Fact #157060
When:
Short story:
Madonna plays at Brixton Academy, London, England, UK, Europe, with guests Richard Ashcroft and Sharleen Spiteri. DJ slots are filled by Liam Howlett of Prodigy and Goldie.
Full article:
David Levy (agent, ITB) : If I had to pick a single moment during my thirteen years at ITB it would be when I got to promote Madonna at Brixton Academy. It was a moment when I felt my career had really taken off, and I remember how happy Barry Dickins and Rod McSween (owners of ITB) were for me. Given they’re two of the most experienced concert promoters in the world, it was amazing that they let me take someone like Madonna and just do it. It gave me a lot of confidence. That was the same year I had Bjork play the first ever pop show at The Royal Opera House in Covent Garden.
(Source : interview with Johnny Black for Audience magazine, October 2017)
Peter Robinson (reviewer, NME) : To try and look beyond the hype tonight where Madonna’s concerned is like buying a car and kicking the wheels off, while any criticisms can be pretty easily dismissed with the four words “yes, but it’s Madonna”. And for the five songs when she’s on stage, the doubts evaporate: ‘Impressive Instant’ sees Madonna (it’s really her!) appear from under a Union Jack in order to gyrate around on a car bonnet, ‘Don’t Tell Me’ has Mirwais accompanying her on guitar, and ‘Music’ closes the show with Madge inviting her fans – and by this point everyone’s remembered they are fans – to boogie woogie. Then it’s over.
Miranda Sawyer (reviewer, The Guardian) : Madonna performs six songs: 'Impressive Instant', 'Runaway Lover' (weakest), 'Don't Tell Me', 'What It Feels Like For A Girl' (best), a barnstorming 'Holiday', and a triumphant 'Music'. The gig lasts exactly half an hour. She introduces a guitar-playing Mirwais (Music 's producer) who says something incomprehensible; she shouts: 'This one's for all the pop bitches out there' - a reference to a music-insiders' Madonna-loving chat-room; she gets two audience members to 'boogie-woogie', rather unsuccessfully; she dances fantastically, and she sings. She sings very well. Her voice has changed from its Minnie Mouse origins: it's bright and clear, a good strong experienced pop voice. Images from her many-imaged past flick behind her on a video screen.
And then, she's gone. A whirlwind passing, a swift exhilaration.
(Source : The Guardian, Dec 3, 2000)
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(Source : interview with Johnny Black for Audience magazine, October 2017)
Peter Robinson (reviewer, NME) : To try and look beyond the hype tonight where Madonna’s concerned is like buying a car and kicking the wheels off, while any criticisms can be pretty easily dismissed with the four words “yes, but it’s Madonna”. And for the five songs when she’s on stage, the doubts evaporate: ‘Impressive Instant’ sees Madonna (it’s really her!) appear from under a Union Jack in order to gyrate around on a car bonnet, ‘Don’t Tell Me’ has Mirwais accompanying her on guitar, and ‘Music’ closes the show with Madge inviting her fans – and by this point everyone’s remembered they are fans – to boogie woogie. Then it’s over.
Miranda Sawyer (reviewer, The Guardian) : Madonna performs six songs: 'Impressive Instant', 'Runaway Lover' (weakest), 'Don't Tell Me', 'What It Feels Like For A Girl' (best), a barnstorming 'Holiday', and a triumphant 'Music'. The gig lasts exactly half an hour. She introduces a guitar-playing Mirwais (Music 's producer) who says something incomprehensible; she shouts: 'This one's for all the pop bitches out there' - a reference to a music-insiders' Madonna-loving chat-room; she gets two audience members to 'boogie-woogie', rather unsuccessfully; she dances fantastically, and she sings. She sings very well. Her voice has changed from its Minnie Mouse origins: it's bright and clear, a good strong experienced pop voice. Images from her many-imaged past flick behind her on a video screen.
And then, she's gone. A whirlwind passing, a swift exhilaration.
(Source : The Guardian, Dec 3, 2000)