Music & Concerts

REVIEW: Madonna’s joyful, nostalgic, chaotic ‘Celebration’

Fans got into the groove at Capital One Arena for two unforgettable nights

Published

10 months ago

December 20, 2023

Madonna rocked D.C. this week.

The entire two-plus hours of Madonna’s “Celebration Tour” seemed to build to a singular ecstatic moment when the pop and queer icon glided above the packed floor of Capital One Arena in a lighted box belting out her 1998 hit “Ray of Light.”

You could feel the arena move beneath your feet.

It’s difficult to capture in words the spectacle, sheer joy, and even sadness that characterize Madonna’s “Celebration Tour,” which played D.C. on Monday and Tuesday nights featuring 28 songs in seven “acts.” Let’s get her tardiness out of the way: Yes, she was late. Very late. The 8:30 p.m. start time turned into 10:30, which, considering the advancing age of her fanbase, proved a challenge for many on a school night. But the moment she hit the stage, all was forgiven.

Bob the Drag Queen was a capable, entertaining emcee, opening the show with a short monologue of praise and inviting the glitter/sequin/feather-adorned crowd to the celebration. With that, Madonna appeared on the tiered stage (a nod to her 1984 MTV Video Music Awards debut atop a wedding cake) and opened the show with the unexpected “Nothing Really Matters,” a surprising choice for a “greatest hits” show given it peaked at 93 on Billboard’s Hot 100 chart back in 1999 (though it did hit No. 1 on the dance chart that year). She wore a black kimono designed by Eyob Yohannes and a halo headpiece by House of Malakai, according to Harpers Bazaar. The look evoked her red kimono from the video.

From there, old school fans were treated to an ‘80s throwback and a recreation of Danceteria featuring club hits like “Everybody,” “Into the Groove,” and “Burning Up.”

The party anthem “Holiday” took a jarring turn as dancers were depicted dying on stage with Madonna using her coat to cover up one of them as the vibe quickly changed from intoxicating and fun to introspective and tearful as she transitioned to her 1986 ballad “Live to Tell.” In a show packed with highlights, this was the emotional core of the night. The song opened with two-story images of friends who had died of AIDS projected on giant screens around the stage; as the song progressed, the screens filled with more and more faces until the visages of hundreds of mostly gay men filled the arena with Madonna floating around them singing in tribute. It was a haunting moment and the most visually stunning sight I have ever witnessed in a concert. There wasn’t a dry eye in our row and I haven’t been able to get that image out of my mind for two days, a painful reminder of our community’s recent history and Madonna’s role as one of the few celebrities who stood with us in our darkest hour. She has more than earned our loyalty after fighting for AIDS awareness and funding and standing up to everyone from the Pope to the Boy Scouts advocating for our basic humanity.

After the emotional pull of that number, we needed some levity and Madonna delivered by pivoting to “Like a Prayer” featuring a giant carousel filled with her mostly shirtless dancers and a minute of chanting and a Sam Smith-Kim Petras “Unholy” snippet followed by a raucous version of the smash hit song.

Moving into act three, “Erotica” arrived with the dancers dressed as boxers in a ring with laser lights instead of ropes. There was an interlude featuring a dancer dressed as a Blond Ambition-era Madonna on a red velvet bed, another nod to an iconic Madonna moment, followed by “Justify My Love” with the scantily clad dancers writhing around their queen.

One of my personal highlights followed as Madonna’s daughter Mercy James killed it, skillfully playing piano as her mother sang “Bad Girl,” another surprise setlist inclusion from 1992’s “Erotica” album. Though the single didn’t fare well on the charts, the David Fincher-directed video remains one of her absolute best, depicting Madonna as a Manhattan business executive who drinks and smokes excessively and embarks on a series of one-night stands that leads to her murder. Christopher Walken co-stars in the video, which was influenced by Wim Wenders’s acclaimed “Wings of Desire.” Mercy is clearly no nepo-baby; she’s a talented pianist who wowed the crowd.

Next up was “Vogue,” which saw Madonna strutting the runway in a Jean Paul Gaultier-designed little black dress complete with conical bra and ending with a tribute to the ‘80s ballroom scene with Bob the Drag Queen in the role of Billy Porter from “Pose.”

Act V commenced with a rather drawn out recording of “The Beast Within,” the 1990 track that features spoken word passages from the Book of Revelation. She’s included this one on several tours. It wasn’t a hit song and we’ve seen it multiple times before so it felt unnecessary.

“Don’t Tell Me” saw the return of cowboy hats and line dancing, a spirited highlight of the night. Shortly after, Madonna slowed things down with a moody cover of “I Will Survive,” a poignant moment given her recent bout with a serious bacterial infection that led to the tour’s postponement.

But she was saving the best for last, as Act VI debuted with Madonna in a glittering Versace catsuit sprawled on a box singing “Bedtime Story” before rising to the rafters and tackling the aforementioned “Ray of Light.” It was an electric rendition that had the thousands of attendees on their feet.

So, what didn’t work? There were a few missteps, chief among them a misguided tribute to Michael Jackson at the end of the show that depicted silhouettes of Michael and Madonna dancing to “Billie Jean” and “Like a Virgin.” The comparison screamed “He’s the King of Pop and I’m the Queen” — it felt thirsty and superfluous. The whole “Queen of Pop” debate smacks of 20th century sexism, especially in an era of Taylor Swift and Beyonce billion-dollar tours. Madonna should be over that by now. Further undermining the comparison, Michael Jackson detested Madonna and was caught on an audio recording calling her a “nasty witch” and accusing her of being “jealous” of his popularity. She should cut this segment from the show.

One friend described the show as “chaotic,” which it was at times, but that stems from trying to cram a 40-year catalogue of hit songs into a two-hour show. Some of the show’s transitions were abrupt but, again, when you have as many hits as she does, you have to move fast.

Another issue was the lack of a live band, which she’s included on previous tours. I think most concert-goers paying hundreds of dollars for a ticket expect to see and hear a band. Instead, she relied on a recorded track for the music and some of the vocals. But Madonna’s mic was live and she did sing most of the show. As for the dance moves, Madonna has certainly slowed down from previous tours; her dancing isn’t nearly as athletic as in tours past. But she’s 65 years old and the leg brace she’s worn on stage clearly shows she’s suffering from so many years of entertaining us in high heels. She can leave the moves to her coterie of dancers and focus on singing.

She closed the show abruptly with a combo of “Bitch I’m Madonna” and a truncated “Celebration,” the tour’s namesake.

In all, a festive and nostalgic night with Madonna serving up hits and memories spanning decades for her adoring fans dressed in all sorts of tribute attire. If you’re on the fence about going, let me push you off. Go see her before she retires from touring. Yes, you’ll have to stay up late and indulge a few misguided moments. But our icons are aging and dying and no one can fill Madonna’s shoes. The show is a party, a walk down memory lane, and, yes, a Celebration.

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Music & Concerts

Lana Del Rey, Katy Perry plan fall releases

A Fleetwood Mac live album, more Joni archives among vintage options

Published

3 weeks ago

September 13, 2024

Joey DiGuglielmo

Dolly Parton’s ‘Smoky Mountain DNA’ is slated for a Nov. 15 release. (Image courtesy Owepar Entertainment)

Paris Hilton released her “Infinite Icon” album on Sept. 6. It’s just the second effort following a massive hiatus — her debut album “Paris” was released way back in 2006. Sia produces. This summer’s “I’m Free” was the first single. A tour is planned. Hilton promised a “heavily gay-leaning release.”

Miranda Lambert’s “Postcards from Texas” is slated to drop today. Lambert’s 10th studio album was preceded by the May release of single “Wranglers,” which stalled in the lower 30s on country radio. Lambert calls the album a musical ode to her home state. She co-produces with Jon Randall and either wrote or co-wrote 10 of the project’s 14 cuts.

Katy Perry’s “143” is set for a Sept. 20 release. It will be her seventh studio album. Its title refers to what she says is her symbolic angel number. Perry is aiming for a dance party feel working with producers Max Martin, Dr. Luke, Stargate, Vaughn Oliver and Rocco Did It Again! The proceedings are not off to a strong start. First single “Woman’s World” stalled at No. 63 on the Billboard Hot 100. Follow-up “Lifetimes” failed to crack the Hot 100 at all.

Fleetwood Mac releases “Mirage Tour ’82” on Sept. 20. It includes six tracks previously unreleased including “Don’t Stop,” “Dreams,” “Never Going Back Again,” “Sara” and more. Available on double CD, triple vinyl and digitally.

Volume four of Joni Mitchell’s “Archives” series dubbed “The Asylum Years: 1976-1980” releases Oct. 4. It’s being offered in six-CD or four-LP (highlights) configurations. It will feature unreleased studio sessions, alternate versions, live recordings, rarities and a 36-page book with new photos and an extensive conversation between Mitchell and filmmaker/uberfan Cameron Crowe.

Sophie B. Hawkins releases her “Whaler Re-Emerging” album (a re-recording of her landmark 1994 album) on Oct. 15. Order through her site and the first 250 copies will be signed. Hawkins (who identifies as omnisexual) says it surpasses the original.

Joe Jonas’s “Music for People Who Believe in Love” and Shawn Mendes’s “Shawn” are both set for Oct. 18 releases. Jonas’s album (his first solo effort since 2011’s “Fastlife”) will feature songwriting he says is of a more personal nature. Billboard called it “unvarnished” but with a shimmery pop sound aglow with garage rock and alt-pop influences. First single “Work It Out” was released over the summer and failed to chart.

“Shawn” will be Mendes’s first album since 2020’s “Wonder,” the tour of which he cancelled citing mental health. Two singles — “Why Why Why” and “Isn’t That Enough” — have been released. The former stalled at no. 84 on the Hot 100. He has called the album his “most musically intimate and lyrically honest work to date.”

Lana Del Rey’s “Lasso” is expected for a possible fall release, although some sources say it’s been bumped to early 2025. No date had been announced as of yet. She’s apparently going the Beyonce route and releasing a straight-up country album.

Dolly Parton plans a Nov. 15 release for “Smoky Mountain DNA — Family, Faith & Fables.” Parton recruited family to help her on the 37 (!)-track collection, which will also encompass a four-part docuseries tracing Parton’s familial roots. One song (“A Rose Won’t Fix It”) is an outtake from the feverish writing sessions that led to her solid (but underrated) 1998 album “Hungry Again.” An extremely limited-edition triple vinyl release is also planned.

Release dates shift and many more releases will be announced later. Pitchfork keeps a great running tab at pitchfork.com/news/new-album-releases. Also check your local record store for Black Friday special editions available on Friday, Nov. 29. Release info was scant as of this writing.

(Joey DiGuglielmo was variously the Blade’s news and features editor from 2006-2020.)

Music & Concerts

Fall concerts feature Sivan, Eilish, Lauper, more

Ndegeocello pays tribute to Baldwin at Strathmore next month

Published

3 weeks ago

September 13, 2024

Joey DiGuglielmo

Sigur Ros plays the Anthem this month. Frontman JONSI (center) is gay. (Photo by Chloe Kritharas; courtesy motormouthmedia)

Sigur Ros will be joined by the Wordless Music Orchestra at the Anthem (901 Wharf St., S.W.) on Wednesday, Sept. 25th. They’re continuing their 2023 tour in support of “Atta,” their first LP of original music in a decade. Frontman Jonsi is gay. Tickets are $60.50-173.50 for this seated show.

Troye Sivan brings the “Sweat Tour” with Charli XCX (co-headlining) to Baltimore at the CFG Bank Arena (201 West Baltimore St.) on Thursday, Sept. 26th at 7:30 p.m. It’s sold out. The latter is touring behind her 2024 album “Brat.” The former is touring behind his 2023 album “Something to Give Each Other.” Sivan is gay and has performed at Capital Pride.

Cyndi Lauper brings her “Girls Just Wanna Have Fun Farewell Tour” to Capital One Arena (601 F St., N.W.) on Sunday, Oct. 27 at 7 p.m. Tickets range from $29-179. It’s her first solo arena stateside tour since her ’86-’87 “True Colors World Tour.” Lauper is a longtime and avid LGBTQ ally.

St. Vincent brings her “All Born Screaming Tour” to the Anthem (901 Wharf St., S.W.) on Friday, Sept. 13th at 8 p.m. Tickets are $55-95. A Variety review called it “minimalist” and said “with no video screens, backup singers or sketches, and a lot of electric guitar, it’s the purest distillation of St. Vincent we’ve had on stage in quite a few years.” Anne Erin Clark (aka St. Vincent) doesn’t identify as anything sexually but has mostly dated women in recent years.

Kristin Chenoweth and Alan Cumming play Wolf Trap (1551 Trap Rd., Vienna, Va.) on Friday, Sept. 13 at 8 p.m. Individual sets are planned, but there will likely be a duet or two. Tickets are $29.

Out singer/songwriter Perfume Genius brings his “Too Bright 10th Anniversary Tour” to The Atlantis (2047 9th St., N.W.) on Monday, Sept. 16. This highly limited run will only play six dates in five cities. Mike Hadreas (aka Perfume Genius) will perform his 2014 album in its entirety. It’s sold out.

Meghan Trainor brings “The Timeless Tour” to Jiffy Lube Live (7800 Cellar Door Dr., Bristol, Va.) on Tuesday, Sept. 17th at 6:30 p.m. She’s touring behind her album of the same name released earlier this year. Tickets are $33-155. No lawn seats available for this show.

Queer-affirming gospel singer Amy Grant (who also had a decent pop chart run in the ’90s) brings her fall tour to The Birchmere (3701 Mt. Vernon Ave., Alexandria, Va.) on Thursday, Sept. 19 at 7:30 p.m. As she’s done on tour with previous re-releases, Grant could include more songs than usual from her 1994 “House of Love” album, which was just released in an expanded edition and on LP for the first time. Tickets are $95.

Sara Bareilles, a self-described LGBTQ ally, joins the NSO Pops for a three-night stint at the Kennedy Center (2700 F St., N.W.) on Sept. 24-26 at 8 p.m. each night. It’s sold out.

Billie Eilish brings her “Hit Me Hard and Soft: the Tour” to CFG Bank Arena (201 West Baltimore St.) in Baltimore on Friday, Oct. 4 at 7 p.m. Her album of the same name dropped in March. Although she’s mostly dated guys publicly, Eilish identifies as bi. It’s sold out.

Queer artist Meshell Ndegeocello plays the Strathmore (5301 Tuckerman Lane, North Bethesda, Md.) on Saturday, Oct. 5 at 8 p.m. Her show is dubbed “No More Water: the Gospel of James Baldwin” and is billed as a tribute event to the legendary Black gay writer. A pre-concert event, “The Gospel of Meshell Ndegeocello” is free but advanced registration is required. Tickets for the concert are $28-74.

Former Capital Pride headliner Betty Who (“queer/bi” herself) brings her “An Acoustic Evening in Celebration of 10 years of TMWYG” to the Lincoln Theatre (1215 U St., N.W.) on Wednesday, Oct. 9 at 9 p.m. Tickets are $55. It’s a nod to her 2014 debut album “Take Me When You Go.”

Justin Timberlake brings his “Forget Tomorrow World Tour” to Capital One Arena (601 F St., N.W.) on Sunday, Oct. 13. This seventh headlining concert tour (and first in five years) supports his 2024 sixth album “Everything I Thought it Was.” Reviews for the tour have been strong; the setlist looks career-spanning and generous. It’s sold out.

Gay-helmed Pink Martini with China Forbes and Ari Shapiro plays the Kennedy Center (2700 F St., N.W.) on Monday, Oct. 14 at 7 p.m. Tickets are $40-80.

’80s pop sensation Debbie Gibson brings her “Acoustic Youth: Songs & Stories from Electric Youth Era” to the Birchmere (3701 Mt. Vernon Ave., Alexandria, Va.) on Wednesday, Oct. 16. Tickets are $59.50. Gibson is celebrating her 1989 album “Electric Youth,” her second. She’ll accompany herself on piano playing the songs “the way I first wrote them.”

DJ/producer Diplo, who says he’s “not not gay,” plays Echostage (2135 Queens Chapel Road, N.E.) on Saturday, Oct. 19 at 9 p.m. Walker and Royce join. Tickets are $60.

Motown diva Diana Ross brings her “Beautiful Love Performances Legacy Tour” to MGM National Harbor (101 MGM National Ave., Oxon Hill, Md.) on Oct. 24-25 at 8 p.m. Except for adding a couple cuts from her abysmal 2021 album “Thank You” (her latest), her setlist has not changed much in 15 years. She’s a little better about performing Supremes songs than she was earlier in her career (for ages, they were crammed into one medley), but she still heavily favors her solo material. Tickets start at $102.

“The Life and Music of George Michael” comes to the National Theatre (1321 Pennsylvania Ave., N.W.) on Friday, Oct. 25 at 8 p.m. Hard to tell from promo material if this is a typical jukebox musical-type show or more like a tribute band concert for the late gay singer. Tickets are $55.

“Sapphic Factory: Queer Joy Party” is at 9:30 Club (815 V St., N.W.) on Friday, Oct. 25 at 10 p.m. It’s slated to feature music by artists such as Mana, Chappell Roan, Fletcher, Phoebe Bridges, Kehlani, Rina Sawayama, boygenius, Kim Petras, Tegan and Sara and more. Tickets are $23.

Kacey Musgraves brings her “Deeper Well World Tour” to CFG Bank Arena (201 West Baltimore St.) on Saturday, Nov. 9 at 7:30 p.m. It supports her sixth studio album, released in March. The setlist morphed slightly over a spring run in Europe. It’s sold out.

Soul diva Gladys Knight plays the Hall at Live! (7002 Arundel Mills Circle) in Hanover, Md., on Sunday, Nov. 17th at 7:30 p.m. Knight, who hasn’t had a new album out in a decade, tends to be fairly generous with her classic Motown- and Buddha-era hits with the Pips in approximately 75-minute sets. Tickets start at $95.

(Joey DiGuglielmo was variously the Blade’s news and features editor from 2006-2020.)

Music & Concerts

National Symphony plays free concert Sunday

NSO Labor Day performance held at U.S. Capitol

Published

1 month ago

August 31, 2024

Tinashe Chingarande

(Photo by DeshaCAM/Bigstock)

The National Symphony Orchestra’s free annual Labor Day weekend concert returns to the West Lawn of the U.S. Capitol on Sunday, Sept. 1. The performance is free and tickets are not required. Seating is first-come, first-served.