The opening of Madonna’s MDNA show. Photograph by sockii.

The show is thematically divided into 4 parts – although you wouldn’t really notice or know this unless you read about the concept first! The four sections are called Transgression, Prophecy, Masculine/Feminine, and Redemption, and so the entire “storyline” of the show is meant to celebrate the journey from darkness into light. The show opens with a beautiful, elaborate church-like setting on the projection screens, monks (actually the Kalakan Trio) chanting, and dancers pulling on a rope to ring a giant thurible suspended on stage. If you thought Madonna had long since given up ribbing the Catholic Church, think again. Madonna finally appears on the central projection screen in a glass confession box, which she shatters as the song “Girls Gone Wild” begins.

The entire Transgression opening section of the show is rife with violent imagery: violence as Madonna is joined by gun-toting female dancers in Revolver”, violence committed by Madonna in the revenge fantasy “Gang Bang” as she shoots intruders and their “blood” splatters the video screens; violence as she is captured and tied up by male dancers in terrorist-like gear for “Hung Up”. “I Don’t Give A” finishes out the first angry and dark section of the show, where Nicki Minaj raps from on screen and finishes by proclaiming “There’s only one queen and that’s Madonna, [expletive deleted].”

Prophecy follows, beginning with a video montage in a cemetery while a mashup of “Best Friend” and “Heartbeat” plays in the background. Then follows perhaps the brightest, real highlight of the entire show: “Madonna and the Majorettes” performing a lively rendition of “Express Yourself”. Cleverly playing up on the controversy that Lady Gaga ripped off the song in her own hit “Born This Way”, Madonna merges the two songs together at the end, and then tosses in a few choruses of “She’s Not Me” (in case anyone in the audience missed the point.) As a remix version of “Give Me All Your Luvin’” plays on, a drumline soars overhead, performing while suspended on wires in one of the shows most impressive visual delights.

Another video montage follows as Madonna changes out of her cheerleader gear, returning in black leather gear with a (pointless) guitar for “Turn Up the Radio”. “Open Your Heart” then follows, after which Madonna introduces the audience to the Kalakan Trio and finally engages with some chatter with the crowd, asking people where they are from before a call-and-return of “in every nation” turns into a version of the classic Madonna hit “Holiday”. The energy drops down for the slow ballad “Masterpiece”, while scenes from the Madonna produced film W.E. is projected behind the performers. (She also gets in another Lady Gaga “dig” at this point, dedicating “Masterpiece” to her and stating that she actually loves Gaga: “After all, imitation is the sincerest form of flattery.”)

“Justify My Love” at the Madonna’s MDNA show. Photograph by sockii.

A lengthy video interlude follows, while Madonna (on screen) slinks around in black and white, in lingerie, trying on masks while “Justify My Love” is played. “Vogue” follows in gorgeous black-and-white, sleek style while Madonna’s dancers strut and pose in avant-guarde attire. Madonna herself is sexy and stunning in a black-and-white masculine pants suit and “cone bra” by Jean Paul Gaultier. The sexual/erotic theme of the Masculine/Feminie section continues with “Candy Shop”, then leads into an intriguing staging of “Human Nature”. Madonna slowly strips out of her suit in front of six moving mirrors, eventually bearing her back to the audience (and her thong-covered backside) with the words “No Fear” tattooed on her skin.

This third segment of the show ends with a slowed-down, waltz-style version of “Like a Virgin”, with Madonna only accompanied by a pianist. She performs part of the song lying flat on the floor, seemingly in anguish and agony until a shirtless dancer (symbolizing new love) comes out, embraces her, and laces her into a tight corset.

“Nobody Knows Me” at the Madonna’s MDNA show. Photograph by sockii.

The final Redemption section opens with a video montage set to “Nobody Knows Me” – a section which caused no small controversy for Madonna in France, where right wing politician Marine Le Pen threatened to sue Madonna if she aired the footage that showed a Swastika on Le Pen’s forehead. Dancers in orange prisoner jumpsuits and police gear work the slacklines, and the video ends with a tribute to those who committed suicide after bullying and harassment, including Rutgers student Tyler Clementi.

“I’m a Sinner” at the Madonna’s MDNA show. Photograph by sockii.

Madonna returns to the stage for “I’m Addicted”, wearing a Joan of Arc inspired costume while her dancers perform dressed like shaolin monks. The mixed-religious imagery continues for “I’m a Sinner” – now wearing a garland of flowers and once again “playing” a guitar, Madonna rides through Indian cities and country side on top of a train while her dancers jump from car to car. “Like a Prayer” then follows, complete with a church choir and Hebrew writings lighting up the projection screens. After a very short break, the show ends with an encore performance of “Celebration”, with Madonna and dancers dressed as DJs and leading the audience on a 3-D cubic journey into space…or something like that.