Madonna - Confessions II OUT NOW (1 Viewer)
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straightorbroken
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I would suggest she goes back, and listens to that song, and really know the melody, and stick to it.
Possibly the World Cup performance may fuel some physicals next week?
2015-2020 still had a bit better physical sales after week one for most heritage acts with supermarkets still regularly stocking them and less variants skewing week one than we see these days, so acts often held up better initially. These days that type of run tends to be long gone, so if she can keep her streaming decent she may get a month or so in the chart which is great these days outside of a streaming based act.
FannyFaudrey
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Down to #13 in the US in the HitsDailyDouble building chart.
lolly
Rowena? From Kuwait?
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I very much enjoyed this article. And it very much gave me pause for reflection.
www.designscene.net
DORIC ORDER: Madonna Does Not Owe You Silence
Madonna returns with Confessions II and turns age criticism into another argument about visibility power and the refusal to disappear.
www.designscene.net
supermassive
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Quite surreal to think Sunday be her biggest ever audience at 67? Not even considering Super Bowl in this conversation, but likely more than both Live Aid?
straightorbroken
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Ideally a megamix: Read My Lips > Vogue > Danceteria > Hung Up
vespertine
God damn it Claude
For months now all we've heard about is this World Cup and FIFA shit and honestly if Madonna's name weren't tied to this in some way I wouldn't give a fuck about any of it. 
We've been subjected to this relentlessly for what feels like forever and these assholes can't air a 20 minute Half Time show because they need to talk about what everyone just watched (as if they're not all going to talk about it MORE once it's all over!)
Next!
I hope when Madonna comes out she drops a stadium sized purple veil onto the crowd.
We've been subjected to this relentlessly for what feels like forever and these assholes can't air a 20 minute Half Time show because they need to talk about what everyone just watched (as if they're not all going to talk about it MORE once it's all over!)Next!
I hope when Madonna comes out she drops a stadium sized purple veil onto the crowd.
Last edited:
vespertine
God damn it Claude
On another note, this is the shot. That blue look is everything on her, right down to the eyeshadow.
supermassive
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We were robbed off the Marble Arch pussy 
When Warner’s marketing team learned Madonna was planning another album, the reaction was excitement laced with fear. “We were also absolutely terrified,” Warner’s head of marketing Natasha Billing admitted at a recent London industry talk. Her description of the artist was unusually candid: “If you can think about the most powerful, opinionated creative director you have ever worked with — that’s kind of her.” Every idea ended at one desk: “The signoff process internally ultimately ends with Madonna. If she doesn’t like it, she won’t do it.”
The campaign was developed under heavy NDA, with special project code names, designed to hold its secret until Coachella. Then Coachella happened — and Madonna detonated her own launch plan. “The genie was out of the bottle,” Billing recalled. “All of our plans for the release of the first single were thrown out of the window completely, because Madonna basically decided she wanted to release the work into the world almost immediately.” Half the assets weren’t ready. “The drive was about: go.”
What was sacrificed? Labels normally pitch tracks to DSPs — the streaming platforms — weeks in advance to secure playlist placement, alongside pre-saves and synchronized asset drops. For “Bring Your Love”, that runway simply didn’t exist: “best practice around pitching to DSP partners” went out of the window. The track went from surprise Coachella debut to release in roughly two weeks — and still hit No. 1 on iTunes within hours.
The chaos produced one of the era’s best moments. With everything re-synced around wherever Madonna physically was, the team caught a window when she was in London to have her join the fly posting herself, pasting her own campaign posters onto the city’s walls — with East London and Brick Lane among the most saturated areas.
The organizing idea was “Confessions After Dark,” born from a detail Stuart Price shared at a listening party: Madonna insisted on making the album at night, because it’s meant to be experienced as a set, in a club environment. So the campaign went out at night too.
And here’s the fascinating part: the agency revealed the raw pitch list, exactly as the ideas first came out of the room. “Why don’t we turn Oxford Circus into a nightclub? Why don’t we use the Grindr app to get users to post confessions at night? Why don’t we project those confessions onto the walls of LGBTQ+ nightclub scenes? Why don’t we start thinking about the new way to start a night being a drink that looks deceptively like a disco ball?” Then the admission: “Now, not all of these things happened.” Most didn’t take shape as pitched — but knowing they existed is half the fun, and let’s say it plainly: Oxford Circus turned into an open-air nightclub would have been genuinely spectacular. The confessions concept survived, mutated — collected via QR code on “confessions vans” circling Soho during Pride, and projected onto Madame Tussauds. The nightclub concept condensed into Club Confessions: London, the Grindr-powered launch party at Magazine London on July 2, where guests entered through giant inflatable legs straddling a speaker and Madonna appeared at midnight announcing “Mother is here.”
One landmark idea made it through almost intact. “We even went so far as to put Madonna’s legs, very avant-garde, onto some major London landmarks.” They wanted Marble Arch and didn’t get it. So at 11pm on release Friday, just before Pride, the boombox-legs image was projected onto “the second best arch in London”: Wellington Arch. Around it, the after-dark slate went live — Old Street Roundabout, the Soho vans, the Tussauds projections — while an interactive map plotted Madonna’s route from Heathrow against every outdoor site and gay venue in the city, so both the queen of pop and her actual audience would see the advertising.
As Billing put it: “Playing it safe has never been the option… it’s certainly not something that Madonna would have wanted us to do.”
When Warner’s marketing team learned Madonna was planning another album, the reaction was excitement laced with fear. “We were also absolutely terrified,” Warner’s head of marketing Natasha Billing admitted at a recent London industry talk. Her description of the artist was unusually candid: “If you can think about the most powerful, opinionated creative director you have ever worked with — that’s kind of her.” Every idea ended at one desk: “The signoff process internally ultimately ends with Madonna. If she doesn’t like it, she won’t do it.”
The campaign was developed under heavy NDA, with special project code names, designed to hold its secret until Coachella. Then Coachella happened — and Madonna detonated her own launch plan. “The genie was out of the bottle,” Billing recalled. “All of our plans for the release of the first single were thrown out of the window completely, because Madonna basically decided she wanted to release the work into the world almost immediately.” Half the assets weren’t ready. “The drive was about: go.”
What was sacrificed? Labels normally pitch tracks to DSPs — the streaming platforms — weeks in advance to secure playlist placement, alongside pre-saves and synchronized asset drops. For “Bring Your Love”, that runway simply didn’t exist: “best practice around pitching to DSP partners” went out of the window. The track went from surprise Coachella debut to release in roughly two weeks — and still hit No. 1 on iTunes within hours.
The chaos produced one of the era’s best moments. With everything re-synced around wherever Madonna physically was, the team caught a window when she was in London to have her join the fly posting herself, pasting her own campaign posters onto the city’s walls — with East London and Brick Lane among the most saturated areas.
The organizing idea was “Confessions After Dark,” born from a detail Stuart Price shared at a listening party: Madonna insisted on making the album at night, because it’s meant to be experienced as a set, in a club environment. So the campaign went out at night too.
And here’s the fascinating part: the agency revealed the raw pitch list, exactly as the ideas first came out of the room. “Why don’t we turn Oxford Circus into a nightclub? Why don’t we use the Grindr app to get users to post confessions at night? Why don’t we project those confessions onto the walls of LGBTQ+ nightclub scenes? Why don’t we start thinking about the new way to start a night being a drink that looks deceptively like a disco ball?” Then the admission: “Now, not all of these things happened.” Most didn’t take shape as pitched — but knowing they existed is half the fun, and let’s say it plainly: Oxford Circus turned into an open-air nightclub would have been genuinely spectacular. The confessions concept survived, mutated — collected via QR code on “confessions vans” circling Soho during Pride, and projected onto Madame Tussauds. The nightclub concept condensed into Club Confessions: London, the Grindr-powered launch party at Magazine London on July 2, where guests entered through giant inflatable legs straddling a speaker and Madonna appeared at midnight announcing “Mother is here.”
One landmark idea made it through almost intact. “We even went so far as to put Madonna’s legs, very avant-garde, onto some major London landmarks.” They wanted Marble Arch and didn’t get it. So at 11pm on release Friday, just before Pride, the boombox-legs image was projected onto “the second best arch in London”: Wellington Arch. Around it, the after-dark slate went live — Old Street Roundabout, the Soho vans, the Tussauds projections — while an interactive map plotted Madonna’s route from Heathrow against every outdoor site and gay venue in the city, so both the queen of pop and her actual audience would see the advertising.
As Billing put it: “Playing it safe has never been the option… it’s certainly not something that Madonna would have wanted us to do.”
Iguana
Like beautiful robots dancing alone
"and still hit No. 1 on iTunes within hours."
FannyFaudrey
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Danceteria up 20 places to #9 in the UK airplay chart!
Eddie
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Padam was a begrudging add, let's be real. It had already made waves before Radio 1 deigned to playlist it.
Halli
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I think this is a begrudging add too. Unless it rises.
straightorbroken
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Begrudgingly.
Halli
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Yep and R2 A-listed it. They had the pressure before the release from the team, they liked the track, but they knew what they were doing playlisting it.
lolly
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Do we have the sales/stream breakdown?
straightorbroken
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Jo expecting a different answer and quickly going along with that.
ExcitableWoof
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At this point I'm not at all sure what Radio 1 thinks it is defending with its precious lists - as has been noted on this forum elsewhere, there is a stupid amount of old shit clogging up the top 100 singles and that isn't going to change if they continue to be sniffy when great work by more established/older artists is released. They are pissing the wind and being part of the problem when they refuse to get behind real moments for artists like MAdonna and Kylie.
Iguana
Like beautiful robots dancing alone
I just had such a moment to One Step Away merging into Bring Your Love. So good!