Madonna, O2 Arena, London — ‘A spectacular show of strength’

Madonna on stage at the O2 Arena. Photo: Neil Lupin/Redferns©Neil Lupin/Redferns

Madonna on stage at the O2 Arena. Photo: Neil Lupin/Redferns

Of the two sides of Madonna revealed on her most current album Rebel Heart — a single a lachrymose balladeer pleading “Just hold me although I cry my eyes out”, the other an imperious sex-crazed queen snarling “Go difficult or go home” — which would predominate at the O2 Arena?

The phalanx of men kneeling on the stage in Game of Thrones warrior garb at the start, every single holding a cross and bowing as they awaited her entrance, was a hint of what to anticipate. And so it proved, with Madonna descending from on high in a suspended cage, singing the blaring dance track “Iconic” with unblinking iciness, wearing a red outfit with black fake fur lining that gave her the look of a ninja-educated tsarina.


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What followed was a show of superstar invincibility. It was a U-turn of sorts, ending the efforts that Madonna has made in middle age to craft a far more sympathetic, human character for herself, as with Rebel Heart’s weepy ballads. That campaign reached an inadvertent nadir at the Brit Awards earlier this year, when a botched try to get rid of a cape triggered the dazed singer to be dragged down a staircase. Tonight’s show, at the extremely very same venue, identified her coming to her senses. Fallibility is for civilians.

The two-and-a-quarter-hour concert was incident-packed and superbly executed. Higher production values palliated the regal ticket rates the singer charges. Her choreography with 17 backing dancers was expertly detailed, from the Japanese-themed moves that added lethal grace to the crude snarl of “Bitch, I’m Madonna” to a sacrilegious pole-dancing nuns routine in “Holy Water”: salacious but impeccably timed, like the Las Vegas theatrics that the show so effectively mines.

The highlight was “Music”, set as a 1930s Busby Berkeley musical, with the backing band neatly switching in between jazz and thumping beats, and Madonna in a sparkly flapper’s minidress interrupting the song to execute a witty burlesque routine. Self-pitying tear-jerkers had been recast as acts of resilience, such as “Heartbreak City”, which ended with the singer pushing a villainous man off the top of a spiral staircase with the diva’s cry of “You abandoned me!” The model was the indomitable Edith Piaf, to whom Madonna paid tribute with a boldly warbled version of “La Vie en rose”.

Old hits had been imaginatively overhauled. “Burning Up”, from her 1983 debut, an early instance of her unabashed nature (“I have no shame!”), became a wild rocker, Madonna on her knees pretending to shred a guitar. “Material Girl” was rebooted as hard-edged electro. A straight rendition of “Like a Prayer” followed an emotional but defiant speech about Aids: “We shall overcome!” So, in a various context, she did tonight. The Rebel Heart tour turns a muddled album into a spectacular show of strength.

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Section: Arts

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