Rebel Heart Tour
The Rebel Heart Tour was the tenth concert tour by American singer Madonna, and was staged in support of her thirteenth studio album, Rebel Heart. Comprising 82 shows, the tour visited North America, Asia, Europe, and Oceania. It began on September 9, 2015, in Montreal, Canada, at the Bell Centre and concluded on March 20, 2016, in Sydney, Australia at Allphones Arena. It was officially announced on March 1, 2015, through Madonna's website and was led by Live Nation Entertainment's Global Touring Division, helmed by Arthur Fogel; this was the fifth collaboration between Madonna and Live Nation as well her third tour to be promoted by the company. An all-arena tour, the Rebel Heart Tour visited cities where the singer has not performed before, and was her first to visit Australia since The Girlie Show World Tour (1993) more than 20 years prior.
|Tour by Madonna|
Promotional poster for the tour
|Associated album||Rebel Heart|
|Start date||September 9, 2015|
|End date||March 20, 2016|
|No. of shows||
|Box office||$169.8 million|
|Madonna concert chronology|
Rehearsals for the tour started soon after its announcement and lasted 10–12 hours per day, with involvement from Madonna's team of creative directors, producers, designers and choreographers. Inspired by shows like Cirque du Soleil and Chinese New Year, as well films like 300 and Grease, the Rebel Heart Tour enlisted Jamie King as the creative director, and Megan Lawson and Jason Yong as choreographers. It featured Moschino, Prada, Miu Miu, Gucci and Swarovski costumes, an elevated stage with a runway and a heart-shaped front. Multimedia was created by Moment Factory, while sound and light were produced by Clay Paky and DiGiCo, respectively.
The central theme of the show was love and romance and consisted of four segments, each of which were inspired by different topics: the first one was inspired by the cover art of Rebel Heart and Joan of Arc; the second had Tokyo influences and was based on rock and roll; the third section had Latin inspirations; and the fourth was party-themed. The set list had more than 20 songs from across Madonna's career, a decision that according to the singer was made to "satisfy all fans". Critics gave the tour generally positive reviews, praising Madonna's stage presence and noting the focus on performances and imagery. The set list received mixed-to-positive reviews, with some praising the old songs and others criticizing the inclusion of Rebel Heart tracks.
The tour generated a number of controversies, but was a commercial success. Every show sold out, generating an attendance of over 1.05 million people. The tour grossed $169.8 million, extending Madonna's record as the highest-grossing solo touring artist to $1.131 billion, beginning with the Blond Ambition Tour in 1990. This ranked her third all-time on the top-grossing Billboard Boxscore list, only behind the Rolling Stones and U2. The shows of March 19–20, 2016, performed at the Allphones Arena, were filmed by Danny Tull and Nathan Rissman for the film Madonna: The Rebel Heart Tour. It premiered on December 9, 2016, on American cable channel Showtime while a live CD/DVD and Blu-ray was released on September 15, 2017.
To promote her twelfth studio album, MDNA, Madonna embarked on The MDNA Tour, which visited the Americas, Europe and the Middle East, but did not go to Australia or eastern Asia. The tour was a commercial success with a total gross was $305.2 million ($325.33 million in 2017 dollars) from 88 sold-out shows, becoming the tenth highest-grossing tour of all time. After the MDNA era, Madonna worked on her thirteenth studio album, Rebel Heart, throughout 2014. Before the official release of the album, hackers leaked many songs to the internet. Numerous news outlets started reporting about the supporting concert tour for the album.
The tour was formally announced on March 1, 2015 on Madonna's official website. Titled Rebel Heart Tour, it was initially scheduled to begin on August 29, 2015, from Miami and continue throughout Europe and end on December 20, 2015, in Glasgow, Scotland. Rebel Heart Tour was led by Live Nation Entertainment's Global Touring Division, helmed by Arthur Fogel. It was Madonna's fifth collaboration with Live Nation. Fogel commented that the leak had helped in bring more attention to Madonna's music and it was a positive scenario for the world tour. "It's kind of strange how it all came about, but it certainly hasn't been a negative in terms of getting people engaged with the new music. Anything that helps put it out there is good, even if it happens in a weird way", he concluded.
On May 21, 2015, Madonna rescheduled the first five dates of the tour and moved them to January 20, 23, 24, 27 and 28 in 2016. The singer confirmed that arrangement logistics was the cause of the postponement. She released a statement saying, "As my fans already know, the show has to be perfect. Assembling all the elements will require more time than we realized. I apologize for any inconvenience this may cause my fans." According to Billboard, Rebel Heart is an all-arena tour, and would visit cities where Madonna has not performed before. The tour visited Australia and New Zealand in early 2016, and was the singer's first visit to Australia in more than 20 years, having last toured there with The Girlie Show World Tour in 1993, and her first time in New Zealand. Philippines was added to the tour itinerary, for two performances at SM Mall of Asia in February 2016.
After the tour started, Madonna revealed another 16 dates in Asia and North America. They included first ever concerts in Taipei, Bangkok, Louisville, San Antonio, Tulsa and Nashville as well as her first concerts in Tokyo in a decade and additional dates in Mexico City and Houston. Singapore was added to the itinerary for February 28, 2016, however the concert was rated as "adults only" by the Media Development Authority (MDA) of the country. Before arriving in Australia, Madonna announced an extra show on March 10, 2016, at Melbourne's Forum Theatre. The show was billed as an intimate gig, and was described by the singer as a fusion of music, art and comedy. It was titled as the Madonna: Tears of a Clown show and was created for Madonna's Australian fans, who had waited for the singer to perform there for many years.
Conception and rehearsals
While composing Rebel Heart, Madonna would get "fleeting moments of ideas" of what she would like to perform on the tour. After the promotional performances supporting the album, she had a concrete imagery about the themes she would like to incorporate. "I like to create personas and then the persona changes and grows into other things... I'm at the beginning of that process right now, in terms of thinking of my tour and stuff", the singer explained. Rehearsals for the tour occurred for 10–12 hours per day. She added: "When I go on tour, I like the rehearsal. I like the creation of everything. I like being able to wear my rehearsal clothes and be sweaty and not having to worry about how I look and just get into what it is I'm trying to say and do." Unlike The MDNA Tour, Madonna confirmed that her son Rocco would not perform onstage, but would instead work behind the scenes of Rebel Heart Tour.
By July 2015, Madonna was still working on the set list with her team of creative directors, producers, designers and choreographers. She described the tour as "characteristically theatrical spectacle" and would include songs from her whole career. However, picking the set list was hard since the singer wanted to perform the Rebel Heart songs as well as her previous discography, in order to satisfy all her fans. She found the task challenging since "thematically the songs—the old and the new—they have to go together; sonically they have to go together." The romantic and party theme of the show was an expansion of the name Rebel Heart, representing a journey with her personal statements and opinions. Love and romance were listed as the central theme of the show, with Madonna wanting the audience to feel inspired once they watch it. Along with it, she juxtaposed opposite ideas of sexuality and religion, saying that "I'm very immersed in [how they are] not supposed to go together, but in my world it goes together". Inspirations for Rebel Heart Tour also came from shows like Cirque du Soleil and the Chinese New Year, as well as films like 300 and Grease. Jamie King esd the creative director for the show, while Megan Lawson and Jason Young choreographed the 20 dancers through intricate acrobatic dance steps. According to Madonna, since she started out as a dancer, for the tour she tried to find "unique and original dancers to work with" and create content and dance-forms that would inspire the audience.
French choreographer Sébastian Ramirez was hired from the dancer auditions, which saw over 5,000 applicants in Paris, New York and Los Angeles. Madonna liked her work and enlisted to choreograph two songs for the show. Ramirez was surprised by the fast pace in which Madonna and her team generated and swapped ideas for the tour. Taking charge of the whole show, Madonna would explain an emotion behind a song and then entrust Ramirez and the other choreographers to come up with the execution.
Two short videos were released on the singer's Instagram account, showing the rehearsals taking place. As "Devil Pray" and "Iconic" from the album played, the videos showed flamenco inspired choreography, nuns dancing on poles, and an elaborate set adorned with dancers carrying giant props. The singer continued releasing images and videos related to the tour, including dance rehearsal workshops, and other dramatic images of the dancers. Madonna chose comedian Amy Schumer as her opening act for the New York shows, deviating from the usual hiring of a band and DJ to open the shows. She believed that it would be interesting since she believed Schumer was a role model for young women and Madonna wanted to try out something new with her. Diplo, one of the producers of Rebel Heart, was hired as opening act for the Montreal shows.
For the stage setup, creative and logistical design group Stufish were hired. They started conversing with Madonna and King in January 2015, and started brainstorming ideas, after a 25-song set list was decided. The central theme of Rebel Heart was reproduced with the runway resembling an arrow or a cross with the heart at end. Joking that the stage looked like a penis, Stufish architect Ric Lipson recalled Madonna saying "hearts and penises are clearly very linked and this is God's way of setting her life in motion".
The large main stage was elevated and set up at the end of each arena, with a long catwalk extending from its middle to the center. The midsection had a circular stage, while the pathway ended into a heart-shaped stage. In order to facilitate Madonna and her dancers to appear anytime onstage, there were openings throughout the length of the stage, as well as causeways for disappearing beneath the structure at the end of each song. At the end of the main stage there were three large video screens in front of which the band was present, along with Madonna's two background vocalists. Stufish, who had previously developed the structures for The MDNA Tour, were enlisted for the stage on Rebel Heart also. They developed the elaborate and the main inspiration behind the shape was a hybrid between a cross, an arrow and a heart. The perpendicular structures emanating from the middle of the runway allowed Madonna and her dancers to reach more audience. A number of barriers and encasings were supplied by Mojo Barriers to separate the stage from the audience and the front production areas. All the barriers were supplied in black aluminium, in line with Madonna's wish for the barriers to be unobtrusive.
One of the main feature of the stage was a complex machine like structure which enabled the whole stage to become mobile and assume numerous shapes and sizes throughout the show. It consists of a 28 ft × 16 ft (8.5 m × 4.9 m) high video screen that was interchangeable into the main stage as flooring, as well as used for creating an elevated 8 feet (2.4 m) platform, or a vertical wall that can be tilted from zero to 90 degrees within half-a-minute, or used as an angular wall for Madonna's dancers to sway to and fro. Specially crafted bungee points were attached to the top edge of the machine, allowing performers to "flip, tumble, run and roll up and down the ramp". They were also able to hang down from the screens acting as walls, while being able to run up them also in the same position. The stage also had video backdrops attached to them showing the visuals by Moment Factory and Veneno Inc. Another prop included a 16 ft × 8 ft (4.9 m × 2.4 m) steel spiral staircase which was hidden from the audience initially. Lipson explained that a prototype for the staircase had been made out of a single block of steel. Although not recommended to use steel because of its heavy weight and enormity, it was the finalized piece used for performances, since Madonna had found the sturdiness as useful during rehearsals. Simpler props designed by Stufish were the table during the sequence of "Vogue", which was 23 feet (7.0 m) long and had flickering 4.4 feet (1.3 m) tall candelabras at each end. The set of crosses for the dancing nuns were designed to support both Madonna and the dancer on it. They were the result of 17 different prototypes and were fastened with ridges, allowing the dancers to know which way they would swivel.
According to Lipson, every prop for the tour had to be recreated many times due to a number of reasons, making it "not an easy build by any stretch". Tom Banks from Design Week magazine visited the area underneath the stage which was about 6 feet (1.8 m) tall only, where the dancers changed, props were handed and performers reached the stage often through numerous hydraulic lifts. Banks further described the space as a "subterranean area, which is the footprint beneath the stage rather than back-stage. It's a maze of tunnels, wires and props interrupted only by platforms poised to send performers up into the light". Madonna was transported on a trolley from one end to the other end of the stage. She had a makeshift make-up room in the underneath area, for having touch-ups in between performances. In total, the stage and the equipment required 27 semitrailers and 187 staff member to haul them across Europe and North America. However, for the Oceania shows, three Boeing 747 airliners were hired. The singer flew to each location in her private jet, turning up at the venue in mid-afternoon with her entourage. Everyone involved in the performance does soundcheck and safety checks. The staging also enclosed a leisure area, with different forms of entertainment. Madonna's actual dressing room consisted of furniture, pictures and gym equipment, along with lots of flowers.
Madonna had enlisted a Spanish tailoring company from Zaragoza for creating two bullfighter traje de luces costumes, along with a cape and matador related costumes for her backing dancers. The tailoring company had to sign a confidentiality agreement about the costumes. They also made several adjustments to the traditional designs, like replacing the imagery of Jesus or Mary with that of a capital 'M'. According to the company's manager Alfredo Roqueta, the suits were created in 12 days. However, Madonna and her dancers did not go for trials, instead sent their measurements through e-mail and the dresses were created accordingly. PETA representatives condemned the outfits, criticizing the singer for "glorifying gore". In August 2015, Madonna revealed to Women's Wear Daily the name of the designers working on the costumes for the tour—Jeremy Scott for Moschino, Alessandro Michele for Gucci and Alexander Wang, along with Fausto Puglisi, Prada, Miu Miu, Swarovski and the Lebanese designer Nicolas Jebran. Together with her longtime costume designer Arianne Phillips, Madonna showed snippets of the costumes on her Instagram account. Additional designers included Geoffrey Mac, Lynn Ban, and Majesty Black.
In total, Madonna portrayed eight different looks. She was accompanied by 28 performers, with 10 costume changes for 20 dancers, six for the background singers and four for the band. Phillips had been working "on-and-off" on the Rebel Heart Tour since December 2014. She had first heard of Michele in February 2015 through British fashion critic Suzy Menkes; Michele had just finished two fashion collections, including Prada's "Iconoclast" exhibition in London. Michele himself was preparing a gift for Madonna when Phillips contacted Gucci for designing costumes for the tour. However, it was not until April 2015 that the final set list and the show's structure was finished, and the costume creation began. Michele's designs consisted of a mix of chinoiserie style skirts with Spanish and Latin influences, portraying the singer as a "diva of the 1920s". Other references included "an exotic, dancing Frida Kahlo with ruffles, color, and a different kind of aesthetic". Michele met Madonna while she was rehearsing at Manhattan and tried on the prototype of the design. Taking her review comments Michele worked in his office and came up with the final designs, along with the costumes for Madonna's dancers.
For the first section, inspired by the album cover art and Joan of Arc, Phillips created a series of costumes referencing liturgical fabrics and a contemporary exhibition of samurai armor at the Los Angeles County Museum of Art. The dancing nuns on stripper poles appeared during this section only. Miuccia Prada developed the costumes for the second section, based on rock-n-roll and taking influences from Japanese street fashion. During the Latin influenced third section, Puglisi and Jebran crafted the matador inspired costumes portrayed in the music video of the album's first single, "Living for Love". They used black tulle netting on the pants and paired the dress with a transparent side-paneling and coupled it with a black and fuchsia colored jacket, which had the letter 'M' in Swarovski crystals. Michele's final design had the singer wearing a shawl, flamenco hat, lace, skirts and jacquard bodysuit. Phillips was impressed with the dress saying that she was "completely blown away. I love [Michele's] hand. His clothes are lyrical and feminine and they tell stories." For the final section, Madonna worked with Scott for party inspired costumes. She wanted a "Harlem-flapper-meets-Paris-in-the-Twenties" look, and Scott came up with the final dress adorned with thousands of Swarovski crystals and long fringed gloves for songs like "Material Girl".
Two weeks prior to opening night the designing team moved to the rehearsal location at Nassau Coliseum in Long Island. Wang had to make alterations to the dresses due to last minute changes in production, adding that for Madonna "the performance comes first. She has to be able to dance and move and feel comfortable in it". A week later Michele had the final fittings for the Gucci costumes. Phillips explained that until the choreography is 100% certain, Madonna does not confirm the fashion or the designs, instead employed back-and-forth conversations regarding them. Michele also noted that Madonna "doesn't just want to look beautiful – she cares more about the performance. She is obsessive about how to communicate with her audience."
Multimedia and videos
Montreal based multimedia company Moment Factory joined the tour, this being the third collaboration with Madonna, following the Super Bowl XLVI halftime show and The MDNA Tour. They worked closely with King and Madonna to develop new backdrops and content, designing and producing the videos for the show. The three large screens were used to give the theatrical effects and visual content on a large scale. The opening video was shot with boxer Mike Tyson, who is a guest vocalist on the Rebel Heart song "Iconic". He clarified that the video might be received negatively since the scenes filmed involved him as a savage character, naked in a cage, held as a hostage. A clip of the video was previewed by the singer before the tour started, showing her pushing against the cage, embracing a shirtless man and a troupe of soldiers walking with insignia. The singer's official website unveiled a contest where fans submitted their online fan-arts related to her, and they were displayed as a live digital gallery, during the performance of "Rebel Heart".
British director Danny Tull was signed for creating the tour backdrops. Tull, who had collaborated with Madonna since her 2006 Confessions Tour, explained that the singer was a "detail-oriented person" and every scene in the backdrops had a creative meaning behind it. The first video showed themes of confinement, love, sex, violence among others, while that changed in the backdrop for "Bitch I'm Madonna", where Tull wanted to create more abstract imagery and superfluous color and dancing elements. Similarly for "Devil Pray" showed scenes of drug intake and snakes, churches and crosses which were interspersed with scenes of baptism and religious proceedings. In order to create all the visuals, Tull and his team had a number of discussions with Madonna, mainly in the nighttime since she was busy with rehearsals throughout the day. They aligned on what would be the source of the images, any permission if required, using stock footage or create new graphics. The idea for using fan artwork during the "Rebel Heart" song grew from this, and ultimately the fan contest was announced. Many layering and rendering was done for most of the videos. Different multimedia software were used to create the visuals, like Adobe Premiere Pro, After Effects, Avid, as well as Final Cut Pro as the main tools. For Tull, the challenge was to adapt to each different software based on the different videos they would create, including last minute changes and tweaks.
Light and sound
Lighting designer Al Gurdon worked with Stufish and Tait Towers for the light setup, which was handled by PRG Group. The three main video screens were angled to give the side audience a better angle of vision. A Hippotizer V3 media server was used for content playback and operated by PRG Nocturne's Will Stinson, and five cameras were manned for this show. PRG used their newly invented GroundControl followspot devices which were attached as truss to the top of the screens, using Clay Paky Stormy Strobes. Fitted with high-definition cameras, they could be operated from backstage, who could simply use the cameras and direct the lights to illumate specific areas as required, without having to have knowledge about the physical stage. Console director Joshua Hutchings controlled their color, beams and shutters. Advantage of the followspot was to allow the lightning personnel to operate from a comfortable environment, rather than to climb on heights atop the stage. Hutchings explained the whole show was time-coded, going inline with the choreography.
For the audio and sound engineering on the tour, DiGiCo SD7 consoles were used by mixing specialists Andy Meyer and monitor engineers Matt Napier and Sean Spuehler. Since Madonna wanted to have an authentic feel with the live sound, Spuehler mixed her vocal effects and then added it to the house consoles. During the duration of the concert, the singer ventures into the middle of the crowd as the runway approaches, resulting in the spill of the microphone in her hand constantly changing. The sound crew employed timecode to achieve this, whereby like the lighting and the choreography, the sound feed also changed depending on where the singer was onstage. All the musicians accompanying Madonna wore in-ear monitor, with additional monitoring for musical director/keyboardist Kevin Antunes, a thumper for drummer Brian Frasier-Moore and sidefills for the dancers. All the inputs from the different personnel including Madonna were fed into the SD7 console. A Multichannel Audio Digital Interface (MADI) was used to record all the shows to a digital audio workstation in RAID drives. They were archived into four terabyte backup disks.
The show began with a video featuring Madonna in a glamorous dress cavorting with bare-bodied males juxtaposed with Mike Tyson talking inside of a cage. Ten dancers dressed as medieval executioners in gold and black carrying large gold pikes came out onto the catwalk as Madonna descended to the stage encased in a steel cage to sing "Iconic". The show continued with "Bitch I'm Madonna", which included four female dancers dressed as geishas and male dancers engaged in mock martial arts combat while Nicki Minaj appeared on the video screens. The singer then donned a Gibson Flying V electric guitar to play a rock version of "Burning Up", while moving on the center stage. During "Holy Water", the female dancers were dressed as pole dancing nuns in hot-pants and bikini tops. Halfway through the performance, Madonna sang a fragment of "Vogue" and reenacted the Last Supper with some dancers. This was followed by an acoustic version of "Devil Pray", with the backdrops depicting clips of people being baptized and Madonna appearing to subdue the male dancers before disappearing backstage.
The first video interlude featured dancers waving large white cloths in front of fans during "Messiah", as footage from the "Ghosttown" video played on the screens. The next segment started with "Body Shop", where Madonna sang the song alongside dancers dressed as mechanics in front of a 1965 Ford Falcon. She then played the ukulele for an acoustic version of "True Blue" before flowing into a disco version of "Deeper and Deeper", which was sung at end of the catwalk. A spiral staircase descended from the ceiling for a mashup of "HeartBreakCity" and "Love Don't Live Here Anymore", where a male dancer followed Madonna up and down the stairs before she pushed him off from the top. She closed the section with a remix of "Like a Virgin", performing it energetically around the stage. The second video interlude began with a mashup of "S.E.X." and "Justify My Love", with eight dancers mimicking sex positions on four beds while an edited version of the "Erotica" music video played on the screens.
The third section began with a remixed version of "Living for Love", with Madonna dressed as a bullfighter before moving into a flamenco version of "La Isla Bonita." After a quick costume change, Madonna returned to the stage accompanied by acoustic guitars and dancers dressed in colorful Spanish outfits. A gypsy medley of her old songs, including "Dress You Up", "Into the Groove", "Everybody", and "Lucky Star" was performed, with the pace slowing down for an acoustic version of "Who's That Girl". The title track, "Rebel Heart", closed the segment with Madonna playing the guitar and fan art submitted to the singer shown on the back screens.
During the final video interlude, "Illuminati", seven of the dancers climbed twenty foot poles and began swaying back and forth over the audience. The singer returned to the stage in a 1920s flapper-inspired dress to perform a mashup of "Music" and "Candy Shop". A slowed down version of "Material Girl" found Madonna pushing her tuxedo clad dancers down an incline; the performance ended with the singer walking down the catwalk in a bridal veil and carrying a white bouquet, which she eventually throws into the crowd. She played the ukulele once again during a cover of "La Vie en rose" alone on stage. On selected shows, Madonna also performed a snippet of "Diamonds Are a Girl's Best Friend" and other songs. For "Unapologetic Bitch", Madonna invited someone from the audience, terming the person with the titular name, and gifting them with a banana. The show ended with "Holiday", where Madonna came out wrapped in the flag of the country she performed in, while energetically dancing around the stage as confetti dropped from the ceiling. At the end of the performance, she was strapped into a harness and flew above the stage, before disappearing behind the video screens.
Rebel Heart Tour will be Madonna's third and final tour under the 10 year multi-rights deal with Live Nation, signed in 2007 for $120 million. General sales for the tour started from March 9, 2015, and the North American tickets purchased online were bundled with an exclusive digital download of the Super Deluxe version of Rebel Heart. Special access was granted to members of Madonna's official fan club known as Icon, including first access to tickets and VIP passes. Citi was listed as the official bank for the tour, with cardholders having the ability to buy tickets early. Prices were almost same as Madonna's last few tours, with the top price in $300–$350 range, and the cheapest being at $35. However, tickets for her Manila performances were above the average price and ranged from the cheapest $70 (₱3,145) to $1,300 (₱57,750).
According to Jesse Lawrence from Forbes, initial prices for the tour in the secondary markets indicated that it would become the most expensive concert tour of 2015. The average ticket for Rebel Heart Tour was valued at $452.33 in Madonna's secondary markets, a much higher total than her closest competitor, that of Taylor Swift with The 1989 World Tour, whose tickets were priced at $305.21 average. Madonna surpassed Fleetwood Mac as the artist with the most expensive tour (51.5% more) in 2015. The show of October 24 at Las Vegas became the most expensive date with average price of $949.21, while the cheapest tickets were available for $164.30 at the Edmonton date, according to Viagogo. Lawrence also noted that the secondary market prices were much higher than The MDNA Tour, indicating a competitive scenario favorable for Madonna.
Once available, tickets started selling out fast, and shows in Edmonton, Paris and Turin sold out within minutes after going on sale, resulting in the addition of additional shows in all cities. Additional shows were also added in a number of cities in North America. Live Nation partnered with gay geosocial networking app Grindr, and posted advertisements there for the tour, resulting in more ticket sales. For the Australian dates, the Telstra presale resulted in all the cheaper tickets being sold, with only the VIP packages and the extra expensive ones being left for sale. Madonna's fan club members had first access to the Australian tickets, then a Citibank presale for card holders, followed by the Telstra presale till July 2, another presale for Live Nation members, and finally general public tickets on sale from July 6. Tickets for the singer's first ever concert in Taiwan sold out in 15 minutes prompting a second date to be added. In Hong Kong, tickets sold out within 10 minutes of being available, setting up a record for the fastest concert to sell out there. This resulted in a second date being added there on February 18 at the same venue.
A news report in the New York Post claimed that the tour was failing to sell like The MDNA Tour, with venues like those in New York still having tickets available after the first day. Fogel dismissed the claims saying that "A tour with a budget like [Madonna's] counts on adding on second and third nights in markets... That's why it's scheduled with lots of empty dates in major markets." The New York Post article was also negatively received in media, with The Inquisitr explaining that it "not only used false statistics to proclaim the tour a flop, but seemed like a definite hit-piece, especially since it was written only a couple days after tickets went on sale." Lawrence further criticized such news, saying that "Madonna is posting some of the most expensive ticket prices on the secondary market this year... And though media will continue to speculate that Madonna is nearing the end of her renowned career, her box office numbers have shown that she is still among the upper echelon of pop music's elite."
In October 2015, Billboard revealed the first boxscores for the tour, reporting the first 10 dates. Total gross was at $20 million with 132,769 tickets sold. The opening shows in Montreal were considered a highlight with total gross of $3.4 million. Highest gross came from the New York shows raking in $5.2 million from a total audience of 28,371. Second set of boxscores were published in November 2015, and it grossed another $25.4 million in total. The first leg of the tour had attendance of over 300,000 earning a total of about $46 million. Among the arenas that hosted the tour for just one performance, the MGM Grand Garden in Las Vegas produced the top sales total with $3.5 million on October 24. Brooklyn's Barclays Center logged the largest crowd among the single-show dates with 14,258 present on September 19.
With the European leg starting, Swedish newspaper Svenska Dagbladet reported that the concert at Stockholm's Tele 2 Arena drew a total of 40,557 audience, making it a new record for the venue. In December 2015, the fourth boxscore figures were reported with a total gross of $22.6 million from eight markets and a total of 194,827 tickets sold. Billboard also clarified the actual tickets sold in Sweden to be 39,338. Another $7.5 million was reported from the shows in Zurich, Manchester, Birmingham and Glasgow. At the end of 2015, the tour placed at number 11 on Pollstar's "2015 Year-End Top 100 Worldwide Tours" list, grossing $88.4 million from 49 shows with a total attendance of 693,061.
The North American boxscores for the 2016 shows were published on March 2016, with total 819,792 tickets sold and gross of $107.3 million. After the tour ended, Billboard announced the total gross as $169.8 million with total of 1,045,479 tickets sold. In Pollstar's 2016 Mid Year Special Features, the tour ranked at number four, grossing $85.5 million from 33 shows with a total attendance of 395,815. According to them, the tour grossed $173.9 million in total with 1,088,876 tickets sold between 2015 and 2016. With the completion of the Rebel Heart Tour, Madonna extended her record as the highest grossing solo touring artist, with over $1.31 billion in concert gross, starting from the Blond Ambition World Tour in 1990. Overall, Madonna ranks third on all-time top-grossing Billboard Boxscore list, with just The Rolling Stones ($1.84 billion) and U2 ($1.67 billion) ahead of her.
Writing for the New York Daily News, Jim Farber noted that the most shocking aspect of the tour was not the provocative imagery and performances, rather the fact that Madonna appeared in a light mood and was smiling all throughout. Similar thoughts were echoed by Jordan Zivitz of Montreal Gazette who observed that after the first section, the tour's tone became more carefree since Madonna seemed to be "enjoying herself". She complimented the performance of "La Vie en rose" and ended the review saying that "the show shared a sense of self-confidence and a sense of play... a minor revelation from an artist whose discipline and perfectionism haven't compromised a love of serious fun." Chris Kelly from The Washington Post reviewed the show at Verizon Center, saying that Madonna remained "as provocative as ever... The moment [her] show started... those questions and more ['After three decades in the spotlight, does Madonna still have it?'] went out the window, a defenestration the Catholicism-obsessed queen of pop would appreciate."
Alex Needham from The Guardian gave a 5-star review of the Madison Square Garden concert, complimenting the performance of the old songs and describing the concert as "an affirmation that there is simply no other performer like her. Tonight, Madonna kills it." In her positive review for The Village Voice, Hillary Hughes called Madonna "the pop's patron saint of revolution in action". Another positive review came from Rob Sheffield from Rolling Stone who complimented Madonna's camaraderie during the show saying, "She hasn't reached so far onstage, musically or emotionally, since her 2001 Drowned World extravaganza." Joe Gottlieb from The Boston Herald theorized that "Madonna's visions have a smart, thought-out feel her imitators can’t replicate".
Billboard's Joe Lynch rated the concert 4 stars out of 5, observing that "Madonna's restless creative spirit is on full display on the Rebel Heart Tour". He praised Schumer's opening act and the performances of "Music", the "Dress You Up" medley, and "Body Shop". Jon Pareles reviewed the tour for The New York Times, declaring that "[t]hrough the decades, Madonna's tours have delivered spectacles that push hot buttons galore". But on Rebel Heart Tour, the singer chose to share her prerogatives instead, with Pareles complimenting the remix of her old hits. Ashley Lee from The Hollywood Reporter gave the same feedback, saying that the singer, "[showcased] her years of creative vision and onstage expertise to deliver an arena show packed with visual variety, thematic theatrics and inventive instrumentation to refresh even her earliest hits". Giving the concert a rating of B+, Melissa Maerz from Entertainment Weekly was surprised by Madonna's "playful" mood during the show, since she felt that the opening sequence was reminiscent of dark intones in The MDNA Tour. Maerz added: "[Madonna] was having fun. And, clearly, having fun was a whole lot of work." In the New York magazine review, Lindsay Zolatz commended the show and dancers on the tour, especially during "Illuminati", but criticized the excess inclusion of Rebel Heart songs in the set list.
German newspaper Volksstimme reviewed the show in Cologne and described it as a "Madonna-show in miniature" but noted that the "classic" hits got the greatest acclaim from the audience. Anders Nunstedt from Swedish newspaper Expressen attended the show at Stockholm and declared it as better than The MDNA Tour. Nunstedt complimented how the audience was gradually made interactive and the show became conversational. He also commended the singer's speech regarding the November 2015 Paris attacks and singing "Like a Prayer" as a tribute to the victims and survivors. Andrea Annaratone from Italian Vanity Fair reviewed the shows in Turin and criticized Madonna for starting the concert late. However, he complimented the show and Madonna's camaraderie with the audience. Peter Vantyghem from Belgium's De Standaard reviewed the show at Antwerp. He criticized the music assimilation during the Latin section, but was complimentary about the ending of the show, and the messages surrounding love and positivism. Hester Carvalho from the NRC Handelsblad rated the Amsterdam show 4 stars out of 5, noting that the show gradually became more streamlined but had less synchronized dance moves unlike The MDNA Tour. Carvalho was also impressed by the stage setting and the long catwalk.
Will Hodgkinson from The Times reviewed the shows at London's The O2, and gave it a 5 on 5 star rating. He commented that "Madonna goes in and out of fashion but one constant remains: her tenacity... [She] returned to the O2 for a concert that proved that there's nothing like a near-death experience to reinvigorate the Queen of Pop." Another 5 star rating came from Neil McCormick of The Daily Telegraph who noticed that the loudest cheer for the concert came when Madonna successfully unraveled herself of her cape during "Living for Love", referring to her falling down at the Brit Awards earlier the year. McCormick described the concert as "a dazzling hi-tech, multimedia melange of light and sound, with eye and mind boggling set pieces featuring fantasy medieval executioners, martial art fighting geishas, pole dancing nuns, simulated sex shows." Peter Robinson from The Guardian rated it 4 on 5 stars complimenting "Iconic" as the "perfect opening number". He observed that most "signature hits appear in an updated style... but when Madonna delivers a refreshingly faithful version of 'Deeper and Deeper', it's the night's highlight." Kitty Empire from the same newspaper also rated it 5 on 5 stars, commending the performances during "Illuminati", "True Blue" and the impromptu performance of "Like a Prayer", calling it "the most charismatic song of the night". Nick Levine from NME believed that "too much" of singing the songs from Rebel Heart "could have felt try-hard from [Madonna]", but "on stage she still works harder and delivers more thrills than her younger rivals. Nobody fucks with the queen? It's hard to disagree". Reviewing the show for BBC, Mark Savage commented that Madonna was "charismatic enough to command the entire arena on her own and the show's strongest moments come when she's solo on stage".
Asia and Oceania
Lauren James from the South China Morning Post called the show "tightly choreographed" adding that "Hong Kong finally got to bask in Madonna's glow, but it was far too much fun to be a one-night stand." Reviewing the concert in Bangkok, Manta Klangboonkrong from AsiaOne commented that "Showing little sign of her age, Madonna gave us what was clearly one of the most sensational concerts that's ever graced Bangkok. She did a great job as a dancer, singer and all-round entertainer." Jojo Panaligan from the Manila Bulletin noted that Madonna's unapologetic attitude was on display at the show in Mall of Asia Arena, but the crowd reacted positively.
The Rebel Heart tour included controversies like late start of the show, unlawful use of the country's flags as well as ticket goof-ups. Her appearance in Manchester attracted large criticism from fans, who booed at her for her late arrival. Madonna responded to the audience during the show, stating that it was due to technical difficulties. During her first concert in Hong Kong and Taipei, Madonna was two-and-a-half hours late; the former caused a small protest outside the show. Another late incident happened for the shows in Brisbane.
Madonna's Instagram post about her arrival in Taiwan caused controversy, when it was noted that the singer had used an old badge of the Taiwanese political party, the Kuomintang (associated with the White Terror incidents), instead of the actual national emblem of the state. During the performance, Madonna wore the current flag of Taiwan before confessing her love for both Taiwan and China. At Philippines, Madonna wore the country's flag as part of the encore segment. However, the use of the Philippines flag as a "costume or uniform" was banned in 1998 by federal law. Madonna faced threats by the government of Philippines for "disrespecting" the flag, and a possible ban from the country. However, they overturned their opinion because it "was based on a wrong interpretation".
During Madonna's performances on March 5 and 6 at New Zealand, many of the public were refused entry to the shows because their tickets were rendered invalid. Approximately 20 people, who purchased their tickets through the Queen of Tickets website, were turned away from entering the concert, while others were required to generate another printed ticket at customer service queues. According to Stuff.co.nz, head ticketing seller Ticketmaster had changed the seating plan of the venues without contacting Queen of Tickets website, as a result they had to refund the people who had brought a ticket from them. At the end of Madonna's second show in Brisbane, the singer exposed the breast of a 17-year-old woman, Josephine Georgiou, on stage by pulling down her top. The singer had jokingly responded "Oh sorry, sexual harassment", however it caused controversy when the general public took to social media to label the incident as a sexual assault. Georgiou defended the singer by stating it was "the best time of my life".
Recording and broadcast
In March 2016, Madonna announced that the Sydney, Australia shows of March 19 and 20, 2016 would be filmed for release as her tour DVD. Danny Tull and Nathan Rissman, who have both worked on Madonna's previous movies and tour movies, will be directing the concert film. In September 2016, Madonna announced on her Instagram that she had finished watched a "rough assembly" of the tour's film, and it would be out in the next two months. Entertainment Weekly announced that the concert film would premier on December 9, 2016 on American cable channel Showtime. Titled as Madonna: Rebel Heart Tour, it featured behind the scenes footage from the Australian performances of the tour. Billboard showcased an exclusive behind-the-scenes look for the tour on December 2. The international rights for the film was acquired by Alfred Haber Distribution Inc. (AHDI). A live album of the tour was released on September 15, 2017 as DVD, Blu-ray and digital download. It contained bonus content like the Tears of a Clown show, as well as a 22-song live double CD. The cover image was photographed by fashion photographer Joshua Brandão.
- "Video Introduction" (contains elements of "Iconic")
- "Bitch I'm Madonna"
- "Burning Up"
- "Holy Water" (contains excerpts from "Vogue")
- "Devil Pray"
- "Messiah" (video interlude)
- "Body Shop"
- "True Blue"
- "Deeper and Deeper"
- "HeartBreakCity" (contains excerpts from "Love Don't Live Here Anymore")
- "Like a Virgin" (contains elements of "Heartbeat" and "Erotica")
- "S.E.X." (video interlude) (contains elements of "Justify My Love")
- "Living for Love"
- "La Isla Bonita"
- "Dress You Up" / "Into the Groove" / "Lucky Star" / "Dress You Up" (Reprise)
- "Who's That Girl"
- "Rebel Heart"
- "Illuminati" (video interlude)
- "Music" (contains elements of "Give It 2 Me")
- "Candy Shop"
- "Material Girl"
- "La Vie en rose"
- "Unapologetic Bitch"
|Leg 1 – North America|
|September 9, 2015||Montreal||Canada||Bell Centre||Diplo||26,468 / 26,468||$3,420,984|
|September 10, 2015|
|September 12, 2015||Washington, D.C.||United States||Verizon Center||Sleepy Tom||13,271 / 13,271||$2,014,706|
|September 16, 2015||New York City||Madison Square Garden||Amy Schumer||28,371 / 28,371||$5,230,985|
|September 17, 2015|
|September 19, 2015||Brooklyn||Barclays Center||14,258 / 14,258||$2,789,910|
|September 21, 2015||Quebec City||Canada||Videotron Centre||Sleepy Tom||13,051 / 13,051||$1,078,608|
|September 24, 2015||Philadelphia||United States||Wells Fargo Center||Michael Diamond||10,544 / 10,544||$1,434,010|
|September 26, 2015||Boston||TD Garden||12,780 / 12,780||$1,941,750|
|September 28, 2015||Chicago||United Center||14,026 / 14,026||$2,522,365|
|October 1, 2015||Detroit||Joe Louis Arena||Kaytranada||12,852 / 12,852||$1,206,431|
|October 3, 2015||Atlantic City||Boardwalk Hall||Michael Diamond||9,498 / 9,498||$1,522,061|
|October 5, 2015||Toronto||Canada||Air Canada Centre||26,603 / 26,603||$3,416,646|
|October 6, 2015|
|October 8, 2015||Saint Paul||United States||Xcel Energy Center||11,449 / 11,449||$1,190,535|
|October 11, 2015||Edmonton||Canada||Rexall Place||Lunice||26,093 / 26,093||$3,310,026|
|October 12, 2015|
|October 14, 2015||Vancouver||Rogers Arena||Kaytranada||12,153 / 12,153||$1,227,073|
|October 17, 2015||Portland||United States||Moda Center||Michael Diamond||13,695 / 13,695||$2,004,420|
|October 19, 2015||San Jose||SAP Center||12,862 / 12,862||$2,298,815|
|October 22, 2015||Glendale||Gila River Arena||10,393 / 10,393||$1,307,510|
|October 24, 2015||Las Vegas||MGM Grand Garden Arena||Lunice||12,787 / 12,787||$3,524,113|
|October 27, 2015||Inglewood||The Forum||Michael Diamond||13,207 / 13,207||$2,852,095|
|October 29, 2015||San Diego||Valley View Casino Center||10,574 / 10,574||$1,606,935|
|Leg 2 – Europe|
|November 4, 2015||Cologne||Germany||Lanxess Arena||Mary Mac||25,952 / 25,952||$2,748,071|
|November 5, 2015|
|November 7, 2015||Prague||Czech Republic||O2 Arena||Rejjie Snow||33,408 / 33,408||$3,001,142|
|November 8, 2015|
|November 10, 2015||Berlin||Germany||Mercedes-Benz Arena||Idris Elba||23,588 / 23,588||$2,638,597|
|November 11, 2015||Mary Mac|
|November 14, 2015[a]||Stockholm||Sweden||Tele2 Arena||39,338 / 39,338||$3,482,634|
|November 16, 2015||Herning||Denmark||Jyske Bank Boxen||12,263 / 12,263||$1,000,551|
|November 19, 2015||Turin||Italy||Pala Alpitour||34,752 / 34,752||$3,694,172|
|November 21, 2015|
|November 22, 2015|
|November 24, 2015||Barcelona||Spain||Palau Sant Jordi||Lunice||28,104 / 28,104||$2,312,846|
|November 25, 2015|
|November 28, 2015||Antwerp||Belgium||Sportpaleis||19,315 / 19,315||$2,135,032|
|November 29, 2015||Mannheim||Germany||SAP Arena||10,883 / 10,883||$1,213,890|
|December 1, 2015||London||England||The O2 Arena||Idris Elba||28,670 / 28,670||$4,861,403|
|December 2, 2015||Mary Mac|
|December 5, 2015||Amsterdam||Netherlands||Ziggo Dome||Lunice||30,023 / 30,023||$3,559,122|
|December 6, 2015|
|December 9, 2015[b]||Paris||France||AccorHotels Arena||30,817 / 30,817||$3,868,967|
|December 10, 2015|
|December 12, 2015||Zürich||Switzerland||Hallenstadion||11,306 / 11,306||$1,773,189|
|December 14, 2015||Manchester||England||Manchester Arena||Mary Mac||14,177 / 14,177||$2,342,186|
|December 16, 2015||Birmingham||Barclaycard Arena||12,119 / 12,119||$1,863,342|
|December 20, 2015[c]||Glasgow||Scotland||The SSE Hydro||9,665 / 9,665||$1,574,416|
|Leg 3 – North America|
|January 6, 2016||Mexico City||Mexico||Palacio de los Deportes||Lunice||31,696 / 31,696||$4,537,609|
|January 7, 2016|
|January 10, 2016||San Antonio||United States||AT&T Center||Mary Mac||14,543 / 14,543||$1,915,670|
|January 12, 2016||Houston||Toyota Center||11,604 / 11,604||$1,671,630|
|January 14, 2016||Tulsa||BOK Center||10,891 / 10,891||$1,559,410|
|January 16, 2016||Louisville||KFC Yum! Center||14,558 / 14,558||$1,856,200|
|January 18, 2016||Nashville||Bridgestone Arena||11,569 / 11,569||$1,430,485|
|January 20, 2016[d]||Atlanta||Philips Arena||Lunice||10,609 / 10,609||$1,500,635|
|January 23, 2016[e]||Miami||American Airlines Arena||26,468 / 26,468||$2,555,425|
|January 24, 2016[f]|
|January 27, 2016[g]||San Juan||Puerto Rico||Coliseo de Puerto Rico||18,539 / 18,539||$2,352,219|
|January 28, 2016[h]|
|Leg 4 – Asia|
|February 4, 2016||Taipei||Taiwan||Taipei Arena||Mary Mac||22,554 / 22,554||$6,578,042|
|February 6, 2016|
|February 9, 2016||Bangkok||Thailand||IMPACT Arena||19,930 / 19,930||$4,584,740|
|February 10, 2016|
|February 13, 2016||Saitama||Japan||Saitama Super Arena||37,706 / 37,706||$9,609,418|
|February 14, 2016|
|February 17, 2016||Hong Kong||AsiaWorld–Arena||21,808 / 21,808||$4,907,134|
|February 18, 2016|
|February 20, 2016||Macau||Studio City Event Center||7,446 / 7,446||$8,265,771|
|February 21, 2016|
|February 24, 2016[i]||Manila||Philippines||Mall of Asia Arena||15,710 / 15,710||$4,956,105|
|February 25, 2016|
|February 28, 2016||Singapore||Singapore National Stadium||N/A||19,123 / 19,123||$6,093,229|
|Leg 5 – Oceania|
|March 5, 2016||Auckland||New Zealand||Vector Arena||Mary Mac||17,386 / 17,386||$3,593,978|
|March 6, 2016|
|March 12, 2016||Melbourne||Australia||Rod Laver Arena||23,768 / 23,768||$5,482,518|
|March 13, 2016|
|March 16, 2016[j]||Brisbane||Brisbane Entertainment Centre||13,886 / 13,886||$2,332,579|
|March 17, 2016[k]|
|March 19, 2016||Sydney||Allphones Arena||26,370 / 26,370||$6,052,001|
|March 20, 2016|
|Total||1,045,479 / 1,045,479||$169,804,336|
Adapted from the Rebel Heart Tour Book.
- Madonna – creator
- Jamie King – show director
- Tiffany Olson – assistant show director
- Stufish Entertainment Architects – stage design
- Megan Lawson – lead choreographer and creative consultant
- Al Gordon – lighting designer
- Madonna – vocals, guitar, ukulele
- Kevin Antunes – musical director, keyboards
- Monte Pittman – guitar, ukulele
- Brian Frasier-Moore – drums
- Ric'key Pageot – keyboards
- Nicki Richards – backing vocals
- Kiley Dean – backing vocals
- Sean Spuehler – vocal mix engineer
Choreographers and performers
- Jason Young – co-supervising choreographer
- Valeree Young – co-supervising choreographer
- Matt Cady – additional choreographer
- Kevin Maher – additional choreographer
- Aya Sato – additional choreographer
- Mona Marie – additional choreographer
- Jillian Meyers – additional choreographer
- Chaz Buzan – additional choreographer
- Sebastian Ramirez – additional choreographer
- Mary Cebrian – additional choreographer
- Marvin Gofin – additional choreographer
- Emilie Chapel – additional choreographer
- Yaman Okur – additional choreographer
- Sonia Olla – additional choreographer
- Ismael Fernandez – additional choreographer
- Scott Maldment – additional choreographer
- the Strut n Fret Team – additional choreographer
- Rich and Tone Talauega – additional choreographer
- Kupono Aweau – dancer
- Allaune Blegbo – dancer
- Deurell Bullock – dancer
- Grichka Caruge – dancer
- Justin De Vera – dancer
- Coral Dolphin – dancer
- Marvin Gofin – dancer
- Malik Le Nost – dancer
- Loic Mabanza – dancer
- Sasha Mallory – dancer
- Sheik Mondesia – dancer
- Bambi Nakayama – dancer
- Jo'Artis Ratti – dancer
- Lil' Buck Riley – dancer
- Aya Sato – dancer
- Ai Shimatsu – dancer
- Sohey Sugihara – dancer
- Maria Wada – dancer
- Ahlamalik Williams – dancer
- Arianne Phillips – tour stylist
- Laura Morgan – stylist assistant
- Taryn Shumway – stylist assistant
- Jessica Dell – stylist assistant
- Miu Miu – costume design
- Prada – costume design
- Gucci – costume design
- Fausto Puglisi – costume design
- Moschino – costume design
- Nicolas Jebran – costume design
- Aura Tout Vu – costume design
- Swarovski – costume design
- Alexander Wang – costume design
- Lilly e Violetta – costume design
Road and Touring Crew
- Tony Villanueva – Madonna's dresser
- Mel Dykes – wardrobe supervisor
- Lisa Nishimura – wardrobe assistant to Madonna
- Janelle Corey – wardrobe dresser
- Noriko Kakihara – wardrobe dresser
- Danielle Martinez – wardrobe dresser
- Laura Spratt – wardrobe dresser
- Michael Velasquez – wardrobe tailor
- Tres Thomas – tour director
- Rick Sobkówiak – tour accountant and operations manager
- Sherine Sherman – production accountant
- Stacey Saari – tour ticketing
- Brea Thomas – executive assistant
- Natasha Veinberg – VIP program coordinator
- Colleen Cozart – VIP program coordinator
- Andy Lecompte – hair and make-up
- Aaron Henrikson – hair and make-up
- Aaron Henrikson – make-up artist for Madonna
- Gina Brooke – rehearsals make-up consultant
- Martin Conton – security
- Craig Evans – security
- Gingi Levin – security
- Erez Netzer – security
- Shir Sheleg – security
- Travis Dorsey – artist chef
- Jean-Michel Ete – nutritionist and esthetician
- Michelle Peck – nutritionist and esthetician
- Craig Smith – Madonna's trainers
- Marlyn Ortiz – Madonna's trainers
- Gigi Fouquet – assistant to Madonna
- Mae Heidenreich – assistant to Madonna
- Megan Duffy – production assistant
- Richard Coble – artist tour manager
- Abby Roberts – assistant tour manager
- Maria Guitterez – rehearsals assistant
- Janine Edwards – hotel advance
- Jill McCutchan – entourage tour manager
- Jeremy Childs – assistant tour manager
- Mark Parkhouse – physical therapist
- Guy Oseary – manager
- Sara Zambreno – additional management
- Danielle Doll – additional management
- Rachel Gordh – assistant to Guy Oseary
- Liz Rosenberg – publicity
- Brian Bumbery – publicity
- Barbara Charone – UK publicity
- Johann Delebarre
- Abe Burns – webster & digital media
- Karine Prot – archives
- Richard Feldstein – business management – webster & digital media
- Rosy Simon – business management
Video and production
- Moment Factory – design
- Veneno Inc. – design
- Sakchin Bessette – creative directors
- Caroline Oliveira – creative directors
- The Good Company – video production
- Vfx by MPC – video production
- Johanna Marsal – video production
- Anotherproduction AB – video production
- Steven Klein – video directors
- Tarik Mikou – video directors
- Danny Tull – video directors
- Jonas Åkerlund – video directors
- Fabien Baron – video directors
- Tom Munro – video directors
- Team J.A.C.K. – video directors
- Johan Soderberg – video directors
- Danny Tull – video editing
- Alex Hammer – video editing
- Russ Senzatimore – video editing
- Tom Watson – video editing
- Hamish Lyons – video editing
Worldwide promoter and producer
- Live Nation Global Touring – tour promoter
- Arthur Fogel – president and chief executive officer
- Gerry Barad – chief operating officer
- Tres Thomas – senior VP, global operations
- Craig Evans – senior VP, global operations
- At Stockholm Madonna gave a speech regarding the victims of the Paris attack, explaining that she had considered cancelling the show "because in many ways I feel torn. Why am I up here dancing and having fun when people are crying over the loss of their loved ones?" However she changed her mind thinking that cancelling the show would let the terrorists win.
- After the show, Madonna traveled to the Place de la République and performed an impromptu performance in honor of the Paris victims, singing "Ghosttown", "Imagine" as well as "Like a Prayer". She was accompanied by her son David and guitarist Monte Pittman.
- During the show at SSE Hydro, the lights came up with the encore performance of "Holiday" still left to be started. Madonna chose to continue performing the song with her dancers and asked the audience to join her in a sing-along. Representative of the venue reported that the power was cut off by Madonna's production team to avoid late fines.
- The concert of January 20, 2016 at the Philips Arena in Atlanta was originally scheduled to take place on September 2, 2015 but was postponed due to arrangement logistics being incomplete within the time given.
- The concert of January 23, 2016 at the American Airlines Arena in Miami was originally scheduled to take place on August 29, 2015 but was postponed due to arrangement logistics being incomplete within the time given.
- The concert of January 24, 2016 at the American Airlines Arena in Miami was originally scheduled to take place on August 30, 2015 but was postponed due to arrangement logistics being incomplete within the time given.
- The concert of January 27, 2016 at the Coliseo de Puerto Rico in San Juan was originally scheduled to take place on September 5, 2015 but was postponed due to arrangement logistics being incomplete within the time given.
- The concert of January 28, 2016 at the Coliseo de Puerto Rico in San Juan was originally scheduled to take place on September 6, 2015 but was postponed due to arrangement logistics being incomplete within the time given.
- Following the shows in Philippines, media reported that Madonna would face a ban from the country, since during her performance she had used the country's flag, which is not allowed per law.
- The concert of March 16, 2016 at the Brisbane Entertainment Centre in Brisbane was originally scheduled to take place on March 26.
- The concert of March 17, 2016 at the Brisbane Entertainment Centre in Brisbane was originally scheduled to take place on March 27.
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