From Canada.com:
I want what Madonna’s having. Seriously, what the hell?
When she finally did take the Rogers Arena stage – at 10: 21 p.m. on the first of her two-night stand in Vancouver – the singer came out swinging like someone half her age.
The 54-year-old made her entrance from the back of the stage on a covered riser made to look like a sheik’s tent.

Clad in black catsuit carrying a gun (she was all over that Second Amendment right during the show), she joined a lot of buff monks (you don’t get to type that very often) and contortionists dressed as gargoyles on pedestals in front of a big cathedral-type structure while Gregorian chanting filled the stadium.
The stage then turned into a system of rising levels that elevated Madonna and her hot boys as she delivered Girl Gone Wild, while the world apparently came to an end on the video screens around her.
Next up was more gunplay on the catwalk with Revolver, with help from Lil Wayne on the screens.
Wham! Then Madonna really hit lift off with the violent Gang Bang.
In this mini-story, multimillionaire Madonna moves into a seedy motel room to chug booze and shoot bad guys, then ride their dead bodies like only she can.
After yelling, “Die bitch!” over and over again as she killed yet another guy, she threw away her gun and launched into a weirdly ritualistic medley of Papa Don’t Preach and Hung Up.

Yes, MDNA Madonna is a mean mother-you-know-what and she’s not afraid to let you know that.

But you know what? Despite coming with heady topics like sex, love, violence, repression and religion, Madonna’s music really doesn’t require any heavy lifting.
In fact, the only heavy lifting here is the iron Madonna’s obviously pumped to turn her body into a lean, mean (duh, it’s Madonna) pop-star machine.
While each song was a giant production number with enough hoopla and pizzazz to make Flo Ziegfeld (kids, look it up) giddy, you couldn’t help but notice the woman at the centre of the circus.
From my seat, her Madgesty didn’t look like a middle-aged mother of four. More like a 20-something guy in high heels with arms as taut as handrail tubing, a butt you could bounce a quarter off and legs so chiselled that the words Jiminy Cricket kept coming to mind.
I know. Why all this talk about how Madonna looks? Well, honestly, were we going to dig deep into the set list and analyze the songs, half of which were from the new MDNA album and the rest from her 30-year career?

What’s the point? The songs are meant for a club, or a hair salon, or a road trip to a fashion outlet mall – not for deep deconstruction.
Did I mention how hard this woman works on stage?
The Material Girl’s backdrop on this tour is sheer madness.
There were up to 20 dancers on the stage at some points. There was a drum corps dangling from the ceiling, huge catwalks out into the audience, numerous costume changes, crazy trains and, of course, the mandatory strip tease.
Madonna, in her tour manifesto (not kidding), describes the show as “the journey of a soul from dark-ness to light.”
But in the end, Madonna, quite simply, equals pop spectacle – big pop spectacle.
She is not a great singer and I’m not sure why she even picked up that black Les Paul guitar and strummed it weakly through Turn On The Radio. It somehow looked weird on her (and this is a woman who can pull off a conical bra).
But missteps aside, including the obvious lip syncing (you try running on the spot for five minutes and singing without sounding like a spinning class instructor), the show was a hit with those who matter – the thousands who waited hours (well, it gave them plenty of time to buy $45 T-shirts and DVDs of Madonna’s WE movie) for the singer to hit the stage and dole out one leaner, and really way meaner, Madonna.