enslaved

FIRST REVIEW CONFESSIONS II

★★★★★

AS one of the most talked-about, celebrated and frequently derided pop stars of all time, returning with her first album in seven years is a high-stakes move for Madonna.

The Queen of Pop has never left it so long between albums in her 43-year career. And she has taken an even bigger risk by recording a ­follow-up to her much-lauded 2005 dance-pop opus, Confessions On A Dancefloor.

But rather than playing it safe, ­Confessions II sees her doing just that — confessing.

She addresses everything from how she failed her eldest daughter Lourdes to her regrets over her relationship with her late brother, Christopher Ciccone.

And also, surprisingly, how her first husband, Sean Penn, 65, made her feel during their short-lived marriage.

The most venom-tongued track is titled Bizarre, in which she squarely attacks the Hollywood A-lister, who she was married to from 1985 to 1989.

She references the 1968 Shelby GT500 convertible she gave him as a wedding gift and his conviction for reckless driving in 1987.

And she also lays into how Penn was “threatened” by her and claims he resented her while they were together.

Madge sings: “Love is the strangest thing. Just when you think you’ve finally let go, it comes back to you.

“Movie star, deep blue eyes. In Hollywood, we’re a perfect prize.

“He drove way too fast, Shelby Cobra wasn’t meant to last.”

Earlier the lyrics had turned to anger, as she sings: “Roll out the carpet for us, but you don’t share it.

“All ’cause you’re threatened by me, you won’t admit it.

“The little things that you do don’t make me want you. Who knew love could be so bizarre?”

And in a later verse, she adds: “I know I left you behind and you resent me.

“A thousand reasons why you could never have me.

“The thought of being with you is so indecent. I guess you’ll never know my dirty little secret.”

Penn isn’t the only subject of her scorn, with Betrayal appearing to be about her stepmum Joan, who died in 2024 while the album was being made. Madonna did not attend her funeral.

The singer was five years old when she lost her mum — who she was named after — to breast cancer. Three years later, in 1966, her dad Silvio married Joan, who worked briefly for the family as a housekeeper.

In the opening verse of Betrayal, Mad­onna sings: “This is a story of betrayal. You couldn’t see your fall from grace.

“So take the hammer, hit the nail. You’ll never take my mother’s place.”

And later in the track, she adds: “You betrayed me, you enslaved me.”

But Madonna, 67, shows her softer side on The Test, which sees her and Lourdes, 29 — the eldest of her six kids — open up about their at-times difficult relationship.

On how her daughter was thrust into the limelight because of her own fame, Madonna sings: “Little star, I tried to put you on a pedestal, you didn’t ask for all the flashing lights.

“I didn’t think of how we could disturb, or how it hurt. I wish I knew the pain I caused.”

She continues: “Sometimes I think you wish I’d go away, but the shadow stays, and it’s OK to be yourself.”

Madge also appears to touch on her 2023 brush with death, when she was found unresponsive at her New York apartment and placed into a coma after suffering from an infection that led to sepsis.

Lourdes, 29, who Madonna had with fitness trainer Carlos Leon, was among those that rallied around her in hospital.

Madonna sings: “You made me whole when I was broken, too. I hope and pray I can do the same for you.”

Paying tribute to her mum, Lourdes sings: “You are my reason to be, what I want or look like, what I wear, all the clothes on my back, and what I attract.

“I trace the line of what you have sewn. Keep my own design. Make it a landscape. Make it alive.”

Elsewhere on the album Madonna makes peace with Christopher, who she was accused of “dropping” as her creative director in the early-2000s, and who later wrote a book titled Life With My Sister Madonna.

The once-close pair never fully repaired their relationship and he died of cancer at the age of 63, in October 2024 although she says he now visits her in her dreams.

On the song Fragile, she sings: “We shared a name, a home. We shared a fragile bond, now you’re gone.

“We laughed, we cried, we held each other’s hands. We had each other’s eyes and they belonged

“This is the time I hate the most, the words inside my heart

“I know you’re fragile ’cause you’ve been hurt, been let down.”

At the end of the track, she adds: “Late last night I was fast asleep, you came to me in a dream.

“You said don’t forget about me, don’t forget to be happy.

“So I hope you found a higher ground.”

The 16-track album clocks in at almost 64 minutes, and is a metaphor for a night out, starting with the heavy, pulsating beats of a club.

Then the final five songs represent the evening winding down, with Madonna spilling out her deepest feelings with the bravery and vulnerability that comes from a night of loud, messy partying.

When she reaches the last track L.E.S. Girl — about her life pre-fame on the Lower East Side of New York — you can hear traffic beeping, signalling she is finally on her way home as the morning rush hour starts.

It’s a neat arc for the ambitious album, which she once again made with English producer and songwriter Stuart Price, who she teamed up with on the first Confessions album.

But this record is much darker, heavier and grown-up.

And as well as being symbolic of a single night out, Madonna uses it to represent key parts of her life and the moments that have made her.

The most brilliantly bombastic highlight comes in Danceteria — named after the New York nightclub where she found her friends in the industry and where DJs played her music for the first time.

It’s a feel-good number with a Vogue-style rap and namechecks for everyone from her pal Debi Mazar to artist Jean-Michel Basquiat and even The B-52s.

Another highlight comes with Love Sensation, which appears to be a tribute to her boyfriend, Akeem Morris, 30.

She started dating the former football player in 2024, two years after ending a three-year romance with dancer Ahlamalik Williams, 31, and they now live together in London.

Madonna sings: “When I feel alone I always want to bring you near ’cause you bring a smile right here. You chase away my darkest hours.”

And in the chorus she continues: “Baby, come and get with me, there’s something that I gotta do.

“Baby, when you’re here with me, there’s nothing that we cannot do.”

So far in her career Madonna has sold 450million albums, and counting.

And with this project, she proves there is still plenty of passion, ambition and talent.

Undoubtedly it is her most cohesive and accomplished album since the original Confessions, 21 years ago.

And long may the Queen of Pop ­continue to reign.

LOVE, BETRAYAL AND ECSTASY ON SWEET 16

I Feel So Free: The opening track, released in April, is a throbbing song with breathy vocals and a sample of the 1989 Lil Louis acid house track French Kiss, complete with orgasm. It’s a statement of what’s to come as she says: “On the dancefloor, I feel so free.”

Good For The Soul: Heavy-sounding verses make way for a buoyant and optimistic pop chorus, all about how important letting your hair down is. It was written on her first session for the record.

One Step Away: Madonna dives headfirst into house music on this pulsating track about the release she feels in a nightclub. Over the beat, she utters: “The dance floor is not just a place, it’s a threshold. A ritualistic space where movement replaces language.”

Bring Your Love: The credibly cool lead single features Sabrina Carpenter, uniting two generations of pop stars who are resolute in their determination not to be swayed by naysayers. In the chorus they say: “Bring your love ’cause you cannot shake me. Bring your love ’cause you’ll never break me.”

Danceteria: “Everyone here is a work of art,” Madonna sings on this wonderfully poppy single, inspired by the New York nightclub she went to as a youngster.

Read My Lips: Spanish guitar and a guest appearance from Colombian singer Feid give this a different feel, though there’s a Latin trap beat to keep the party going. It’s clear Madge isn’t happy on it, though, singing: “You cut me with your lies, ’cause you hurt me with your kiss.”

Everything: It opens with strings reminiscent of her 1992 track Deeper And Deeper, but evolves to have regular house music breakdowns fit for a packed Ibiza dancefloor. And she’s worked up, spitting: “It’s not OK, I don’t f*** with it.”

Love Sensation: Pop makes a return on this heart-warming crowd-pleaser. “There’s nothing that we cannot do,” she repeats as the track builds to euphoric choruses. This is destined to be a future single.

Love Without Words: An ode to partying, starts with the sound of smoke being pumped on to a dance floor. “Call it trance, call it house, call it love without words,” she sings.

Bizarre: Madonna teamed up with super-producer Martin Garrix for this revenge track about her ex Sean Penn. The melody, complemented by strings and hints of EDM production, is enough to have people throwing their hands in the air.

School: “I can make moves on the dance floor, I can make love on a man’s floor,” she breathlessly coos on this track, on which her vocals are heavily distorted. It’s one of the weaker songs.

Fragile: There’s a major change of pace with break beats and strings, as she sweetly sings about her late brother Christopher. Her voice truly takes centre stage here.

My Sins Are My Savior: She is joined by Belgian rapper Stromae on this dark and moody track, which wouldn’t sound out of place on 1992’s Erotica album. Reflecting on the criticism in her career, she sings: “I was not lost, I was just broken. They tried to take me down, they tried to take my crown.”

Betrayal: She teams up with producer Mirwais, who she first worked with in 2000, on this 90s-inspired track, featuring brass and piano over bleak and mournful vocals.

The Test: Madonna has said Lourdes approached her about working together to heal their rift, and it certainly sounds cathartic. Her daughter’s voice here is far smoother, but they blend exquisitely.

L.E.S GIRL: It’s the end of the night, Madonna is on her way home and she’s reflecting on when she was a “Lower East Side girl, lost in a fragile world.” It’s a tear- jerker, and triumphant look back at how far she has come. The perfect ending.