Confessions Tour
Tour by Madonna | |
Location |
|
---|---|
Associated album | Confessions on a Dance Floor |
Start date | May 21, 2006 |
End date | September 21, 2006 |
Legs | 3 |
No. of shows | 60 |
Box office | US$194.7 million[a] |
Madonna concert chronology |
The Confessions Tour was the seventh
Despite the controversy, the tour was a commercial success; tickets quickly sold out as soon as dates were announced, prompting organizers to add more. With a gross of over US$194.7 million ($294.27 million in 2023 dollars)
Background
The tour was officially confirmed by Madonna on February 9, 2006, during a visit to
To my fans in Australia,
Please forgive me. I really did hope and expect to come to Australia during the Confessions Tour and asked my managers to try to include some shows there. I have fond memories from previous tours. Unfortunately, the logistics just didn't work out this time around. We looked into going from Japan to Australia and ending the show there but I have to get my kids back into school in England and they are, as you can understand, my most important priority. The important thing to remember is that I'm not retiring anytime soon and I am gonna get to Australia as soon as I can. You remain in my heart and Thank you for your continued love & support. —Love, Madonna[16]
Development
Both Madonna and Jamie King confirmed the set list for the tour would include "a lot" of songs from Confessions on a Dance Floor; the former said she was interested in focusing on the new record, as she had already done the "old stuff" on the Re-Invention World Tour while, according to the latter, "people love it [the new album] and they want to hear it".[8][10] King also said he wanted the tour to be "more interactive", thus he wanted to "put [Madonna] as close to her people — her fans, her dancers, her fellow supporters — as possible".[10]
Production was headed by Chris Lamb while decisions were made "by committee", with Madonna having the final word.
The troupe included Madonna's lifelong backup singer and dancer
Concert synopsis
The concert was divided into four segments: Equestrian, Bedouin, Never Mind the Bollocks, and Disco. It began with a video showing Madonna walking through a stable brandishing a
The Bedouin act began with "
"I Love New York" opened the Never Mind the Bollocks segment. The singer played electric guitar, decked out in a high-collared black leather jacket, and changed the song's line "Just go to Texas / Isn't that where they golf" to a derogatory term aimed at George W. Bush; the backdrops for the performance depicted the New York skyline. "Ray of Light" was also sung with guitar and starbursts flashing on the screens. It counted with six male dancers dressed in black suits and white ties doing a synchronized choreography. For "Let It Will Be", Madonna danced energetically across the stage on her own, then sat down for a stripped rendition of "Drowned World/Substitute for Love". "Paradise (Not For Me)" was done by the singer and Yitzhak Sinwani. She played acoustic guitar as images of Cherry blossoms flashed onscreen.
The final segment, Disco, began with a video interlude of Madonna's past videos, set to a radio-style mashup of "Borderline", "Erotica", "Dress You Up", "Holiday", and The Trammps' "Disco Inferno" (1976). Several dancers in roller skates then appeared skating on the runways. Madonna emerged on scene dressed in the white Travolta-inspired suit to perform "Music"; the song included a sample of her 1986 song "Where's The Party" at the beginning. For "Erotica", she stripped down the suit to reveal a white leotard with purple stripes; the song's remix featured lyrics from the original demo known as "You Thrill Me", and saw the singer and troupe dancing ballroom-style. The next song was a dance version of "La Isla Bonita", where the screens displayed clips of tropical islands. A "modernized" "Lucky Star" was performed by Madonna, Donna De Lory and Nicki Richards. Towards the end of the number, the song's beat slowly changed to that of "Hung Up", the concert's final number. This performance featured a sing-along with the audience and, at one point, confetti and golden balloons fell from the roof. The show ended as the phrase "Have you confessed?" appeared onscreen.
Critical reception
The Confessions Tour received generally positive reviews. Writing for
Eric R. Danton, from the Hartford Courant, classified Confessions as a "club-friendly two-hour set, packed with throbbing beats and ethereal, trance-like vocals", but noted that the music was "almost incidental - it could have been piped in. This show was about production values, and though Madonna was the star, the stage was the true focal point".[18] In a similar, albeit less enthusiast review, Greg Kot pointed out that, "nothing in Madonna's world, at least on stage, is less than expertly managed. And it gave most of the show the air of a somewhat joyless big production [...] A good time may have been had by all, but no real connection was made".[44] Although Ben Wener praised the second segment, Bedouin, he was critical of what followed, concluding that only "Drowned World/Substitute for Love" and "Paradise (Not For Me)" evoked the "thought-provoking sentiments" from previous moments.[35] Sandy Cohen from The Washington Post opined that Madonna "looked happiest when she was dancing, microphone at her side", and highlighted the numbers featuring Yitzhak Sinwani as the "most interesting". Although she singled out the "lively and festive" songs of the Disco section, Cohen ended her review on a mixed note: "the production was so tightly choreographed, it left little room for spontaneity. Even when Madonna flipped the crowd the bird, it felt scripted, not subversive".[48] Matthew Hays noticed that Madonna sang some of her older hits, such as "Lucky Star", with "far less enthusiasm".[40]
Reviews for the concert in Denmark were mixed. It was referred to as "impressive" and "spectacular" by
In 2015, Confessions was named the singer's third best concert tour by both
Controversy surrounding the performance of "Live to Tell"
The tour's performance of "
I am very grateful that my show was so well received all over the world. But there seems to be many misinterpretations about my appearance on the cross and I wanted to explain it myself once and for all. There is a segment in my show where three of my dancers "confess" or share harrowing experiences from their childhood that they ultimately overcame. My "confession" follows and takes place on a
anti-Christian, sacrilegiousor blasphemous. Rather, it is my plea to the audience to encourage mankind to help one another and to see the world as a unified whole. I believe in my heart that if Jesus were alive today he would be doing the same thing.My specific intent is to bring attention to the millions of children in Africa who are dying every day, and are living without care, without medicine and without hope. I am asking people to open their hearts and minds to get involved in whatever way they can. The song ends with a quote from the Bible's
Book of Matthew: "For I was hungry and you gave me food. I was naked and you gave me clothing. I was sick and you took care of me and God replied, 'Whatever you did for the least of my brothers ... you did it to me.'"Please do not pass judgment without seeing my show".[62]
Despite the controversy, critical reception towards the number ranged from lukewarm to negative; Leslie Gray Streeter, who gave the overall concert a positive review, opined that it "slowed down, in an unsatisfying way" in "preachy" performances such as "Live to Tell".[36] The Mercury News' Marian Liu felt that, "while visually stunning, the depiction wasn't anything new in the music world".[27] Similarly, Greg Kot concluded that, "now that everyone from Kanye West to Madonna way back in the '80s has flirted with this particular brand of sacrilege, crucifixion just isn't what it used to be in the Shock and Awe department".[44] The staff of Newsday wrote: "Was it tasteless? Was it offensive? One thing's for sure - it was one of the show's few dull points".[63] Rick Massimo considered the number an example of the "jump-cut philosophy" that made the singer's previous Re-Invention World Tour a "weird mess".[64] While Chris Willman chastised Madonna for trying "to make like Bono" and "channel[ing] global suffering", Ed Gonzalez was doubtful of her "sincerity" and named "Live to Tell" the tour's "one serious moral lapse".[38][37] For the East Bay Times, the message came off as "deep as a bumper sticker [...] On one hand it was kind of fun just for the shock value. On the other, the stunt aspect and bad sound nearly obliterated the effect of a song that's so much better when standing quietly alone".[65] Eric R. Danton deemed it "more funny than controversial", and compared it to a "press conference from Calvary as imagined by Monty Python".[18] The Philadelphia Inquirer panned the performance for being "disappointingly static" and a "most desperate attempt to shock".[66] One positive review came from Wales Online, who praised the "powerful" rendition.[45]
Commercial reception
The Confessions Tour was commercially successful; after it kicked off, it was predicted to gross $190 million.[67] The Daily Telegraph reported that, within the first four days of ticket sales, the singer had sold out 28 shows, including New York, Los Angeles, Chicago, Miami, Paris and London.[68] The first two concerts at New York's Madison Square Garden sold out in 10 minutes, prompting organizers to add two more dates, which quickly sold out as well, leading to a fifth date being added.[69] According to Le Devoir, Madonna sold 30,000 tickets in under 40 minutes in Montreal.[70] The Guardian then reported that tickets for the first two concerts at London's Wembley Arena had also sold out within ten minutes of going on sale; fans crashed the singer's website and queued outside the venue in order to get a purchase. As a result, seven more dates were added.[71] The single concert in Cardiff was estimated to have been attended by an audience of more than 60,000; Wales Online reported that fans went as far as to set up camp outside the box office.[72] A second concert was added in Prague after tickets for the first one sold out in a record time of less than two hours; prices ranged from 3,060 to 5,010 Kčs.[73] The single concert in Horsens, Denmark attracted 85,000 people and became one of the largest in the country.[49] 37,000 tickets for the sole Moscow concert sold out in three days.[74]
Upon completion, Billboard, and tour producer Arthur Fogel, reported that Confessions had grossed over $194.7 million ($294,267,613 in 2023 dollars)[1] from 60 shows and had played to an audience of 1.2 million, becoming the highest-grossing tour ever for a female artist, and breaking the record previously held by Cher's Living Proof: The Farewell Tour (2002–2005); "Madonna has yet again delivered an incredible show for her fans, and the success of the tour is the ultimate statement [...] she absolutely belongs at number one", expressed Fogel.[75] Additionally, the Confessions Tour earned Madonna a place in the 2007 edition of the Guinness World Records: highest-grossing music tour per concert.[76] It won Top Boxscore at the 2006 Billboard Touring Conference and Awards.[77]
Broadcast and recording
On July 21, Access Hollywood reported that NBC would broadcast the concerts at London's Wembley Arena as the network's first special with the singer; executive Kevin Reilly said that "Madonna is one of the greatest artists of our time and never fails to generate excitement [...] this is going to be a big event for television".[78] According to CBS News, the Catholic League wrote a letter to NBC executives, urging that the crucifixion performance of "Live to Tell" be omitted from the special. When asked, Kevin Reilly said that the number would probably be included in the broadcast, adding that Madonna "felt strongly about it", he further explained: "We viewed it and, although Madonna is known for being provocative, we didn't see it as being inappropriate".[79] Ultimately, the performance was cut from the transmission, albeit not entirely; different camera angles were used so that the singer would not be seen until she gets off the cross.[80] Madonna: The Confessions Tour Live aired on November 22, one night before thanksgiving;[78] ratings were low, with the special ending up fourth in its time slot.[81]
On January 30, 2007, it was released as a
Set list
Set list, samples and notes adapted per Madonna's official website, the notes and track listing of The Confessions Tour, and additional sources.[29][87][88]
Act 1: Equestrian
- "Future Lovers" / "I Feel Love"
- "Get Together"
- "Like a Virgin"
- "Jump"
- "Confessions" (Dancers interlude; contains elements of "Live to Tell")
Act 2: Bedouin
- "Live to Tell"
- "Forbidden Love"
- "Isaac"
- "Sorry"
- "Like It or Not"
- "Sorry" (Remix; interlude)
Act 3: Never Mind the Bollocks
- "I Love New York"
- "Ray of Light"
- "Let It Will Be"
- "Drowned World/Substitute for Love"
- "Paradise (Not for Me)"
Act 4: Disco
- "The Duke Mixes The Hits" (Video interlude; contains elements of "Borderline", "Erotica", "Dress You Up", "Holiday", and "Disco Inferno")
- "Music" (Contains elements of "Disco Inferno" and "Where's The Party")
- "Erotica" / "You Thrill Me"
- "La Isla Bonita"
- "Lucky Star" (Contains elements of "Gimme! Gimme! Gimme! (A Man After Midnight)", and "Hung Up")
- "Hung Up" (Contains elements of "Lucky Star")
Shows
Date (2006) |
City | Country | Venue | Opening act | Attendance (Tickets sold / available) |
Revenue |
---|---|---|---|---|---|---|
May 21 | Inglewood | United States | The Forum | — | 40,044 / 40,044 | $7,686,380 |
May 23 | ||||||
May 24 | ||||||
May 27 | Las Vegas | MGM Grand Garden Arena | 27,528 / 27,528 | $7,257,750 | ||
May 28 | ||||||
May 30 | San Jose | HP Pavilion | 27,024 / 27,024 | $4,761,555 | ||
May 31 | ||||||
June 3 | Los Angeles | Staples Center | 14,183 / 14,183 | $2,804,583 | ||
June 5 | Fresno | Save Mart Center | 20,154 / 20,154 | $3,749,800 | ||
June 6 | ||||||
June 8 | Glendale | Glendale Arena | 28,820 / 28,820 | $4,890,090 | ||
June 10 | ||||||
June 14 | Chicago | United Center | 52,000 / 52,000 | $9,271,790 | ||
June 15 | ||||||
June 18 | ||||||
June 19 | ||||||
June 21 | Montreal | Canada | Bell Centre | 34,940 / 34,940 | $5,670,150 | |
June 22 | ||||||
June 25 | Hartford | United States | Hartford Civic Center | 21,558 / 21,558 | $3,451,235 | |
June 26 | ||||||
June 28 | New York City | Madison Square Garden | 91,841 / 91,841[b] | $16,507,855[b] | ||
June 29 | ||||||
July 2 | ||||||
July 3 | ||||||
July 6 | Boston | TD Banknorth Garden | 36,741 / 36,741 | $6,337,115 | ||
July 9 | ||||||
July 10 | ||||||
July 12 | Philadelphia | Wachovia Center | 29,749 / 29,749 | $4,639,775 | ||
July 13 | ||||||
July 16 | Atlantic City | Boardwalk Hall | 12,322 / 12,322 | $3,246,100 | ||
July 18 | New York City | Madison Square Garden | [b] | [b] | ||
July 19 | ||||||
July 22 | Miami | American Airlines Arena | 30,410 / 30,410 | $5,368,485 | ||
July 23 |
Date (2006) |
City | Country | Venue | Opening act | Attendance (Tickets sold / available) |
Revenue |
---|---|---|---|---|---|---|
July 30 | Cardiff | Wales | Millennium Stadium | Paul Oakenfold | 55,795 / 55,795 | $7,788,845 |
August 1 | London | England | Wembley Arena | — | 86,061 / 86,061[c] | $22,090,582[c] |
August 3 | ||||||
August 6 | Rome | Italy | Stadio Olimpico | Paul Oakenfold | 63,054 / 63,054 | $5,268,886 |
August 9 | London | England | Wembley Arena | — | [c] | [c] |
August 10 | ||||||
August 12 | ||||||
August 13 | ||||||
August 15 | ||||||
August 16 | ||||||
August 20 | Düsseldorf | Germany | LTU Arena | Paul Oakenfold | 44,744 / 44,744 | $5,926,105 |
August 22 | Hanover | AWD-Arena | 39,871 / 39,871 | $5,218,985 | ||
August 24 | Horsens | Denmark | Forum Horsens Arena | 85,232 / 85,232 | $11,435,199 | |
August 27 | Paris | France | Palais Omnisports de Paris-Bercy | — | 67,758 / 67,758 | $9,145,832 |
August 28 | ||||||
August 30 | ||||||
August 31 | ||||||
September 3 | Amsterdam | Netherlands | Amsterdam Arena | Paul Oakenfold | 102,330 / 102,330 | $11,783,254 |
September 4 | ||||||
September 6 | Prague | Czech Republic | Sazka Arena | — | 37,666 / 38,342 | $5,861,668 |
September 7 | ||||||
September 12[d] | Moscow | Russia | Luzhniki Stadium | Paul Oakenfold | 37,939 / 37,939 | $5,548,998 |
Date (2006) |
City | Country | Venue | Opening act | Attendance (Tickets sold / available) |
Revenue |
---|---|---|---|---|---|---|
September 16 | Osaka | Japan | Osaka Dome | — | 50,623 / 50,623 | $7,379,553 |
September 17 | ||||||
September 20 | Tokyo | Tokyo Dome | 71,231 / 71,231 | $11,463,877 | ||
September 21 | ||||||
Total | 1,209,593 / 1,210,269 | $194,754,447 |
Notes
- ^ US$294.27 million in 2023 dollars.[1]
- ^ a b c d This score data covers all six shows in New York City's Madison Square Garden on June 28, 29, July 2, 3, 18 and 19, respectively
- ^ a b c d This score data covers all eight shows in London's Wembley Arena on August 1, 3, 9, 10, 12, 13, 15 and 16, respectively
- ^ The concert of September 12, 2006 at the Luzhniki Stadium in Moscow was originally scheduled to be performed at the Sparrow Hills the day earlier, but was moved to the Luzhniki Stadium due to security concerns and out of respect for the victims of the terrorist attacks in the United States that had happened five years earlier.[93]
Personnel
Adapted from the Confessions Tour program.[26]
Band
- Madonna – creator, vocals, guitar
- Donna De Lory - vocals
- Nicki Richards - vocals
- Yitzhak Sinwani - additional vocals
- Stuart Price - musical director, keyboards, programmer
- Marcus Brown - keyboards
- Monte Pittman - guitar
- Steve Sidelnyk - drums
Dancers
- Addie Yungmee-Schilling-George - dance captain
- Jason Young - dance captain
- Charmaine Jordan - dancer
- Daniel "Cloud" Campos - dancer
- Leroy Barnes Jr. - dancer
- Levi Meeuwenberg - dancer
- Mihran Kirakosian - dancer
- Reshma Gajjar - dancer
- Sofia Boutella - dancer
- Steve Neste - dancer
- Tamara Levinson - dancer
- William Charlemoine - dancer
- Sébastien Foucan - parkour
- Victor Lopez - parkour
Choreographers
- Jamie King - choreographer
- Richmond and Anthony Talauega - choreographers
- RJ Durell - choreographer
- Liz Imperio - choreographer
- Alison Faulk - choreographer
- Fred Tallaksen - roller skate choreographer
- April Corle - roller skate choreographer assistant
- Ralph Montejo - choreographer
- Boppendre - choreographer
- Laurie Ann Gibson- choreographer
- Gabriel Castillo - choreographer
Wardrobe
- Jean-Paul Gaultier- designer
- Arianne Phillips - designer
Crew
- Angela Becker - manager
- Guy Oseary - manager
- Arthur Fogel - tour producer
- Liz Rosenberg - publicist
- Jamie King - creative director
- Chris Lamb - production director
- Gina Brookee - make-up artist
- Andy LeCompte - hair stylist
- Giovanni Bianco - art direction, graphic design
- Steven Klein - tourbook photography, video projection
- Annika Aschberg - photography
- Johan Renck - "Hung Up" video stills director
- Jamie King - "Sorry" video stills director
- Christian Lamb - video projection director
- Dustin Robertson - video projection director
- Jeff Bertuch - Lighting FOH Tech
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