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Madonna re-invented
Twenty-one years after bursting onto the MTV music scene, Madonna remains one of a handful of 80’s artists who can still sell out arenas, even with top prices reaching $300. What does the audience get for that money? Pure spectacle - and that’s not a bad thing.
On Tuesday night’s show at the HP Pavilion in San Jose, CA, the world’s greatest Pop diva rose from beneath the stage - well not so much a stage as a moving, shifting, transforming collection of giant video screens, small monitors, and rising platforms - while acrobatic dancers descended from the ceiling. Over the spoken-word “The Beast Within”, the giant video screens in front of the stage rolled back, and after striking a yoga pose, the star segued into Vogue while a dozen dancers seemed to arrive from every direction and began the two-hour frenzy covering 24 songs.
The tour is called “Re-invention”, presumably in tribute to the most common cliché about Madonna. In fact, though, there was little reinvention. It was Madonna being Madonna, only better than usual. A slight reworking of some classics just improved the songs without really reinventing them. The biggest change, musically, is the addition of some rockified guitar, occasionally played by Madonna herself, to some of her classics. Express Yourself and Material Girl adapted nicely to the new sound. If any reinvention was intended, it was Madonna the pop-goddess becoming Madonna the rock star.
Pounding through her hits and near-hits (and the almost-execrable Die Another Day), Madonna wisely has foregone attempts to be sexually shocking. Instead, political imagery was the order of the day. With Madonna costumed variously in military fatigues and burqas, and the giant screen behind her showed images of war and destruction during a climactic America Life, during which a giant two-pronged walkway descended from the ceiling over the audience, allowing her to walk out halfway across the giant arena. During Evita’s The Lament, she is strapped into an electric chair while singing about impending death. The finest, most moving part of the show was her gentle version of John Lennon’s Imagine, sung while visions of starving and war-injured children flashed on the various screens, culminating in a hopeful image of an Israeli and Palestinian boy holding hands.
Vocally, she seemed stronger than in previous tours. She approached every song with a confidence that managed to outshine the technical and mechanical marvel that was her stage. No matter what the stage was doing at any time, Madonna commands your attention. At age 45, she’s in peak physical condition and lets you know it. Lithe and muscular, she was every bit as good as the spectacular back up dancers half her age. She even kept up with a precision military drill, swinging a rifle like a freshly-minted cadet.
Even when offstage for costume changes, the show proceeded apace, with tap-dancing, break-dancing, Scottish bagpipe and drum drill and even a skateboarder on a half-pipe. While we watched the side-shows , Madonna was changing from a gold-studded corset to Che Guevara drag to a flapper-like costume to an elegant black pantsuit to a Scottish Kilt.
Whether one is a fan of Madonna’s music or not, Re-invention is something to be seen. Few performers have Madonna’s unerring eye for visual imagery, her compelling confidence and her innate ability to put on a really, really big show.
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