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• August 28, 2006 Setlist

Madonna Setlist at Palais Omnisports de Paris-Bercy, Paris, France

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• Future Lovers ( with samples of "I Feel Love" by Donna Summer ) Play Video
• Get Together Play Video
• Like a Virgin Play Video
• Jump Play Video
• Song played from tape Confessions ( Video interlude ) Play Video
• Live to Tell Play Video
• Forbidden Love Play Video
• Isaac Play Video
• Sorry Play Video
• Like It or Not Play Video
• Song played from tape Sorry ( Video interlude, remix ) Play Video
• I Love New York Play Video
• Ray of Light Play Video
• Let It Will Be Play Video
• Drowned World/Substitute for Love Play Video
• Paradise (Not for Me) Play Video
• Song played from tape The Duke Mixes the Hits ( Video Interlude; contains excerpts from "Borderline", "Erotica", "Dress You Up", and "Holiday" ) Play Video
• Music ( Performed as "Music Inferno", a mashup of "Music" and "Disco Inferno" by The Trammps ) Play Video
• Erotica ( with original lyrics, known as "You Thrill Me" ) Play Video
• La Isla Bonita Play Video
• Lucky Star Play Video
• Hung Up Play Video

Edits and Comments

11 activities (last edit by event_monkey , 18 Oct 2023, 17:29 Etc/UTC )

Songs on Albums

• Forbidden Love
• Future Lovers
• Get Together
• I Love New York
• Let It Will Be
• Like It or Not
• Paradise (Not for Me)
• Drowned World/Substitute for Love
• Ray of Light
• La Isla Bonita
• Live to Tell
• Like a Virgin

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• Aug 24 2006 Forum Horsens Outdoor Horsens, Denmark Add time Add time
• Aug 27 2006 Palais Omnisports de Paris-Bercy Paris, France Add time Add time
• Aug 28 2006 Palais Omnisports de Paris-Bercy This Setlist Paris, France Add time Add time
• Aug 30 2006 Palais Omnisports de Paris-Bercy Paris, France Add time Add time
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Madonna: The Confessions Tour

The Confessions Tour is the second live album by American singer and songwriter Madonna. It was released on January 26, 2007 by Warner Bros. Records. Directed by Jonas Åkerlund, the album ch... Read all The Confessions Tour is the second live album by American singer and songwriter Madonna. It was released on January 26, 2007 by Warner Bros. Records. Directed by Jonas Åkerlund, the album chronicles Madonna's 2006 Confessions Tour. It was recorded at Wembley Arena during the Lond... Read all The Confessions Tour is the second live album by American singer and songwriter Madonna. It was released on January 26, 2007 by Warner Bros. Records. Directed by Jonas Åkerlund, the album chronicles Madonna's 2006 Confessions Tour. It was recorded at Wembley Arena during the London dates of the tour, and was released in both CD and DVD format. The DVD contains the ent... Read all

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• Trivia The "Live to Tell" performance contains an uncredited sample from the song "Tears" by Giorgio Moroder , taken from his album "Son of My Father" released in 1972.
• Connections Featured in Somewhere Over the Rainbow (2014)
• Soundtracks Future Lovers/I Feel Love "Future Lovers" written by Madonna and Mirwais Ahmadzaï "I Feel Love" written by Donna Summer , Giorgio Moroder and Pete Bellotte Performed by Madonna

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• Dec 25, 2006
• What show date did Madonna not talk about George Bush during ILNY?
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• November 22, 2006 (United States)
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Television Review | 'The Confessions Tour'

Listen for the Music, Look for the Muscles

By Ginia Bellafante

• Nov. 24, 2006

Will Madonna ever get old? She may acquire more gravitas, continue to mature emotionally and find greater meaning in her work with kabbalah, but will she ever come to look arthritic, puffy, menopausal? This increasingly seems doubtful. Madonna no longer reinvents, she maintains.

It is the sheer spectacularity of her physical form, the near menacing force of it, and largely that alone, that sustains your attention in “Madonna: The Confessions Tour, Live From London,” the two-hour film of a concert she gave at the Wembley Arena in London this past summer, which was broadcast on NBC Wednesday night and will be shown on Bravo next week.

With each tour Madonna has embarked on in recent years, her deltoids appear to have grown more regally expansive, robust and winglike. Toward the end of the Wembley show, part of a worldwide tour pegged to her album “Confessions on a Dance Floor,” Madonna sings one of the hits from it, “Hung Up,” a song about a woman who migrates between boredom and agony as she waits for a man to call. But who could this man possibly be? Unless Madonna is expecting a call from Wladimir Klitschko about meeting him in the ring, the sight of her singing a song like this, in a leotard no less, leaves you feeling as you might if you were forced to watch Ethel Merman trying to impersonate Chet Baker.

The show pays tribute to Madonna’s current and former selves and does so with dizzying jump cuts and all the spectacle — the acrobatics, playground sets, endless costume changes — that have become the hallmark of her concerts.

Today, Madonna, who is 48, is a concerned citizen of the world. She has made African AIDS orphans one of her causes and wants to adopt a child from Malawi, causing some controversy. At one point in the concert, she sings “Live to Tell” against the backdrop of images of children in Africa and a speeding tally of the number who have been left parentless. But here again, her perfect musculature produces a kind of dissonance. Madonna doesn’t have an altruist’s body, she has a denier’s. What you’re tallying in your head when you watch her dance with the strength and agility of a 19-year-old are the number of hours she spends each day practicing Ashtanga yoga, running hills and bench-pressing the weight of a Regency table. You are tallying all the calories that Madonna is not eating.

In addition to keeping up her legendary physical regimen, Madonna now also rides horses on her country estate in England. Some critics have seen this as another aspect of her Anglophilic pretensions, but what is really surprising is that it took her so long to cotton to a sport so steeped in the dynamic of submission and control. Madonna the equestrian seems the most inevitable Madonna of all. Perhaps realizing that on some level, she opened her Wembley show looking as if she were about to ride in a reimagining of Ascot. She danced around, directing men on all fours before she rode an apparatus meant to look like an electric horse.

Madonna travels backward in the show to the beginning of her career, the time before she was encumbered with the need to do good. The documentary “I’m Going to Tell You a Secret,” which follows her on her 2004 world tour, reveals a Madonna who wants to learn all the time, who hugs her assistant and dancers, who wishes she’d been nicer to people when she was young. Perhaps she knows that many in her audience miss the Madonna of so many Madonnas ago, the one who refused refinement and probably thought Oxford was just an insurance company.

“The Confessions Tour” gets deeper and deeper into her early disco years as it progresses, with Madonna getting in and out of a “Saturday Night Fever” tuxedo and Jane Fonda-esque aerobics gear before it’s all over, as if to tell us that sometimes, yes, she misses herself too.

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The Confessions Tour (Live)

26 January 2007 15 Songs, 1 hour, 24 minutes ℗ 2007 Warner Records Inc.

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The Confessions Tour

By Stephen M. Deusner

Pop/R&B

Warner Bros.

February 23, 2007

Recorded at a 2006 show in London, The Confessions Tour is Madonna's second concert CD+DVD set in eight months. The first, I'm Going to Tell You a Secret, supported her American Life album and had the distinction of being both the first live album of her quarter-century career and her greatest musical fiasco. While similar in staging, this new set supports a much better album, 2005's stronger Confessions on a Dance Floor , and that alone makes it the better of the two. Viewed together-- their quick succession makes it impossible to assess them separately-- this pair of releases signals the beginning of a new stage in Madonna's career, one in which director Jonas Åkerlund has become more crucial than musical producer Stuart Price, and music has become secondary to the dizzying, dazzling, slightly nauseating spectacle of her live show.

That spectacle has eclipsed music in the Madonnaverse is readily apparent on the Confessions tracklists. The DVD contains a full concert, with 21 tracks running more than two long hours. The CD has a mere 13, including two versions of "Sorry" and several of Stuart Price's instrumental interludes, which demand visuals to explain what the hell is going on. Instead of "Live to Tell", the CD contains songs like "Confessions", during which Madge's dancers describe life-changing experiences. One tells of an abusive father, another of her belief in angels, the third of his "decision to gangbang." Without the performers' hyperactive and not unimpressive moves, the song sounds aimless and exploitive, group therapy set to music.

Instead of presenting herself as the art-school activist of Secret (which was recorded during an election year, after all), on Confessions Madonna plays the part of a self-help guru-- Tony Robbins with a Farrah 'do and an ugly leotard. The recurring theme is self-empowerment, which she means to be universal, but which ultimately is specific to Madonna. On the lively "Jump" she extols the virtues of self-motivation and sisterhood. She confidently masters the simplest guitar riffs on "I Love New York" and "Drowned World" and doesn't care what you think of her clumsy dances moves.

Granted, empowerment is easy when you've got thousands of fans applauding your at every turn. And why shouldn't they? Madonna has the power to put on a ludicrous, obscenely expensive stage show-cum-counseling session year after year, as well as the brand name to make Confessions one of the top-grossing tours of 2006. She has the body of her much younger self, so she can still rock a leotard or a feathered collar, no matter how ill-advised such wardrobe choices may be. And her voice has aged surprisingly well. She can't sell the girlish giggle of "Lucky Star" or "Like a Virgin", but she's got a deeper, heartier range that works best on ballads like "Drowned World/Substitute for Love" and "Paradise (Not for Me)". We are left, however, to imagine how commanding Madonna would sound on a good ballad, like "Oh Father" or "Something to Remember". "Live to Tell" might have fit the bill here, but she delivers it perched uncomfortably on a mirror-covered cross, which limits her breathing and phrasing as well as our ability to take her seriously.

Let's talk about that disco crucifixion. Nothing says "I've got a messiah complex" like performing on a cross, and this notorious routine, which begins as a comment on the travails of fame, sure enough turns into a plea to end AIDS in Africa. That's a serious issue, and it deserves better than this confused, self-aggrandizing pitch. Nevertheless, this segment will likely be a selling point for many fans and bystanders alike: It was cut from the original NBC broadcast of the show following the expected avalanche of Catholic uproar and outraged punditry.

But it's a polite curtsy compared to what happens when Madonna's politics go global. During "Forbidden Love" two male dancers appear with symbols of Islam and Judaism painted on their abdomens, locking arms stoically in a choreography that makes them look like two children fighting in the backseat. But that's just silly, not insulting. The show's nadir comes during "Isaac". Centerstage stands a giant cage in which a burqa-clad dancer twirls and gyrates. When the gate lifts, her cage dance becomes a striptease. From one oppression to another...

As always, Madonna is at her best when the stakes are low and the music frivolous, an approach that seems natural for the frothy disco of Confessions on a Dance Floor . The live show's best-- and consequently most meaningful-- moments come during the closing disco-kitsch set, which begins with a mash-up of her underrated single "Music" and the Trammps' "Disco Inferno" and closes with a medley of "Lucky Star" and "Hung Up". Despite the tacky travel-agency brochure vibe of "La Isla Bonita", these songs achieve the sort of gaudy pop transcendence that justifies the month's-pay ticket price.

Still, it's too little too late to salvage Confessions , which, with Secret , feels like a failure of imagination. Åkerlund gives you everything you don't want from a concert film: incessant quick cuts that you give you no sense of space or stage, overdubbed music and vocals that give you no sense of performance, and only a few shots of the audience to gauge their excitement. But Madonna herself is mostly to blame. On stage, she draws from a deep well of amazing pop songs and has the money and power to reinvent this sort of traveling circus. So why not try to break down the wall between performance and audience and hold a gigantic rave? Or, better yet, launch a small-club tour and share the spotlight with some musical collaborators. Work with Timbaland or even Xiu Xiu. Let other people write songs for you. Reinvent yourself for real this time. Until Madonna comes up with something completely new and makes her shows as exciting to watch as they are to perform, her spectacle will never be as fun or as world-changing as her music.

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