The euphoria was already there, crouched in the courtyard of the Palau Sant Jordi and feeding those who took hours standing guard in search of a privileged place.
But it was when the lights went out and the screens began pumping images of Material Girl waddling behind a fence when the shouting became flesh and Barcelona hosted Madonna for what she really is: a mass phenomenon that still shooing her retirement blow of muscular hits, hectic choreography and stage full of mobile screens, retractable stairs and lights to illuminate half the city.

In fact, every time Madonna sets foot on stage the result is usually more or less the same: an endless stream of euphoria, a cascade of praise and the realization that, in fact, the singer has been and is part instrumental in the transformation of the pop of the last quarter century.

Thus the stages of half the world has become her playground and her tours are still the yardstick to which they have to face the rest of aspiring pop stardom. Tours like this “Rebel Heart Tour” that landed Tuesday in Barcelona, turned in excellent excuse to celebrate the music, life and, finally, the highly hedonistic spirit of pop. For if there were doubts about the recreational qualities of their actions, the very Madonna’s cleared with her hand as she appeared locked in a cage singing “Iconic”. Beside her, an army of dancers with futuristic-samurai helmet and spears crosswise opened a fashion that would soon add a few geishas in “Bitch, I’m Madonna” and a handful of nuns in lingerie a ‘Holy Water’ with references to The Last Supper. The great circus of pop, vindicating before an audience who patiently endured queues, records access and even the inexplicable delay of more than an hour with which she began the concert.

Once on stage, Madonna’s return to Barcelona three years after her last visit was a mask made in the image and likeness of her previous tours; a costume ball high technology with which the singer continues to enrich the sex imaginary , religion and less provocative provocation that remains true for more than two decades. There was, however, an evening for the great successes and vacuum packaged nostalgia, but a new anthology of high and low passions, carnality to spirituality through pure debauchery orchestrated around the recent and something warm “Rebel Heart ‘.

The great successes came with a dropper or -in the first section, only a ‘Burning Up’ with Madonna threw a guitar out to the past or in tender reviews, or her “True Blue” sound and Madonna armed with a ukelele.

By now entered in the second act, the scenery had changed and lingerie and -priest included- confessions of “Devil Pray” had been replaced by a rogue urban environment. With “Body Shop” stage was transformed into a garage, while “Deeper And Deeper” served to highlight the value that cross-shaped walkway and a huge shot in the form of heart. There was also the rebellious heart of Madonna, perched on a ladder fall from the sky and licking their wounds in a martial “HeartBreak City”. Alone she stayed to rescue a “Like A Virgin” full of syncopated and synthetic patched that besides serving to practice Castilian – ‘I am very hot, “she said, gave shelve the second act.

The third, preceded by an engraving of “Sex” interlude was the bullfighter fantasy, costumes and jewels and, finally, the marriage almost impossible “Living For Love” with monteras and dancers played with antlers. In the end, almost they felt like asking ear, tail and seeing what it took to revive “La Isla Bonita” between Flemish palms. The celebration and revelry a break with a hit-in acoustic version and “Spanglish” were taken – of “Who’s That Girl ‘, but rallied with the verve of” Do not Tell Me “and with that call to rebellion that I wanted to turn “Rebel Heart”.

Still missing, however, the more celebratory and unleashed part, a flamboyant shot that dress came roaring 20s and ‘Music’ and ‘Material Girl’ in armored versions. Rugged Electronics for preparing a goodbye that Madonna wanted to dress significance to “La Vie en Rose” and proximity taking the stage after Jon Kortajarena “Unapologetic Bitch” but tied up, once again, to that ‘Holiday’ with which He was definitely fired. And there are things that never change. Tonight more.

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