not reflect the idea. In the end several more U.S. dates were added and the tour was moved to larger concert venues due to overwhelmingly strong ticket sales.[4] Madonna was quite nervous to perform in front of a huge audience, and singing with a live band for the first time.[5] During a 2009 interview with Rolling Stone, interviewer Austin Scaggs asked Madonna regarding her feelings and emotions during the tour, since it was the first time she was playing in arenas. Madonna replied saying,
"That whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas. I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings. I was like, 'This is insane!' After Seattle, all of the shows were moved to arenas. I've never done a bus tour. Everyone says they are really fun."[6]
Development
After the tour was confirmed, Madonna and her troupe started working on it. Madonna wanted it to be "loud and brazen, and a reflection of my street-style and DGAF attitude."[3] She wanted a concert where people can enjoy themselves as much as she would enjoy performing. Commenting on the development, Madonna said "I normally hate performances where there is just a singer singing, and a lame-ass band playing in the background; or shows where there is a rocker screaming his lungs out and jumping on the crowd. That just plain sucks! That's why I wanted something different, something that would be memorable."[3] For the show, Madonna collaborated with her designer friend Maripol for the clothes and the fashion. Maripol operated a small fabric boutique called Maripolitan in Greenwich Village, where the designs and the clothes for the tour were decided by her and Madonna.[7] Rehearsals for the show started in late February, with auditions and choosing the dancers going on in-between. Madonna specifically wanted male back-up dancers, citing that the "provocative moves that I do on stage works better with men beside me."[4] To further promote the tour, Warner Bros. Entertainers Merchandise Management Corp. introduced the Boy Toy collection, named after the belt buckle Madonna wore on the Like a Virgin album cover picture. It consisted of a rectangular buckle, with the words "Boy" and "Toy" emblazed on it in gold color.[8] For choosing a music director for the tour, Madonna's manager Freddy DeMann contacted record producerPatrick Leonard, who had just returned from the Victory Tour by The Jacksons.[9] At first Leonard said no, feeling exhausted from the tour, but after he spoke to Madonna on the phone, he found her charming, and agreed to sign for the tour.[9]
They were very bad boys—they said "fuck" all the time on the stage. The audience always booed them and they always told everyone to fuck off. I just loved them for that. I couldn't understand why everyone hated them— I thought they were so adorable.[10]
—Madonna reminiscing her experience with Beastie Boys on the tour.
American hip hop/rap rock group Beastie Boys were signed as the opening act for the tour. In 1998, Adam "MCA" Yauch of the group recollected: "One day, Russell Simmons, co-founder of Def Jam Recordings, came in and said, 'Hey guess what—Madonna's manager called. Do you guys want to go on tour with her?'"[10] DeMann had asked for another group called The Fat Boys, but Simmons did not manage them and lied, saying "Oh, the Fat Boys have another gig that week. What about Run–D.M.C.?" But they were too expensive according to DeMann, and hence ultimately Beastie Boys were chosen.[10] The same year, Adam "Ad-Rock" Horovitz from the band commented: "It's not like any of us knew Madonna that much, but we all used to hang out at Danceteria [club] so we knew about each other. I don't know why she thought it would be a good idea [to open for her tour], though. It was a terrible idea. But it was great for her in a way because we were so awful that by the time she came onstage, the audience had to be happy."[10] In 2024, Michael "Mike D" Diamond admitted in conversation with Conan O'Brien that "it was a huge deal and totally absurd that we got asked to do that tour". However, Ad-Rock noted the pairing was not as crazy as it seemed. "We used to play at the same clubs in New York", the vocalist pointed out. "No one ever talks about that part of the story".[11]
The circular stage for the tour consisted of three ramps around the perimeter, which were connected with each other. A long line of stairs descended to the main stage from the central ramp; it was flanked by the band.[4] About 30ft (9.1m) above the stage, the speakers were suspended from a circular beam. Four giant screens lined the outer perimeter of the stage, on three sides.[12]
Concert synopsis
Beastie Boys (pictured in 2007) were the opening act for the tour.
The show opened with Beastie Boys performing six of their songs for 30 minutes.[12] They were accompanied by their DJ, Rick Rubin, who scratched the music, with The Beastie Boys prancing around the stage, making lewd gestures towards the audience.[12] As they finished their performance, the backdrops started displaying Madonna's images from her music videos.[12] The band—consisting of guitarists, bassists, a drummer and three synthesizer players—came into focus, and the music started.[12] Madonna's voice was heard, saying: "Don't be afraid... it's gonna be alright." Then, Madonna's silhouette appeared behind a white screen on top of the stairs as the first beats kicked in. The white screen lifted and she is finally seen, wearing a psychedelic denim jacket, a blue see-through crop-top and her characteristic green bra. She also had lacy leggings and crucifixes around her ear and her neck. She posed on the stairs before reaching the microphone to sing "Dress You Up".[13] After dancing to the last note of the music, Madonna and the two male back-up dancers went to the back of the stage, as the music of "Holiday" began.[13] Taking a moment to ask the audience how they are feeling, Madonna declared, "I was never elected homecoming queen, but I sure feel like one now", and started the performance of "Into the Groove", playing a tambourine.[14] A boombox was present on the stage during the performance, Madonna sitting and playing with it, and addressing it as her "box".[15] She continued with "Everybody", while asking the audience to clap along with her.[15] As she finished the vigorous performance of "Everybody", the lights were dimmed and the introduction music of "Angel" started. Rotating lights fell on the stage. Madonna appeared sitting on top of the stairs and gradually descended. During the intermediate bridge, she and her dancers moved energetically around the whole stage, as white balloons fell on them from above.[13] Madonna continued singing as the lights were dimmed again. She finished the performance and disappeared behind the wings for a costume change.[13] She appeared on the stage wearing a black, fringed micro-top and similar skirt, with her belly-button exposed, and a number of crucifixes in different sizes, hanging from different parts of her body.[16]
As the guitar intro of "Gambler" started, Madonna stood on the side-stage and started dancing energetically, as flashlights fell on her. While singing the song, she sometimes opened her jacket and sometimes straddled a steel structure present on the side of the stage. The performance ended with Madonna jumping off the side stage, onto the main one.[16] She then performed "Borderline", "Lucky Star" and "Crazy for You"—while touching the hands of the audience members.[4] Madonna then returned to the microphone and started singing "Over and Over" from Like a Virgin. It was followed by "Burning Up" during which she caressed one of the guitarist, ultimately disappearing for another costume change.[17] As the music of the song "Like a Virgin" started, Madonna returned on the stage, wearing a wedding dress, holding a bouquet in her hand and a long white veil behind her. Accessorized by a white bow atop her head and lacy, three-quarter length gloves, she also had a crucifix on her waistband and another hanging from a long chain around her neck.[13] Madonna asked the audience "Will you marry me?" When the audience answered affirmatively, she threw the bouquet towards them and started singing the song.[18] Madonna continued singing the song while rolling around the floor, and added a snippet of Michael Jackson's Motown-style single, "Billie Jean". Balloons floated out towards the audience again as she pulled apart her veil and threw it towards the audience.[18] She returned to the stage in the arms of one of the backup dancers, wearing a boob tube and a tight white skirt, carrying a bunch of notes in her left hand, and a number of garlands around her neck.[13] In a self-parodying performance of the song "Material Girl", at the end of the performance Madonna asked the audience "Do you really think I'm a material girl?... I'm not... Take it [Throwing fake money]... I don't need money... I need love."[15] As she began to strip off more clothes and jewelry, she was apprehended and marched offstage by an extra posing as her father. In Detroit, her father Tony Ciccone himself did the honors. The show ended with Madonna returning onstage once more to take her fur coat and doing a curtsey.[13]
Critical reception
Madonna performing "Into the Groove" in one of the concerts of the tour.
The tour received generally mixed reviews from critics.[19] Jason Stratley from The Philadelphia Inquirer said that "On stage, wiggling and writhing, a rock-video vision of messy, bleached- blond hair, bare skin, sequined paisley and dime store diamonds was the flash-and-trash rock queen Madonna. Behold the Madonna clones—she is turning into one fine legend."[20] Jeff Sewald from the Pittsburgh Post-Gazette felt that "the modus operandi [of the tour] was clear. Madonna was not only selling her music to throngs of teen-agers and adults alike, but she was selling herself and the entire package proved to be a joy for the 14,500 screaming fans. [...] Madonna's 'Virgin Tour' had torn the cover off Pittsburgh's sexuality."[12] Rachel Lee from The Sacramento Bee felt that "more than any pop star in recent memory, even Boy George and Prince, Madonna is an image. Her hour-long concert here Tuesday night, as professionally performed and well-choreographed as it was, did nothing to give her more dimension than the two already bestowed on her."[21] Arthur Daniels from Lexington Herald-Leader felt that "Madonna looked grim, but the fans were delighted when the blond rock star made her first major concert appearance to kick off her 'Virgin Tour'. [...] She looked blank and did not look up as she passed fans who gathered by the stage door before the show."[22]
Robert Hilburn from the Los Angeles Times commented: "Madonna represents a contemporary fantasy figure that revives the glamour, innocence and raw sexuality of many of Madonna's own teen heroes, including Marilyn Monroe and James Dean. Like the early Monroe, Madonna may portray a bimbo, but there she's clearly no pushover. Though the audience was on its feet throughout, it often seemed that Madonna was operating beneath her potential in this pop format. It's important to demonstrate that she can handle herself live, but the simplicity of pop concerts doesn't begin to tax her ambition or talent. In fact, she has so little to do other than express this aggressive, sexy attitude that the show seemed long at just over an hour".[23] Heidi Sherman from Spin commented, "The Virgin Tour was Madonna's first, yet it put her in the same league as Prince and Bruce Springsteen. It proved that Madonna was beyond real. And if her stage presence indicated she was more showgirl than musician, at least she knew how to gussy up her act for the postfeminist MTV age. Boy Toy? Not exactly. She was a bonafide pop star in the process of becoming a cultural icon."[24]
Laura Fissinger from South Florida Sun-Sentinel felt that "'Virgin Tour' establishes Madonna more as a bimbo, rather than the strong, independent woman people think her to be."[25] David O'Reilly from Philadelphia Daily News said that with the concert "Madonna proved once more why she was called a 'talentless bimbo'; it was utter trash."[26] Richard Defendorf of Orlando Sentinel gave a positive review, saying "Madonna's 'Virgin Tour' was very enjoyable and she put her music video charms in her live performances."[27] Maya Hathoray from The Miami Herald said that "We know [Madonna is] sexy, exotically beautiful and her funk/pop songs make us want to dance, but on stage, she is extremely tame compared to her raw persona in her music videos. She is like daddy's little girl."[28] Mary Edgar Smith from The Atlanta Journal-Constitution observed that "It was obvious from the apparel of the young girls at last week's Virgin Tour concerts in Tampa and Orlando, Fla., that the 26-year-old singer [Madonna] had more to give to the music world than what others suggest. She will be a force to be reckoned with."[29]Stephen Holden from The New York Times commented, "While her pubescent lookalike fans cheer approvingly, the star's manipulation of such symbols as a wedding gown, a cross, furs and jewels becomes a lighthearted communal psychodrama. Madonna has brought traditional little girl's games of dress-up and playing with dolls (using oneself as model) into the television age by turning them into a public spectacle."[14] A review in Variety by John Gleeson said that "Madonna's singing was like a soundtrack to a more visceral display of herself, her persona, her nonstop dancing and her surprisingly explicit sexual dare, which included a visual climax—so to speak—to every other song."[15] Paul Grein from Billboard said that "Madonna's show was stylish, well-paced and consistently entertaining."[30] On their rankings of Madonna's tours, VH1's Christopher Rosa and The Advocate's Gina Vivinetto both placed The Virgin Tour in the ninth position; for the former, "it's definitely energetic and full of '80s teen bombast" but lacks "the style and sophistication of her other tours", while the latter deemed it a "stripped down, sloppy romp".[31][32]
Commercial reception
As soon as the tour was announced, tickets were sold out almost everywhere.[33] In San Francisco, tour shirts were selling at a clocked rate of one every six seconds. All 17,672 tickets for Madonna's show at New York City's Radio City Music Hall were completely sold out in a record-breaking 34 minutes.[33] Both the shows at Chicago's UIC Pavilion were sold in a single day with a record-breaking 18,000 tickets being sold.[34] In Philadelphia, a record-breaking 31,000 tickets were sold in under four hours.[34] Along with ticket sales, merchandise associated with the tour also sold rapidly. T-shirts, posters and promo-magazines featuring Madonna's image were picked up by the fans, even though most them were overpriced compared to the market value.[35] After its end, the Virgin Tour was reported to have grossed over $5million ($14.16million in 2023 dollars[1]), with Billboard Boxscore reporting a gross of $3.3million ($9.35million in 2023 dollars[1]).[35]
The 1985 Madonna Live: The Virgin TourVHS and LaserDisc documents a Detroit stop on the tour. "Angel","Borderline" and "Burning Up" were part of the tour set list but were not included on the official VHS and LaserDisc releases. It was certified gold by the Recording Industry Association of America (RIAA) for shipment of 50,000 copies and received a "Video Software Dealers Award" for the Most Popular Music Video in September 1986.[36] The video received mixed reviews from critics. Annie Temple from Philadelphia Daily News said that the release was "not so flattering" and "was a sloppy job".[37] Dennis Hunt from the Los Angeles Times said that "the video is sometimes distracting and blurry, wonder what went wrong during recording. The angles are awkward, especially when the audience members are shown touching Madonna's hand. Was it really necessary to show a fan coming unannounced on the stage?"[38] Terry Atkinson from the same paper said, "This follows the typical concert video format of putting you in the best seat in the hall and letting the aura of a superior performer encaptivate your senses."[39] Joe Logan and Gail Shister from The Wichita Eagle said that "seeing Madonna live in an arena and seeing her up, close and personal in the tour cassette is totally different. The energy, the movements, the provocation—all captures you more."[40]
The release debuted at 14 on Billboard's Top Music Videocassettes chart, on December 7, 1985, and reached a peak of 11, the next week.[41] The video started a slow climb on the chart, and on the issue dated January 18, 1986, it reached the top of the chart, replacing Prince & The Revolution: Live by The Revolution.[42] On May 24, 1986, the video again climbed back in the top ten of the chart, at position two. It was present on the chart for a total of 65 weeks.[43]Live– The Virgin Tour was the top selling music videocassette for 1986.[44] The video was certified two-times platinum by the Recording Industry Association of America (RIAA) for shipment of 200,000 copies and received a "Video Software Dealers Award" for the Most Popular Music Video, in September 1986.[45]
Legacy
Madonna, at the center, seen with her band members from the tour. Her clothing style inspired women who emulated it.
When the tour first started, people—especially women—thronged to see it wearing clothes inspired by Madonna.[17] Debbi Voller, author of Madonna: The Style Book, observed that "Hundreds of thousands of young girls came to the concert dressed like her, with bleached and tousled hair, see-through tops, bras, fingerless gloves and crucifixes. Magazines and TV shows ran lookalike competitions".[17] This frenzy regarding Madonna gave rise to a new term called Madonna wannabe—a word that was ultimately officially recognized by the Webster's Dictionary in May 1991.[17] Madonna was mystified as to why all the women would want to copy her look. She commented,
"I never set out to be a role model. I am a strong woman, a successful woman, and I don't conform to a stereotype. For so long women have been told that there are certain ways they mustn't look if they want to get ahead in life. And there I was dressing in a forbidden way and yet obviously in charge of my life. It was then I realized why all of them were out there in their seats, dressing like me."[17]
While the tour was going on, the American lingerie industry reported that their turnover was suddenly up by 40 percent and that Madonna's image was responsible for this underwear revival.[7] Sam Gower from Rolling Stone commented, "In the sixties, women burned their bras, now they wear five at a time, and bare their belly buttons. Madonna has done for the corset and crucifix what punk did for the safety pin. Macy's New York department store was flooded with buyers, who bought the tour merchandise like the crucifix earrings and fingerless gloves".[7] The demand was so huge that Macy's had to refill the merchandise time again.[7] Madonna's subversive antics on the tour provoked fiery and antics among the press. Rolling Stone said: "Like Marilyn Monroe, Madonna is bent on epitomizing and championing a vision of female sexuality, and like Monroe she is often dismissed as an artist for doing so".[7] In their 1994 essay On Fashion, authors Shari Benstock and Suzanne Ferriss noted that "on one level, Madonna is a toy for boys, but on another level boys are toys for her, the Boy Toys are there for her toying around and the unchastity belt comes off at her whim and desire. Indeed, "Material Girl" shows the guys as Madonna's toys and her dance numbers with men during the Virgin Tour concerts shows them as her underlinings, accessories that she toys with and totally dominates".[46]
In 2024, in conversation with Conan O'Brien, surviving Beastie Boys member Michael "Mike D" Diamond commented that "[Madonna] booked the tour and she was playing like theaters. And by the time the tour was actually happening, she was so beyond selling out a theater in terms of stature. Before the tour was finished, I think she was like on the cover of Time magazine or something. She was on her way to being a cultural phenomenon [when the tour started], but then she really was one by the end of that tour".[11] The singer wouldn't tour in theaters and small venues during her career until her Madame X Tour in 2019–2020.[47]
Set list
Set list and samples per Madonna's official website and the notes and track listing of Madonna Live: The Virgin Tour.[48][49]
Like a Virgin is the second studio album by American singer Madonna, released on November 12, 1984, by Sire Records. Following the success of her 1983 eponymous debut album, Madonna was eager to start working on its follow-up. She selected Nile Rodgers to produce the album due to his work on Let's Dance (1983) by David Bowie, which she was a fan of. To ensure it be exactly as she envisaged it, Madonna chose all the songs for the album: she penned five of her own, four of which were co-written with former boyfriend and collaborator Stephen Bray, and four were written by other artists. Recording sessions took place at Power Station studio in New York City. Rodgers enlisted the help of his former Chic bandmates Bernard Edwards and Tony Thompson.
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".
"Material Girl" is a song recorded by American singer Madonna for her second studio album, Like a Virgin (1984). It was released on January 23, 1985, by the Sire label as the second single from Like a Virgin. It also appears slightly remixed on the 1990 greatest hits compilation, The Immaculate Collection, in its original form on the 2009 greatest hits compilation, Celebration and Finally Enough Love: 50 Number Ones (2022). The song was written by Peter Brown and Robert Rans, and produced by Nile Rodgers. Madonna said the concept of the song was indicative of her life at that time, and she liked it because she felt it was provocative.
"Dress You Up" is a song by American singer Madonna from her second studio album, Like a Virgin (1984). It was released as the album's final single on July 24, 1985, by Sire Records. Composed by Andrea LaRusso with lyrics by Peggy Stanziale, and produced by Nile Rodgers, who also played guitar on the track, it was the final song to be added to the album. Rodgers had asked the writers to compose something similar to the work of his band Chic but, due to LaRusso and Stanziale being busy with other projects, the composition took time. When the lyrics were submitted, the producer initially rejected them, as he felt there was no time to compose a melody; Madonna, however, liked the lyrics and convinced him to include the song on Like a Virgin. Musically, "Dress You Up" is a dance-pop song whose lyrics are an extended metaphor for fashion and lust, comparing dressing up with passion.
"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.
"Angel" is a song by American singer Madonna from her second studio album Like a Virgin (1984). It was released on April 10, 1985, by Sire Records as the album's third single. Written by Madonna and Steve Bray, it was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by an angel, and she falls in love with him. "Angel" was released as a 12-inch single with "Into the Groove" in some countries and charted likewise. A music video was not filmed for "Angel", and instead, a promotional clip comprising segments of her previous videos was released in the United Kingdom.
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.
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.
Madonna Live: The Virgin Tour is the second video album and the first live release by American singer-songwriter Madonna. It was released by Warner Music Video and Sire Records on November 13, 1985 and contains the concert footage from The Virgin Tour, filmed at Cobo Arena in Detroit, Michigan on May 25, 1985. Director Daniel Kleinman, who presided over the shooting of the tour on video, submitted the footage to Warner Bros. Records, who decided to release it as a video album. Madonna wanted to have a proper introduction added before the concert footage and asked director James Foley to shoot one, which portrayed her with her first image makeover, reciting lines related to how she became famous.
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.
Janet World Tour was the second concert tour by American recording artist Janet Jackson. It was launched in support of her fifth studio album Janet (1993). It began in November 1993 and continued through April 1995. Concerts were held in North America, Europe, Asia, and Australia. It is believed shows were performed in South America. However, there are not exact details and most information is unknown.
The Wildest Dreams Tour is the ninth concert tour by singer Tina Turner. The tour supported her ninth studio album Wildest Dreams (1996). The tour is Turner's biggest outing to date, performing over 250 shows in Europe, North America and Australasia—surpassing her Break Every Rule Tour. Lasting nearly 16 months, the tour continued her success as a major concert draw. The European leg alone sold 3 million tickets and generated an estimated US$100 million. The tour further grossed around US$30 million in North America. It was sponsored by Hanes, as Turner became the spokesperson for their new hosiery line.
The Let's Talk About Love World Tour was the eighth concert tour by Canadian recording artist Celine Dion. Visiting North America, Asia and Europe; the trek supported Dion's fifth English and fifteenth studio album Let's Talk About Love (1997). and her eleventh French and sixteenth studio album, S'il suffisait d'aimer (1998). The tour marks Dion's last worldwide tour until her Taking Chances World Tour in 2008–2009. Initially planned for 1998, the success of the tour continued into 1999. In 1998, the tour earned nearly $30 million from its concerts in North America alone. In Japan, tickets were immediately sold out on the first day of public sale. It was also nominated for "Major Tour of the Year" and "Most Creative Stage Production" at the Pollstar Industry Awards. According to Pollstar, the tour grossed about $91.2 million from 69 reported shows. The total gross for its overall 97 dates is estimated at $133 million, making it the highest-grossing female tour of the 1990s.
Break Every Rule World Tour is the sixth concert tour by singer Tina Turner. The tour supported her sixth solo album Break Every Rule (1986). It was sponsored by Pepsi-Cola and broke box office records in 13 different countries: United Kingdom, Germany, Netherlands, Switzerland, Belgium, Norway, Sweden, Spain, Italy, Austria, France, Ireland and Denmark. It was the third highest-grossing tour by a female artist in North America in 1987 and the highest-grossing female tour of the 1980s with a total of $11.3 million . Her show in Rio de Janeiro remains the largest paying concert audience by a female artist with 180,000 spectators.
Blond Ambition World Tour Live is a video album by American singer-songwriter Madonna released exclusively on LaserDisc by Pioneer Artists on December 13, 1990. It contained the Blond Ambition World Tour's final show, filmed at the Stade Charles-Ehrmann in Nice, France, on August 5, 1990. The concert had previously been broadcast on American network HBO as Live! Madonna: Blond Ambition World Tour 90, and became one of its highest rated specials. The decision to release it exclusively on Laserdisc grew when Pioneer Artists signed up to sponsor the tour; the company also wanted to use Madonna to reach a new demographic and increase Laserdisc sales. It received positive reviews, with some critics saying it captured the concert better than the documentary Madonna: Truth or Dare (1991) and the HBO broadcast. At the 34th Annual Grammy Awards, it won for Best Music Video-Long Form, becoming the first Grammy award Madonna received in her career. With over 100,000 copies sold, Blond Ambition World Tour Live was one of the highest selling laserdiscs of its time.
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 Fame Ball Tour was the debut concert tour by American singer Lady Gaga, in support of her debut studio album The Fame (2008). North American shows began in March, followed by dates in Oceania and a solo trek through Europe. Dates in Asia soon followed, as well as two performances at England's V Festival and two shows in North America that had been postponed from April. Gaga described the tour as a traveling museum show incorporating artist Andy Warhol's pop-performance art concept. Tickets were distributed for charity also. Alternate versions of the show with minimal variations were planned by Gaga to accommodate different venues.
Michael Jackson: The Immortal World Tour was the first of two theatrical productions by Cirque du Soleil to combine the music of Michael Jackson with Cirque du Soleil's signature acrobatic performance style. The show was written and directed by Jamie King and produced in partnership with the Estate of Michael Jackson. The arena show—which is very similar to a rock concert—began its tour on October 2, 2011, in Montreal. After touring North America for one year, Immortal continued through Europe, Asia, Australia, New Zealand and the Middle East before returning to North America in February 2014 for a total of 501 shows from 141 cities. It is the most financially successful Cirque production and highest grossing tribute show in history.
The Physical Tour was the fifth concert tour by Australian recording artist Olivia Newton-John, in support of her 12th studio album, Physical (1981). The tour primarily visited North America the second largest by Newton-John, visiting arenas and stadiums.
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