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<\/a>Ever an advocate for the belief (to borrow a phrase) that music makes the people come together, CONFESSIONS II makes unity more of a priority for Madonna than ever before. \u201cNo one wants to go outside,\u201d she sings on \u201cEverything,\u201d disrupting the pulse of shape-shifting beats with a confused shout: \u201cIt\u2019s not OK\/I don\u2019t fuck with it!\u201d<\/p>\n
And yet, outside is where the party\u2019s at\u2014as she makes clear on \u201cDanceteria.\u201d Over bright disco beats evocative of her 1982 debut \u201cEverybody,\u201d Madonna narrates the events of a night out at the titular NYC club where her journey to superstardom began. Outside is the place to be both seen (with Debi Mazar, with Basquiat, with Nile Rodgers) and simultaneously to be rendered invisible: liberated from your own personal hang-ups, just another body in the crowd.<\/p>\n
\u201cThat\u2019s why I like to go dancing\u2026\u201d she confides on the airy, untethered lead single \u201cI Feel So Free,\u201d whispering the words \u201csafety in numbers\u201d like a secret incantation meant to be heard and understood by those most in need of its protection. It\u2019s music as religion, choreography as communion, DJ made deity. And \u201cit\u2019s good for the soul,\u201d as she reminds us, two tracks deep into the album\u2019s continuous 64-minute mix. \u201cTo let down your hair and breathe in the air.\u201d<\/p>\n
With her point more than proven, the back half of the record leaves room to explore everything else on Madonna\u2019s mind. Anthemic Martin Garrix collaboration \u201cBizarre\u201d centers on love and its absurdities; \u201cFragile\u201d pays open-hearted tribute to her late brother Christopher Ciccone, and the well-documented turbulence of their relationship, while \u201cThe Test,\u201d addressed to \u201cLittle Star\u201d\u2014aka Madonna\u2019s eldest child Lourdes Leon, who also features on the track\u2014finds mother and daughter healing emotional wounds over propulsive, Arca-assisted beats.<\/p>\n
As the album nears its end point, the pace slows but the dynamic elements of the production accelerate, opening up to more experimental sounds, a testament to Madonna\u2019s relentless desire to push her own boundaries, even as she retreads familiar ground.<\/p>\n
As for the sky-high expectations set by its predecessor, it would be fair to say that capturing lightning in a bottle even once is a rare enough feat that twice would be nothing short of a miracle. If CONFESSIONS II doesn\u2019t quite achieve the impossible, the fact that 21 years later, both Madonna and Price are still chasing the storm holds a power of its own.<\/p>\n
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