Madonna
Madame X

This is one of those moments of pure grace where Madonna pushes the potential of pop beyond its limits. The last example of this type was in 2005 with "Confessions on a Dancefloor." Since then, she hadn't managed to deliver a work of the same caliber, although always good.

Her stay in Portugal inspired her to draw from new sounds, previously touched upon in some episodes, with "La Isla Bonita" being the most striking. The new album indeed presents itself as deeply influenced by Latin and African sounds, particularly inspired by Portuguese and Cape Verdean music. These are not just simple colorings but much deeper influences that spill over into the purest world music.

A track like "Batuka" takes and deconstructs the traditional batuque, incorporating well-measured electronic elements courtesy of trusted collaborator Mirwais Ahmadzai, with whom she had already worked in the past on interesting mashups of genres back in the Music era. This syncretic approach extends to several other tracks, with a more melancholic and reflective tone, such as "Killers who are Partying" and "Crazy," where, particularly in the former, nuances of fado and morna can be perceived.

Other tracks, however, veer towards an approach that looks more to Africa or India, as in "Extreme occident" or "Funana," light as a breeze. Especially in this track, the themes of the album are emphasized, which could be defined as almost third-worldist, overlooking the sincerity of the intentions. It's a way of being and expressing oneself that might remind one of the more humanitarian Michael Jackson. The Latin current of this album also reveals itself in much lighter tracks, like the launch single "Medellin" or the euphoric cover of "Faz Gustoso" by Blaya, not to mention the brash "Bitch I'm Loca."

The album is also traversed by another current, more traditional and closer to Madonna's electronic background, like the bizarre single "Dark Ballet," which alternates piano, vocoder, and Tchaikovsky's Nutcracker. Or the ballad "Looking for Mercy," pulsating and hammering, reminiscent of "Inside Out" from the previous album but with much more successful arrangements. Also impactful is the revival of the 90s dance scene in tracks like "I don't Search I Find," which incorporates a sample from the hit "Vogue," and "God Control," which openly recalls Daft Punk. We also get a taste of trap rhythms, as in the single "Crave," softened by a clear and soothing acoustic guitar.

A special mention goes to the song lyrics, much more engaged and current compared to Madonna's discography standards, openly discussing the uncontrolled availability of guns in America, as well as defending minority rights and the Global South in general. Of particular interest is the track that concludes the first disc of the deluxe edition, "I rise," which samples a speech by Emma Gonzales, a survivor of the Stoneman Douglas High School massacre, as well as the third bonus track "Ciao Bella," a distant homage to "Bella Ciao," enriched by new age sounds typical of groups like Enigma.

In conclusion, from a sonic perspective, particularly in the rock realm, certain contaminations have been more than explored, as in the case of Vampire Weekend. However, there is still an inspiration and a desire to take risks that in the pop landscape of these years remains virtually unknown. Despite riding the Latin wave, Madonna managed to shuffle the ingredients, presenting a solid, coherent, and vibrant work full of energy.