Zoals bijna gebruikelijk is met een Madonna release is er ook dit keer weer een releaseparty van de Rebel Heart Tour!!! Hieronder lees je alle belangrijke informatie.
Releaseparty Madonna Rebel Heart Tour Donderdag 14 september 2017 19:00 – 21:00 @ FAME Megastore
Wat kun je verwachten?
FAME in Madonna sfeer
Besloten event – alleen toegang met (gratis) ticket
Gratis fris en snacks (geen alcohol)
Veel Madonna producten te koop, inclusief merchandise
Vertoning van het concert op een scherm
Best Dressed Contest
Unieke give-aways bij pre-order (op volgorde van pre-order/ticketreservering op EventBrite)
Eén van de give-aways: de eerste 100 pre-orders via EventBrite ontvangen een gratis Madonna kalender!
LET OP!: Plek voor maximaal 200 personen
Om toegang te krijgen tot het event, moet je je pre-order voorafgaand aan het event hebben afgerekend.Het introducee ticket is alleen geldig in combinatie met een ticket voor een pre-order van de dvd of bluray van de Rebel Heart Tour. Oftewel één introducee per gekocht product (dus entree voor 2 personen per kassabon). Alleen toegang tot het event met pre-order ticket of introducee ticket. Maximaal 2 tickets per persoon kunt u aanschaffen in EventBrite.
Dit event is tot stand gekomen in samenwerking met: Universal Music, MadonnaUnderground en MadonnaNed
Following its success implementing facilities for a recent live Taylor Swift concert, Gearhouse Broadcast has been selected by York Studios in Melbourne to provide live music and OB production facilities for Madonna’s Rebel Heart tour concert at Sydney’s Qudos Bank Arena.
Gearhouse Broadcast’s sales director Manny Papas explained, “Stuart Gosling at York Studios in Melbourne contacted us after he saw what we’d produced for Taylor Swift and wanted the same high level of production.”
With facilities similar to the Taylor Swift event, the Rebel Heart tour production consisted of a mix of six Sony PMW-F55 large sensor cameras. Which were used for close up and stage shots while six broadcast cameras with box lenses were installed for longer coverage.
“The industry talked after the Taylor Swift gig and it was clear Gearhouse was the go-to company for live music concert OBs,” said York Studios EP, Stuart Gosling. “These gigs are now a very big deal as the finished product is recorded, packaged and sold worldwide so the quality of the production has to be incredibly high. I’m very happy to say Gearhouse delivered on all fronts.”
Gearhouse employed the same HD6 “Entertainment” supertruck that was previously implemented used on the Taylor Swift event as its production centrepiece. This time it housed Madonna’s creative team, the line cut, CCUs, three XT3 8-channel EVS live production servers and audio multi-track recording. This was alongside the six PMW-F55 cameras with Fujinon 19-90mm Cabrio zoom lenses, six broadcast cameras with box lenses, a SpiderCam installed with a Sony P1 and wide angle lens, two Libre Hot Heads also with F55s and a 32 foot techno crane.
Papas added, “The HD6 Entertainment supertruck is a vehicle specifically designed to handle large live concert gigs like this one. We also had to put film cameramen with focus pullers alongside broadcast guys which worked extremely well across both Saturday and Sunday shoots. The Rebel Hearts production was even more refined than previously as we were able to offer more options for how the SpiderCam and Libre Hot Heads were used.”
Gearhouse recorded the gig in 1080i/PsF 29.97 and ISO recorded every camera to EVS servers and hard drives.
York Studios EP Stuart Gosling concluded, “We were delighted with the end result. Witnessing Gearhouse’s production experience and quality of output it was clear to see they knew exactly what they were doing and how everything worked. It really was an excellent job.”
But based on a news report from Ghana, the Queen of Pop might already be laying the groundwork for a follow-up record.
According to 3News, the country’s own Qweci, a R&B singer formerly known as Ded Buddy, co-wrote a track with Madonna while in America, allegedly crafted by a producer on her last album.
“Back in the States, I co-wrote a song for American songstress Madonna which is not yet released…I wrote the song so it’s one of the songs which is actually being pushed to her right now to be released. I co-produced, co-arranged and stuff for Madonna’s album,” he told the news service in a story this week.
While the artist in question seems like a fairly obscure collaborator pick on Madge’s behalf — his latest activity appears to be an African language cover of Justin Bieber‘s Love Yourself on his YouTube — there might actually be something to this rumor.
After all, the True Blue superstar has spent the past two weeks in Africa with her children, getting hands-on with relief efforts in Kenya and meeting with political leaders, as well as visiting Malawi, where she established her Raising Malawi non-profit organization.
Is it possible that Madonna’s African outreach is now extending to her musical output? Could she possibly be releasing music to fundraise for her various causes? When it comes to Madonna, anything’s possible — just watch that Instagram feed very closely.
Thirty years after her first arena tour, a live performance by Madonna is still an event, a pilgrimmage for generations of the faithful.
And so on Saturday night, they came to Miami’s AmericanAirlines Arena to worship, a parade of supplicants in search of transformation, regeneration and a party. They came in old Madonna tour T-shirts and new (“Bitch I’m Madonna), gray hair and gay hair, a parade of women defying the 56-degree chill in taut leather pants, and men in impossibly skinny jeans. There were nuns and cheerleaders, even a random Pagliacci. Everywhere the community documented its glee with the selfie.
And Madonna did not disappoint, her arrival (at a relatively punctual 10:25 p.m.) coming in a slow descent from the ceiling in a cage, landing among a menacing battalion of bare-chested soldiers. She exited her enclosure in flowing black and red robes to the tune of a new song, “Iconic,” as the video, featuring an angry Mike Tyson, unfurled on a massive video screen that ran the length of the stage.
It was a tone that would rule the evening: Plenty of theater, fashion and energy, and less skin than we are used to seeing from Madonna.
Accompanied by a guitarist, drummer, a keyboardist, DJ and as many as 20 dancers on a stage with a catwalk that ran the length of the arena floor, the 57-year-old singer performed for more than two hours in a set that balanced music from her 2015 album “Rebel Heart,” with medleys of old favorites and one only-in-Miami surprise.
“Illuminati” and “Holy Water,” the two Kanye West songs on “Rebel Heart,” were represented, the latter a signature performance with Madonna strutting the catwalk with a phalanx of dancers in incomplete nuns’ habits and white panties who soon mounted a line of stripper poles. During the song, Madonna herself proved that she can still quickly scale a stripper pole. A heartwarming moment.
The crowd lapped up the high-energy provocativeness of Diplo’s “Bitch I’m Madonna” and “Unapologetic Bitch,” with Madonna accompanied on the latter by her daughter Mercy James. After giving a shout-out to all the “unapologetic bitches” out there, Madonna led the audience in a singing of “Happy Birthday” to Mercy James, who turned 10 with an onstage cupcake. An odd moment.
Fans of her older music were well served by poignant readings of “La Isla Bonita” and “True Blue,” with the Madonna solo on acoustic guitar. These songs, and a charming version of Edith Piaf’s “La Vie en Rose,” displayed a sturdy, clear voice that is elsewhere obscured in layers of technology for the club-oriented songs.
Dressed in colorful skirts and hats that vaguely suggested Frida Kahlo, Madonna and dancers did a spirited, flamenco-style medley of “Dress You Up (In My Love),” “Into the Groove” and “Lucky Star,” which drew a long standing ovation. “Like a Virgin” later was offered in an industrial mix, in which she showed off the old dance moves and, once over-heated, finally revealed some cleavage.
The singer seemed to relish this first show in Miami, where the tour was to have opened last summer (it will be repeated at AmericanAirlines Arena Sunday night).
“Me and Miami, we go way back,” she said to an avalanche of applause. Looking down in the audience, she called out some celebrity friends from the old days: “I see you Rosie, and Ingrid, Gloria … and Emilio.”
After returning to her acoustic guitar for a version of “Who’s That Girl?” – filling the darkened arena with a galaxy of cell-phone lights – she brought the house down with the first few words of her surprise: “It won't be easy, you'll think it strange …” The crowd stood and sang along throughout “Don’t Cry for Me, Agentina,” from her 1996 film about Eva Peron,“Evita.”
Madonna seemed genuinely touched by the response to a song that represents “a watershed moment in my life.”
“I’ve been dying to do that song for the entire tour, and that’s the first time I’ve done it,” she told the crowd, reminding them that Peron was “a woman of power, a woman who was controversial… Damn it, Eva Peron was a rebel heart!”
More than hit singles, albums are works of art that move you to think, reflect, dance and smile. Here are 10 albums that did that in 2015, according to Associated Press music editor Mesfin Fekadu.
1. “Blue Neighborhood,” Troye Sivan
Just as the battle for album of the year was going down between Kendrick Lamar and Adele, enter a multi-layered, experimental pop record by a newcomer from South Africa by way of Australia. Released on Dec. 4, Sivan’s “Blue Neighborhood” is remarkable from its opening number, the cool mid-tempo jam “WILD,” to the other 15 tracks best described as broody pop music. Though just 20 years old, Sivan’s voice is mature and striking, and it serves as the anchor for this collection of epic songs.
2. “To Pimp a Butterfly,” Kendrick Lamar
Lamar’s brave storytelling continues to push the envelope, and his sophomore album not only pushes him ahead of his rap peers, but his pop and rock ones, too.
3. “25,” Adele
I don’t need to explain this.
4. “Purpose,” Justin Bieber
Now this I need to explain. Bieber’s new album is outstanding and though he’s been singing for years, with “Purpose” he’s finally actually saying something.
5. “Rebel Heart,” Madonna
Most icons dropping albums in 2015 are misses, but Madonna’s “Rebel Heart” is a contemporary classic that puts albums from other female artists half her age to shame. It’s unfortunate that Top 40 radio stations didn’t play the many hits this album could have provided, from “Bitch I’m Madonna” to “Joan of Arc.”
6. “Carrie & Lowell,” Sufjan Stevens
Stevens’ indie folk adventure dubbed “Carrie & Lowell” is a must-listen that is highlighted by his breathy vocals.
7. “Hamilton (Original Broadway Cast Recording),” Various artists
The Broadway play “Hamilton,” written by Lin-Manuel Miranda, tells the story of Founding Father Alexander Hamilton through rap songs, R&B jams and pop ballads. It’s pure heaven.
8. “Sound & Color,” Alabama Shakes
Frontwoman Brittany Howard is such a powerhouse, both with her voice and with the pen. Songs like “Don’t Wanna Fight” and the untouchable “Gimme All Your Love” are groundbreaking and enjoyable.
9. “Reality Show,” Jazmine Sullivan
In her first album in five years, Sullivan returns with a confident R&B effort that is just as strong as her previous releases, thanks to groovy tracks like “Mascara” and “Let It Burn.”
10. “Unbreakable,” Janet Jackson
Miss Jackson’s return to music included a killer tour and an album full of upbeat and touching songs that will make you dance and cry.
'Kan ze het nog een beetje?', al dan niet meewarig uitgesproken. Daar ligt de nadruk op, als die vraag over Madonna en relevantie weer eens opkomt.
Ja, het wordt nog steeds een major event als ze een boertje in de media laat, ze ziet er nog stunning uit maar tegelijkertijd raakte het tweede concert van de zangeres in de Amsterdamse Ziggo Dome niet uitverkocht. En dan is Madge ook nog het slachtoffer van leeftijdsdiscriminatie. Dat geflirt met jongeren en jeugdcultuur, dat kon niet meer als zevenenvijftigjarige. Als wrede toevalligheid kwam de valpartij bij de Brit Awards eerder dit jaar. Op Twitter waren 'Madonna' en 'gebroken heup' trending. The Queen of Pop is een beetje Queen Mother geworden.
Moet je haar vertellen. Als opperheerseres van een massa Samoeraisoldaten zakt ze aan het begin van de show uit een kooi uit de hemel en zegt dat ze een revolutie wil. Ze wandelt met haar leger over een enorme catwalk en voor wie de boodschap van totale hegemonie niet had begrepen zingt ze achter elkaar Iconic en Bitch I'm Madonna. Een Bengaals vuurwerk aan dansers, videos en technische hoogstandjes komt op je af. Alles beweegt totdat je niet weet waar te kijken en je aandacht automatisch weer naar het middelpunt wordt getrokken: yep, zij daar.
Toegegeven, het visuele weegt (nog steeds) zwaarder. Als de zangeres met een Flying V gitaar om een rockversie van Burning Up doet, heeft zij de rockposes, haar gitarist de solo.
En in Holy Water, met als onderwerp ...ahem... vaginale secretie, zingt ze met paaldansende nonnen aan metalen crucifixen en stoeit met kinky discipelen op de tafel van Het Laatste Avondmaal. Heerlijk avondje heiligschennis, klassiek Madonna: tikkie subversief, sexy en ook geestig. Maar nergens krijg je het gevoel dat de dame in kwestie zichzelf geforceerd zit te herhalen. Ze is speels, flirt adrem met het publiek en geeft sommige van haar hits een make over. Werkt niet altijd. Like A Virgin is een duel tussen zangeres en dominante drumcomputer en in het latin blokje waarin Isla Bonita en Dress You Up voorbij komen, houdt ze zich vocaal net staande houden in het feestgedruis.
Soms geeft ze subtiel commentaar op standaard Madonnakritiek, de beperkte muzikaliteit bijvoorbeeld. Uit spottende ironie lijkt ze een ukelele, het kneuzigste snaarinstrument, te hebben uitgekozen om zichzelf in Edith Piafs La Vie en Rose te begeleiden. Het bijzondere is vervolgens niet dat je een zangers hoort die geen geweldig bereik of volume heeft, maar één die met haar beperkte talent, wat ze zelf onderkent, een maximaal doorvoeld klein liedje neerzet. Het beste uit jezelf halen kenmerkt haar, ook live. In een twee uur durende show liet ze zich als stralend machtig middelpunt bekijken. Het werkte. Niet omdat ze perfect is, maar zelfverzekerd over haar tekortkomingen.
It’s really hard to determine exactly which part of Madonna’s “Rebel Heart” tour, which hit San Jose’s SAP Center on Monday night, was the best.
Was it when she emerged in a cage, lowered from the ceiling, then pranced with dancers carrying big crosses and dressed like medieval Mongolian warriors, to open the show with “Iconic”?
Was it when she and her female dancers, attired like nuns from the head up, and below, wearing black bras and white panties with ruffles on their bums, slithered like strippers on poles on “Holy Water”? (The number also had an awesome, “Last Supper”-like banquet.)
Was it when she soloed on “Like a Virgin,” accompanied only by percussion, on a runway in the center of the arena, doing loose and soulful dance moves reminiscent of Michael Jackson?
Was it when she did a Spanish section, in toreador garb, with rallying bulls on “Living for Love,” followed by “La Isla Bonita,” then continued the theme (after a costume change into a long, flowing dress), with Latin-infused takes on “Dress You Up,” “Into the Groove” and “Lucky Star”?
Was it when she pushed her tuxedoed, top-hatted dancers down a slanted platform during “Material Girl”?
Was it when she strummed a guitar during “Rebel Heart” as numerous amazing drawn and painted images of her created by artists were projected onto huge screens at the back of the stage?
Or was it when she sang the line “Do you know the way to San Jose” and told the capacity multi-generational crowd, “It’s so good so see my old friends and my young friends” and “You’re the best audience in the world”?
The nearly two-and-a-half hour show, which started late at 10:15 p.m., was a visual and aural feast from start to finish.
At 57, the true blue (she did a breezy version of “True Blue” amid stacked tires under a crescent moon on a set that looked like a service station, and a whole car was pulled out for “Body Shop”), icon shows no signs of slowing down.
After 30-plus years in the business and holding the Guinness World Record for best-selling female artist of all time, she sounds and looks fantastic, from her gorgeous flowing mane to the high heels on which she moved with nary a misstep.
While the set list leaned heavily on 2015’s “Rebel Heart” songs, she did mix things up a bit, with “Frozen” from 1998’s “Ray of Light.”
As always, she was wonderfully in control, provoking with wild images addressing big themes: sex, religion, power and violence, and commanding her fans to lead, not follow.
This time, she tacked on happiness, and even smiled.
She’s not above having a good time, either. Decked out in stars and stripes, she encored with the anthemic “Holiday,” and exited the stage not unlike the way she entered, via a trapeze bar.
De 3 winnaars van de Rebel Heart tourposter zijn bekend! Bedankt voor alle leuke inzendingen en creativiteit. De 3 winnaars zijn geworden:
Patricia van den Ende Jeffrey Stevens Dimitri (DIM1998)
With two songs burning up the charts this summer, the "Lean On" hitmaker tells TIME about working with Madonna, Justin Bieber, Tinashe and 2NE1's CL.
He has nearly a decade of hits to his name, but Diplo still likes sneak up on listeners. “A lot of people don’t know what records I’ve worked on until they maybe check my Wikipedia or Google the production credits,” the 36-year-old DJ-producer says. “But that’s cool to me. It’s going to be a surprise.”
An even bigger surprise might be which artists Diplo hasn’t worked with by now. His credits include some of pop’s biggest names—Beyoncé, Britney Spears, Madonna—as well as artists you’ve probably never heard of. He teamed up with Iggy Azalea before she was fancy, helped Usher get his groove back and put Snoop Dogg in touch with his reggae side. As founder of indie label Mad Decent—the label that brought you “Harlem Shake”—he’s pushed global sounds into the mainstream thanks to his early work with M.I.A., his dancehall project Major Lazer and his embrace of Korean pop and Brazilian baile funk. Recently, he recorded with country trio The Band Perry and jammed out with Arcade Fire alongside EDM titan Skrillex, with whom he records under the name Jack Ü. There are few sonic threads that tie his work together, but Diplo’s more than okay with that—he knows even the most accomplished producers must evolve or be forgotten. “If I had a signature sound,” he says, “I think that would be the end of me.”
These days, the man born Thomas Wesley Pentz is a little harder to miss thanks to two tracks that have been all over the radio this summer. First, sitting at No. 4 on the Hot 100, is Major Lazer’s “Lean On.” The collaboration with DJ Snake (“Turn Down for What”) and Danish singer MØ (whose prior claim to fame was a semi-viral Spice Girls cover last year) has already topped the charts in more than a dozen countries. Yet it almost wasn’t a hit at all: Diplo, who first wrote the song with MØ as a slow reggae track, unsuccessfully shopped the beat to the camps of Nicki Minaj and Rihanna. He calls their rejection “a blessing in disguise.” “[MØ] sounds better than anybody was going to sound on that record,” Diplo says. “All we want to do is make the records feel like classics, even though they’re feeling progressive and strange to a normal ear.”
Then, in the No. 12 spot, there’s Jack Ü’s Justin Bieber duet “Where Are Ü Now,” which gave Bieber some cool cred following a period of unfavorable tabloid coverage. Working with Bieber may not seem like a creative risk given that he’s one of the biggest pop stars in the world, but the track’s most distinguishing sound—a noise that resembles both a flute and a boiling tea kettle but is actually a pitched-up sample of Bieber’s voice—doesn’t exactly scream mainstream, either. “We opened him to a lot of new ideas,” Diplo says. “His whole management team, his whole team of writers, [they’re] like, ‘Woah, we don’t have to do this formulaic music anymore.'”
Both songs lit up the charts within a few months of their release—a relatively quick rise for a producer more used to sleeper hits. “Paper Planes,” his breakthrough collaboration with ex-girlfriend M.I.A., took off when it was featured in the Pineapple Express trailer more than a year after its release. Major Lazer’s “Pon De Floor” was out for two years before Beyoncé sampled it on her 2011 single “Run the World (Girls).” More recently, his Sia collaboration “Elastic Heart” debuted at No. 17 on the Hot 100 in early 2015 after initially appearing on The Hunger Games: Catching Fire soundtrack in 2013. “Records are like seeds you plant,” he says. “You just throw them in places and see what happens and see which ones grow.”
In the past year, he’s been able to reap the rewards. In February, he scored a rare Missy Elliott appearance on a remix of his and Skrillex’s Kiesza collaboration, “Take Ü There.” “I have no idea how we got Missy Elliott to do that song,” he says before crediting Atlantic Records, home to both Elliott and Jack Ü. “They don’t like to help us with anything it seems, but that was the one request they took seriously.”
He also scored an affirming co-sign from Madonna, who sought Diplo out for a fresh new sound while making this March’s Rebel Heart. The storied queen of reinvention gave Diplo full permission to go left-field on songs like “Bitch I’m Madonna,” which features production work from SOPHIE, an affiliate of London’s enigmatic PC Music collective. “I think Madonna’s manager was like, ‘Who is this person?’ and I was like, ‘Trust me, this is very cool to have him be part of this song,’” Diplo remembers. “PC Music is a really post-modern attempt at pop. It’s something the kids are generating because everything is so clean as far dance music [is concerned].”
One of Diplo’s most buzzed-about collaborators is singer-rapper CL, one fourth of the mega-popular South Korean girl group 2NE1 who now shares management with Bieber. Last week, she and Diplo dropped the video for their song “Doctor Pepper,” and CL has also worked with Skrillex and Blood Diamonds ahead of an EP due this fall. Her solo material is decidedly more hip-hop-oriented than her work with 2NE1, Diplo says, but a few songs they’ve cooked up reflect her pop roots, including “Birthday,” half of which is delivered in Korean, and “One,” which he calls a “real pop, teenage-graduation kind of fun kid record.”
“K-pop is a weird term because K-pop has everything—rap records, it’s very pop-sounding, there are really boy-band sounding records,” Diplo says. “It’s going to be [labeled] K-pop because she’s doing it, so it’s going to be coming from another place and there’s going to be Korean lyrics. But for the most part it’s eclectic. She’s very rap-leaning, she’s very fashion forward. She’s like the Nicki Minaj of that world.”
Also coming sooner rather than later is his work with R&B upstart Tinashe. Diplo says one song he recorded with the “2 On” singer will be out by the end of the summer before her banger-filled sophomore LP arrives later this year. “She’s also an international act—she tours all through Europe, she goes to Africa, she goes to Asia—and when she performs live, she wants to keep it uptempo,” he says. “We’re giving her records that feel good. She’s beautiful, she can sing really well, she can dance and she lives right by my studio in Burbank, so it’s not hard to track her down. I really want to do more with her—I really believe in her as an artist.”
Major Lazer touring commitments have kept Diplo from being too involved in the upcoming Bieber album—expect a few more songs like “Where Are Ü Now,” he says—but he still squeezes in sessions whenever he can. After our interview, he’s set to meet up with Sean Paul to go over a few track ideas, and he and producer pal Benny Blanco (Maroon 5, Kesha) are scheduled to finish a Gwen Stefani track for Major Lazer the day after. He has a studio in Burbank, Calif., which he shares with producer Ariel Rechtshaid (Haim, Sky Ferreira), but Diplo says he doesn’t even own a house—he lives out of AirB&Bs and hotels and works from his laptop while traveling.
“90 percent of the records I make are spontaneous,” he says. “Take Ü There” was recorded with Kiesza in a hotel room and mixed the following week; Ellie Goulding, who appears on Major Lazer’s “Powerful,” approached Diplo via direct message on Twitter; Ty Dolla $ign, who recently jumped on a remix of “Lean On,” is another friend and collaborator he met through Twitter.
“The only motivation is how crazy can we get, how far can we get as a producer, how unique can we make it sound,” Diplo says. “When we think about big records, a lot of producers are thinking of how to make it as standard as possible. I think those days are gone. I think you have to surprise the audience in 2015.”
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