★ ★ ★ 1/2 out of 5
The “Queen of Pop” moniker was rightfully bestowed on Madonna for a reason. With eight number one albums and 38 top ten hits (including 12 #1s) under her belt since the start of her decade-spanning career, the New York City-native has consistently pushed the boundaries of how the American audience perceives pop music.
Following 2015s underappreciated Rebel Heart, the artist traveled to Portugal and quickly became immersed in the musical experience of the country. Those new global influences and connections are all heard on her genre-bouncing 14th studio album Madame X.
Preceded by Maluma-assisted lead single “Medellín” and official second single “Crave” alongside rapper Swae Lee, the album finds Madonna singing in English, Spanish, and Portuguese as she touches on controversial subjects of gun control, religion, and social injustice in trademark unapologetic fashion and with the help with a few more featured guests.
Lead single “Medellín” finds Madonna and duet partner Maluma in a dream Latin pop haze, both trading bilingual verses about past relationship troubles and a desired escape to Maluma’s Colombian birthplace. The track may not be the explosive, dancefloor-ready lead single many had hoped for, but it is certainly a creative grower.
Latin flavors influence other album additions, as with the Portuguese percussion inclusion on “Batuka”, a track that appears to be a direct critique of Donald Trump and his destruction, alongside the Batukadeiras Orchestra. Madonna and collaborator Anitta cover “Faz Gostoso” by Portuguese artist Blaya, an ode to a sexual rendezvous, while Maluma pops up once more for “Bitch I’m Loca”, a predominately-Spanish affair where the artists portray Mr. Safe and Mrs. Crazy in the bedroom. “I like the way you move and you know you're just my type, I guess you like a crazy girl but it's alright,” Madonna sings.
And while mid-tempo “Crazy” and “Killers Who Are Partying” both incorporate the Portuguese language as well, the efforts have a much different overall vibe. On the former, Madonna puts her lover on a pedestal, only to be played and lied to. Neither things the artist takes lightly, ultimately ending the relationship. On the latter, the artist sympathizes with minorities across the globe. The LGBTQ community, the poor, Native Indians, women, all their struggles highlighted.
Instead, Madonna hopes for peace around the world. On cinematic “Come Alive”, the artist appears to refer to herself as God, looking down at the chaos. The pop-tinged effort is one of the continuously infectious, carried by an optimistic message of hope. “Extreme Occident” is a reflective, narrative piece, detailing how the artist’s life has come full circle, learning from her past to feel content with her current identity.
Promotional collaboration “Future” featuring Quavo is not as successful. The reggae-infused, woke anthem lacks substance and inspiration that by the time the repetitive chorus rolls around, listeners are just not interested enough to continue on the journey.
Previously performed under the name “Beautiful Game” at the Met Gala 2018, experimental ballad “Dark Ballet” begins as a piano-driven effort as Madonna sings of rejecting society norms in order to speak her mind. From there, the effort shifts into an AutoTune interpolation of “Dance of the Reed-Flutes” from The Nutcracker. “People tell me to shut my mouth, that I might get burned, keep your beautiful lies, 'cause I'm not concerned," she sings.
“God Control” is a grim yet shining moment for the album. Touching on failed gun reform efforts and a sense of hopelessness falling over the country, the juxtaposing vibe of the disco-pop production creates a sense of being lost in the chaos. The effort starts slow and ominous, and then unexpectedly shifts into an uptempo dance break where the artist pleads for listeners to wake up and take action.
Gun reform also serves as the base for closing ballad “I Rise”. Opened by an impassioned speech from Parkland shooting survivor Emma Gonzalez, Madonna sings of getting back up on her feet after every fall. The dismissals, the naysayers, none strong enough to keep her down. “There's nothin' you can do to me that hasn't been done, not bulletproof, shouldn't have to run from a gun,” she sings on the first verse.
That leaves us with “I Don’t Search I Find” and “Looking For Mercy”. While the former’s disco/house influences sound out of place, they are certainly a crowd-pleaser. Madonna has finally found peace in another, seemingly content. The latter finds the artist acknowledging and working to make up for her flaws, asking for sympathy from a higher power.
Madame X is a polarizing release. Madonna has consistently and successfully reinvented her image and sound over the years, she’s never been one to stay confined to any sort of artistic boundaries. While the intention of the new music comes from the heart, it’s the aggressive, unapologetic attitude that weighs some of the material down. However, most of the contents find a way to shine of their own. The album may not be the most cohesive effort of Madonna’s career, but praise is certainly deserve for expanding the definition of pop music. The Spanish influences and focus on social issues heightens the urgency and overall impact. For album number fourteen, what else did you want from an artist who has already done it all?
Tracks to Hear: "God Control", "Crave", "Come Alive", "I Don't Search I Find", and "I Rise"
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