“I thought disco died a long time ago. But apparently Madonna has brought it back” writes Jane Stevenson on Jam! today reporting from the first “Confessions Tour” show in Montréal.

“What else could explain The Material Girl emerging from a giant mirrored disco ball to kick off the only Canadian stop of her heavily retro Confessions tour last night at Montreal’s Bell Centre.

And Madge, who has never had a confidence problem but is competing with Formula One race-car drivers in town this week, eventually asked: “Who’s more exciting – me or the Grand Prix?”

The overwhelming response from 17,000 screaming, dancing, and singing fans — who snapped up tickets in minutes — indicated the 47-year-old pop queen won that contest hands down.

Naturally, anticipation for The Material Girl’s first visit to Montreal in 13 years – last night’s sold-out show will be followed by a second one tonight – was high.

And the fact that she isn’t making a stop in Toronto on her latest trek, which kicked off May 21 in Los Angeles, meant there were plenty of transplants from T.O. in the crowd.

Click on the Full Article link below to continue reading this review from Jam! Showbiz.

Opening her two-hour show with the pulsating Future Lovers from her latest studio album, Confessions On A Dance Floor, Madonna was a vision of kinky equestrian style.

She emerged from her aforementioned disco ball at the front of a long catwalk that extended on to the floor from her stage — making repeated visits there all night much to the delight of fans — in a top hat, complete with a horse’s tail, a snug-fitting riding outfit and a riding crop in hand.

Her dancers, meanwhile, writhed around the stage with bits in their mouths while she either whipped or rode them.

“All right Montreal! Are you ready to ride with me?” she asked.

You may recall that Madge injured herself in a horse-riding accident last summer, so naturally she has gotten back on that horse.

In a concert setting, it proved to be a black, leather saddle that twirled around a pole while she performed gravity-defying dance moves to Like A Virgin and footage of both horse-riding accidents and her own x-rays flashed on video screens behind her.

Upping the ante on the equestrian-theme was Madonna’s next appearance in a crucifixion scene atop a mirrored cross wearing a crown of thorns while singing Live To Tell.

A clock above her counted off to 12 million: the number of children in Africa who will be left orphans because of AIDS. It was powerful and provocative but not offensive.

Equally thought-provoking was a video montage of dictators, terrorists and other world leaders – including Richard Nixon, Saddam Hussein, George Bush, Adolf Hitler, and Osama Bin Laden among them – that was followed by the words: “The audience is listening.”

Other highlights proved to be an eclectic mix of both old and new songs.

Energizing new tunes Get Together, Jump, Sorry, I Love New York and Hung Up – this one had mylar gold balloons dropping from the ceiling and a Madonna-led crowd singalong – got much of their momentum from her incredibly athletic and talented dancers. Isaac was much improved in concert, due in no small part to the involvement of Yitzak Sinwani.

Meanwhile, older chesnuts like Ray Of Light, La Isla Bonita, Erotica and Lucky Star were nicely reinvented either through disco arrangements, dramatic lighting, Madonna playing electric and acoustic guitar or donning a white cape -James Brown-style – that said “Dancing Queen” on the back of it.

Less successful were new songs like Forbidden Love, Like It Or Not and Let It Will Be, which only served to drag the proceedings down.

My only other complaints are somewhat picky. (Other than the lack of air conditioning, which is apparently one of Madonna’s demands on her current road trip.)

Do we really need covers of such disco staples as I Feel Love and Disco Inferno from a woman who has an extensive and amazing back catalogue of dance music?

And is it just me or did the appearance of Madonna in John Travolta’s white suit from Saturday Night Fever give the show a bit of a “been there, done that” feel.

Normally, Madge is setting trends, not borrowing from old ones.

I also can’t remember the last time people sat down at a Madonna show, something that occurred during two pretty, if sleepy, songs: Drowned World/Substitute For Love and Paradise (It’s Not For Me).

From jam.canoe.ca.