Michael.

It was no Super Bowl but the little intro video was pretty fun. I did laugh that it was so short though. She looked great and I was happy with the song choice. She is definitely getting a lot of love from the Brazilian fans in social media. I’ve seen little negativity about her specifically, most of it is just about a halftime show in general. Surprisingly I have seen a lot of praise for her though and there’s been some funny/light hearted memes and posts.

Yes! I had the same thought! The Club of Love Tour!

Thanks for the correction! I assumed it was just the last four

The last four: My Sins Are My Saviour Betrayal The Test L.E.S. Girl The last four tracks are such a great way to end the album. Without them I feel you miss a key part of the listening experience.

The Pitchfork review is shocking. Is that her best review they have ever given her?

On my first few listens this kind of went under the radar but it’s definitely grown on me and I think it might be up there as one of my favorites on the album. Love the chorus in particular! Such a vibe.

Is it just me or does it give off a bit of Push It by Salt N Pepa? Maybe I’m imagining it.

I agree! I want remixes

This is my favorite track on the album so far. So good!! I can’t describe it properly. It feels like a classic already. The beat is so good

Danceteria has been added to Best New Songs.

Far exceeded my expectations! There are actually zero skips or filler. As someone mentioned earlier, even the song we got in the Confessions film sound so much better in their full versions. Read My Lips is far superior than the FIFA version. So far my stand outs - 1. Love Without Words: so far my favorite on the album and I just want to listen to it on repeat! It’s got such a cool 90’s vibe!! 2. Bizarre: so much energy. Slightly different from the version we heard originally. 3. School: this feels more Erotica than Confessions. Love the distorted vocals. 4. Everything: the lyrics and vibe on this is so good. Definitely one that I want to keep going back to. Still need to listen more and really appreciate each song. These are thoughts from only a couple listens so far!

For this interested most of the lyrics are now available on Genius.com

For some reason this link doesn’t work for me and I can’t find it if I search for it

I bought the Deluxe Premium Translucent vinyl and the Grindr Exclusive vinyl. I’m debating whether I buy the CD(s). Might buy a digital copy too. I will mainly just stream to listen to it. Buying physical copies is more about having the artwork etc. Plus I’m slowly getting back into vinyl and physical media. Streaming is convenient but I miss the nostalgia of physical music. It’s similar to reading. I went through a period using electronic readers but I don’t enjoy it so have switched back to physical books.

I had to delete the album from my library. Close the app and reopen. Add the album again and then download. That seemed to work.

BYL has the most noticeable transitions for me. Not sure if LS has updated though. The quality has been improved so much though and you can hear so much more detail now. Don’t know why we didn’t get these version from the start!!!

Just for reference the Confessions I reviews from pitchfork: Confessions on a Dance Floor Madonna 2005 6.2 READER SCORE Based on 16 readers 8.7 GENRE: Pop/R&B LABEL: Warner Bros. / Maverick RELEASE DATE: 2005 By Stephen M. Deusner Reviewed November 14, 2005 On her 14th album, the pop star teams with Stuart Price and rolls back the clock; her latest iteration is a pre-Madonna disco vixen, basking in a '70s musical style that she herself, among others, helped to morph and displace. Twenty years ago, Madonna was a postmodernist's dream. Her ability to transform herself from song to song and from album to album became a proclamation of self-nullifying empowerment, giving her the ability to create a stationary persona out of shifting identities. However, by the start of the 1990s, Madonna's transformations appeared more calculated as she aged and fell behind the curve, trying to predict the next dominant style instead of confidently setting it. With Confessions on a Dance Floor, her 14th album, Madonna again reinvents herself, and it appears she's nearly lapped herself. Her latest iteration is a pre-Madonna (prima donna?) disco vixen, basking in a '70s musical style that she herself, among others, helped to morph and displace in the early '80s. Allowing her to accessorize creatively (love that wrap-around top), this new persona has the potential to be immensely entertaining, but there's something a little sad about it too. At 47 Madonna is playing the role of someone 25 years younger, and those retro space leotards and that feathered hair only make her look more mature and matronly, like your friend's mom dressed up embarrassingly for Halloween. If the outfit depresses, the music on Confessions accomplishes the feat of making her sound young again. Kicking off the album, "Hung Up" is an impressive and enjoyable single, strong enough to have everyone trying to figure out if it's her best since "Ray of Light" or since "Like a Prayer". The main groove is lifted from ABBA's "Gimme! Gimme! Gimme (A Man After Midnight)", but used in such a way that it resembles a brilliant mash-up rather than a lazy sample. Credit is due Stuart Price of Les Rhythmes Digitales, who builds a warehouse-size wall of sound for Madonna's songs, allowing her to revel in the shameless mirrorballsiness of it all. That collaboration stays strong over the first half of Confessions. On "Get Together", as Price's synths ebb and flow moodily, Madonna asks the eternal pop question, "Do you believe in love at first sight?", over a tripping vocal melody. The cascades of sound wash directly into "Sorry", setting up the song's panlingual apologies and shifting bass tectonics. These songs have a deceptive lyrical vacuity that hints at greater depths, but leaves them to the listener to consider. On the other hand, "Future Lovers" begins with similar escapism, as Madonna warmly exhorts, "Let's forget your life, forget your problems, administration, bills, and loans." But it's no simple call to the dancefloor: Over a prismatic vocal theme, she unequivocally equates music with spirituality, dancing with religious ritual. This impressive momentum, unfortunately, is interrupted by "I Love New York", which stumbles over mad-glad-bad rhyme schemes and dumb-ass lyrics like "I don't like cities but I like New York/ Other cities make me feel like a dork." It sounds like a transparently targeted post-9/11 valentine to the Big Apple-- odd coming from an ex-pat. Inanities like "If you don't like my attitude/ Then you can eff off" are at least partly excused by Price's production, which builds from the beat up to incorporate rock elements that could be a nod to Brooklyn hipster dance punk. Despite Price's best efforts to infuse these songs with motion and finesse, Confessionsnever quite reaches its earlier heights after "I Love New York". When Madonna actually starts confessing, the album loses its delicate balance between pop frivolity and spiritual gravity. "Now I can tell you about success, about fame," she intones at the end of "Let It Will Be", as if that's all she knows anymore. She proselytizes the Kabbalah on "Isaac", but despite the controversy that song has created, it's remarkable only for Price's two-note pendulum string sample and a hummed melody that could have been lifted from "Frozen". The young Madonna pops up repeatedly on Confessions, a foil to her older self. "How High" plumbs the motives behind her headline- and crotch-grabbing behavior of yore, but it only reveals how deeply she has embedded herself into the establishment. The album title recalls her contentious relationship to Catholicism on "Papa Don't Preach" and "Like a Prayer", and that pop visionary subversiveness makes her reverence to the Kabbalah seem tame by comparison. There's no conflict between her and her new faith, so there's no journey. As Confessions weighs down with more of her personal baggage, the songs become, despite Price's inventive and mercurial production, less inviting and less danceable, as if Madonna wants the dance floor all to herself.

The idea that Pitchfork will give a decent review is pretty laughable. Honestly I don’t expect anything above 6.0 - my prediction will be 5.5 or 5.6. The review is probably already written. I’m sure they’ll praise Stuart/her collaborators though. They’ll find ways to criticise her and say it’s not as inspired or as artistic as something that Beyoncé would come up with. And that it doesn’t live up to Confessions I even though they rated that only 6.2!

I’ve also listened to it more the last few days and have liked it more than on first listen. I’m looking forward to the album version!

Graham was fine. I think it was more the editing by the production team if anything.

That’s a good pick up! I had a look at the track listing to see if any of the song titles stood out. Initially I thought “Everything” or “Love Without Words” could’ve sounded like a collab but I think “School” could fit!

I wouldn’t necessarily go by that. Lola is confirmed to be on the album and she’s not credited yet so there is still a possibility a Kylie collab will be on it. Honestly why else would she appear in the interview for 5 mins of not to tease a collab?

Overall I think it was a good interview and gave a lot of exposure to the new album and film. I enjoyed the retrospective of her career and it was great for them to include the additional tidbits like Danceteria. I would imagine the average person probably doesn’t know so helps give context to the album. First part with Stuart was ok, she came across a kind of bored like she didn’t really want to be there and slightly stilted in parts. The Kylie part was a bit awkward. I know it was the productions choice to have the whole set up but I did not care for her complaining about the cocktail and wine. It made her seem uptight and rigid. The fawning over each other also came cross fake. I mean overall it was fine and I’m probably nitpicking but I feel like it was a missed opportunity. It had potential to be an interesting interview with them together. They could’ve discussed some of the similarities in their work and careers, challenges they have faced etc oh well. The final part after Kylie was the best and most interesting and where she finally really came alive. She seemed more engaged and relaxed and that really showed in her responses. I felt like it’s been forever since we’ve seen her like this. Hopefully we have some more interviews coming up.

Thank you!!

I’m not sure about some of the meltdowns. The song is perfectly fine and listenable. Yes it does sound different from the rest of CII but I think it works for FIFA. If I had to predict what the halftime will be I’d say it will be RML going into HU. Maybe with a bit of the “Thanks for coming” and “It all started like this” from IFSF. Also hopefully the song makes it onto the FIFA27 video game. That would definitely give her huge exposure as it’s one of the biggest video games in the world.