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Michael.

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    Madonna at the 2026 VMAS!!!

    in Confessions II discussion

    Posted

    Great she has picked up some awards but I don’t think she thinks it’s too big a deal. When she won for best Dance she asked what it was for 😂 I think she appreciates it but she just looks like she’s having fun. I’m she’s def giving a kooky dgaf attitude. Hopefully that doesn’t overshadow the more thoughtful comments.

    2026 MTV VMAs: Madonna leads with 13 nominations and is the opening performer!!!

    in Confessions II discussion

    Posted

    I’m so excited but also so nervous. The expectation is off the charts. Social media is already going off.

    Some of her most iconic performances haven’t been physically demanding so I’m not looking for BA EY. I’m thinking VMA Vogue, GS JML. CT FL. The Time Square launch for CII was overall pretty great but there were a couple of moments that didn’t translate great.
     

    I can’t wait though. Madonna at the VMAs 🥰🥰🥰

    FIFA Half Time Show

    in Confessions II discussion

    Posted

    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.

     

     

    Your personal album reviews of “Confessions II”

    in Confessions II discussion

    Posted

    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!

    How are you buying/consuming CII?

    in Confessions II discussion

    Posted

    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.

    Confessions II

    in Confessions II discussion

    Posted

    2 minutes ago, smirnoff_ice said:

    I don’t think transitions are there on Apple Music 

    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.

    Confessions II

    in Confessions II discussion

    Posted

    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!!!

    Confessions II — Professional Album Reviews

    in Confessions II discussion

    Posted

    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.

    Confessions II — Professional Album Reviews

    in Confessions II discussion

    Posted

    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! 

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