We have all suffered for Madonna’s art.

From her pretentious study of the Kabbalah to an implausible series of children’s books to the dud ”American Life” album, she has tested her fans’ allegiance in recent years.

But now, after years of infusing her song lyrics and videos with religious symbolism, Madonna has performed her own Act of Contrition and delivers fans ”The Re-Invention Tour,” the concert they were expecting last time around.

Gone are the dark and mystifying themes of 2001’s ”Drowned World Tour.” No more profanity-laced tirades. And nary a cone bra in sight.

Instead, fans July 24-25 will be treated to a two-hour tour de force – if her performance at Washington, D.C.’s MCI Center in June is any indication. The tour is an unapologetic celebration of the reason we have tolerated her missteps: those unforgettable ’80s dance hits.

Fans who want to be surprised at the Atlanta shows should stop reading here. But if you can’t resist a good spoiler, read on. The energetic show itself should still be awe-inspiring.

Since the tour began, Madonna has delivered the goods to packed, sweaty houses with many of her most memorable songs. With such a vast catalog of hits, she could easily afford to open the D.C. show with ”Vogue,” which followed a striking video presentation of ”The Beast Within,” a creepy recitation of passages from the Book of Revelations.

There was a rocking, guitar-fueled version of ”Material Girl,” which she implored the audience to sing along with her. Her performance of ”Express Yourself” featured a troupe of rifle-twirling dancers, which seemed inconsistent given the decidedly anti-war message of the ”American Life” video.

”Burning Up” was a terrific surprise for old-school Madge fans and a bathroom break opportunity for the under-30 crowd. On ”Don’t Tell Me,” Madonna and Company traded their 10-gallon hats for berets and danced in front of an arresting Parisian cityscape image. Missy Elliott joined via video screen for a raucous ”Into the Groove,” and Madonna got flirty on ”Hanky Panky” before delivering a beautifully reworked and slowed-down ”Deeper and Deeper.”

It’s difficult to choose a single highlight from the show, but ”Like a Prayer” comes closest. After warning the audience that she didn’t want to see anyone sitting down, Madonna launched into a powerful rendition of the classic hit song, backed by video images of a choir.

The crowd went crazy, the gay men doffed their shirts and the entire audience shouted the lyrics. Note to straight men: We don?t sit down during a Madonna show.

Unfortunately, Madonna couldn’t resist making a few clumsy political points. The ”American Life” performance was an all-out assault on the senses, featuring dancers inexplicably clad in burqas and mini-skirts, culminating with an image of President Bush coddling Saddam Hussein.

The set is in constant motion. From the opening video montage, which features multiple large screens moving across the stage, to a V-shaped catwalk that is lowered from the ceiling to the dazzling lighted setting for ”Music,” the set design became an integral, gasp-inducing part of the show.

But the most effective element of this production has to be the video montages that accompany most numbers. Elaborately and creatively conceived, the videos are not a rehash of her MTV clips. Rather, they reflect a grown-up, thoughtful artist with an undying knack for challenging her fans’ tastes and sensibilities.

At 45, Madonna can’t perform handsprings and hoedowns much longer, so this may be the last chance to see her striking such a convincing pose.

The ”Re-Invention Tour” is an expensive ticket and worth every cent.

Article by Kevin Naff, Southern Voice