| Tour byMadonna | |
.png) Promotional poster for the tour | |
| Location |
|
|---|---|
| Associated album | American Life |
| Start date | May 24, 2004 (2004-05-24) |
| End date | September 14, 2004 (2004-09-14) |
| Legs | 2 |
| No. of shows | 56 |
| Attendance | 897,207 |
| Box office | US$125 million[a] |
| Madonna concert chronology | |
| |
TheRe-Invention World Tour (billed asRe-Invention World Tour 2004) was the sixthconcert tour by American singerMadonna, launched in support of her ninth studio album,American Life (2003). It began on May 24, 2004, atthe Forum inInglewood, California, and concluded on September 14 at thePavilhão Atlântico inLisbon, Portugal. The tour marked Madonna's return to the stage after three years and included her first-ever concerts in both Portugal andIreland. Initially rumored in late 2003 and officially announced in March 2004, the tour's title referenced the singer's reputation for reinvention, as well as her aim to rework and reimagine older songs. The 24-track set list was divided into five thematic acts —Marie Antoinette,Military,Circus,Acoustic, andScottish-Tribal— with costumes designed byArianne Phillips,Stella McCartney,Christian Lacroix, andKarl Lagerfeld.
Critical reception ranged from positive to mixed. While many reviewers praised Madonna for performing the "classic" songs absent from her previousDrowned World Tour (2001), others critiqued the concert's themes and political tones. Nevertheless, the tour was a commercial triumph, grossing over $125 million ($208.09 million in 2024 dollars[1]) from 56 sold-out shows and drawing an audience of more than 900,000, making it the highest-grossing tour of 2004. It won Top Tour at the 2004Billboard Touring Awards. Controversy briefly surrounded the tour whenElton John accused Madonna oflip syncing —a claim denied by her team and later retracted by John. The tour was later chronicled in the 2005 documentaryI'm Going to Tell You a Secret, directed byJonas Åkerlund.
In August 2002, Madonna collaborated with photographerSteven Klein onX-STaTIC PRO=CeSS, a multimedia art installation designed to explore and deconstruct her public image.[2][3] Featuring "stark" visuals and disorienting footage that portrayed her in surreal, regal settings, the project debuted in New York in March 2003 and traveled to several European cities.[4] Around this time, she released her ninth studio album,American Life, and promoted it with performances atMTV'sTotal Request Live, theHMV store onOxford Street, and appearances onTop of the Pops andFriday Night with Jonathan Ross.[5][6][7][8] She also made headlines with a performance alongsideBritney Spears andChristina Aguilera at the2003 MTV Video Music Awards.[9]
Talk of aconcert tour began circulating in late 2003, with Madonna's manager confirming plans for either late 2004 or early 2005.[10] By January, Madonna herself said she had show ideas in mind, and rehearsals were reported to be underway by March.[11][12] Early working titles included Whore of Babylon World Tour 2004, and Scottishbagpiper Calum Frase revealed he had been invited to participate.[13] On March 23, 2004, the Re-Invention World Tour was officially announced. Manager Caresse Henry said it would be a high point in Madonna's career, and a welcome return that would remind audiences of her strength as a live performer.[14][15] Drawing partial inspiration fromX-STaTIC PRO=CeSS, the tour marked her first in three years and included her debut inIreland.[16] Scheduled shows inTel Aviv were canceled due to security concerns, though Madonna expressed disappointment, saying she would have gone if it were up to her.[17][18] The tour opened on May 24 inInglewood, California, and concluded on September 14 inLisbon, Portugal.[15][19][20]
One of the main criticisms of 2001'sDrowned World Tour was the omission of Madonna's "classic hits". According to Henry, this feedback led the singer to rethink her approach for Re-Invention, opting to perform songs spanning her entire career.[21] As she explained onTotal Request Live, "We're talking old and new […] like they've never been done before."[22] The tour title, Re-Invention, was described byChristianity Magazine as a self-aware nod to critics who had long commented on her ever-changing image.[23] Madonna herself said the name reflected the need to approach her older material from a new angle, highlighting its irony.[24] Thematically lighter than Drowned World, Re-Invention centered on the contrast between unity and violence and was divided into five thematic acts acts:Marie Antoinette,Military,Circus,Acoustic, andScottish-Tribal.[25][26][27] Henry called it a "brilliant performance show—extravagant, but more in line with how shows used to be."[21]
Theset list was carefully refined during rehearsals, beginning with over thirty potential songs. Tracks like "Dress You Up" (1985) and "I'm So Stupid" were considered but ultimately dropped —some due to technical challenges, like learning guitar chords.[28] "Vogue" (1990) was initially intended as the opener before being replaced by "The Beast Within".[28] Other rehearsed songs that didn’t make the cut included the Headcleanr Mix of "Love Profusion" (2004), "Swim" fromRay of Light (1998), "Take a Bow" (1994), and "Live to Tell" (1986).[28] The final set list featured twenty-four tracks, including a cover ofJohn Lennon's "Imagine" (1971), which Madonna called "the ultimate peace song".[29] "Don't Tell Me" (2001) was performed in two variations —one with a French skyline backdrop, another samplingThe Verve's "Bitter Sweet Symphony" (1997). "Ray of Light" was removed due to vocal strain. Two new songs were also created during the process: "The Devil Wouldn’t Recognize You" and "I Love New York", both later reworked into future studio albums.[28]
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Jamie King returned ascreative director for tour, continuing his long-standing collaboration with Madonna.[30] The production team also included guitaristMonte Pittman, keyboardist and musical directorStuart Price, bagpiperLorne Cousin,backing vocalistSiedah Garrett, and longtime backing vocalist and dancerDonna De Lory.[31][32] A troupe of 12 dancers —three of themtrapeze artists— rounded out the ensemble.[31] Dancer auditions were held in New York and Los Angeles between February and March 2004, with rehearsals taking place at the Forum.[31][33] Choreographer Allan Dekko was brought in specifically for "Express Yourself" (1989), which featured amilitary theme; he later described Madonna as pleasant to work with and capable of meeting the show’s physical demands.[34]
The production, estimated at $1 million, featured an ambitious stage design. It included a 13 m (43 ft) rotating turntable that could rise nearly 3 m (9.8 ft) and spin at speeds up to 6.7 m/s (15 mph), along with aconveyor belt that ran along the front edge of the stage.[35][36] Five massive video screens—one weighing seven tons—formed the multimedia backdrop, moved by 160 individual motors.[37] Additional elements included 130 rigging points, an elaborate lighting system, and a four-tonClaire Brothersline array sound system. A 22 metres (72 ft) V-shaped catwalk was suspended from the ceiling, descending over the crowd during certain numbers.[38][39][40][37] The show also used striking visual props such as a skateboardinghalf-pipe and anelectric chair, with footage from theX-STaTIC PRO=CeSS installation featured throughout.[41] Notably, there was no opening act.[21]
The wardrobe for the Re-Invention tour was overseen by designerArianne Phillips, who stated that the costume design followed the same approach as the tour itself —reworking past material with new presentation.[42] Madonna underwent five costume changes during the concert, with contributions from designersStella McCartney,Christian Lacroix, andKarl Lagerfeld forChanel.[43] Each act featured a distinct visual style. Lacroix, who had previously collaborated with the singer onX-STaTIC PRO=CeSS, recreated one of the corsets from that project for the tour's opening: a champagne-colored, crystal-studded piece withBaroque inspiration.[42][44] The second segment, tied to theAmerican Life album, included military-inspired outfits described by Phillips as "real rock 'n' roll".[42][44] The third act, influenced by the work ofFederico Fellini and traditionalcircus aesthetics, featured boldchorus girl corsets by Lagerfeld.[44][45] For the more subdued fourth act, McCartney designed minimal garments that emphasized performer silhouettes.[44] The final segment incorporatedkilts from USA Kilts, blending traditional Scottish elements with contemporary streetwear touches.[46][44] Additional wardrobe pieces included T-shirts byJean Paul Gaultier and shoes byMiu Miu.[44] The official tour poster featured an image fromX-STaTIC PRO=CeSS, showing Madonna in a 17th-century-style dress, crawling toward the camera.[4]
The show opened with "The Beast Within", a spoken-word interpretation of theBook of Revelation accompanied by imagery fromX-STaTIC PRO=CeSS. As the visuals ended, Madonna emerged from below the stage in the Lacroix corset and performed "Vogue" withyoga-inspired poses. She followed with "Nobody Knows Me" dancing solo on the conveyor belt while lyrics flashed onscreen. The act closed with "Frozen", sung amid clouds ofdry ice and beneath video projections fromChris Cunningham, showing a naked androgynous couple wrestling underwater.
TheMilitary segment opened with the sound of helicopters and dancers dressed as soldiers crawling and embracing onstage. Madonna then appeared atop a stack of TV sets, wearing military fatigues and aberet, to perform "American Life". The backdrops showed the song's original music video, intercut with imagery of war, wounded children, and actors resemblingGeorge W. Bush andSaddam Hussein. Midway through the performance, the V-shaped catwalk descended from the ceiling, allowing the singer and dancers to move above the audience. "Express Yourself" featured rifletwirling, while rock-infused versions of "Burning Up" and "Material Girl" closed the act, and had Madonna onelectric guitar.
TheCircus act followed, introduced by aremix interlude of "Hollywood" showcasing afiredancer, abelly dancer, atap dancer, askateboarder, andRider–Waite tarot animations. "Hanky Panky" was staged like aburlesque show, while "Deeper and Deeper" was reimagined as a slow lounge number. "Die Another Day" was choreographed as atango and ended with Madonna being strapped into an electric chair, leading into the ballad "Lament" fromEvita. The act concluded with a video interlude set to a remix of "Bedtime Story", featuring imagery of Madonna lying on a giantscanner and singing in front of a mirror. As the video played, aerial dancers descended from the ceiling on swings.
"Nothing Fails" opened theAcoustic segment, performed by Madonna onacoustic guitar. "Don't Tell Me", "Like a Prayer" and amashup ofAmerican Life album tracks "Mother and Father" and "Intervention" followed; the latter performance incorporated religious imagery and footage of the singer's late mother. "Imagine", with Madonna singing amid visuals of war-torn areas and children, closed the act. The finalScottish-Tribal segment opened with live bagpipers and "Into the Groove", performed withMissy Elliott appearing onscreen. Madonna wore a kilt and rotated between T-shirts bearing phrases like "Kabbalists Do It Better" or "Italians Do It Better". She followed with "Papa Don't Preach" and "Crazy for You", which she dedicated to her fans. "Music" featured ahip-hop remix and illuminated staircase, while the finale, "Holiday", featured the cast atop the catwalk as confetti rained down and the words "Re-invent Yourself" appeared onscreen.
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Critical feedback towards Re-Invention ranged from positive to mixed. Many highlighted Madonna's renewed connection with her audience and her willingness to revisit earlier hits. Elizabeth Smith from theNew York Post called the show a "return to light and joy", whileUSA Today'sEdna Gundersen praised its emotional depth, giving it a perfect score and describing it as "more heart than spectacle".[47][48] Mark Guarino of theDaily Herald referred to the show as a "joyful blend" of past and present.[49] Critics also praised Madonna's vocal performance and stage presence.Rolling Stone's Barry Walters wrote that she was "fun-loving and self-assured", and called her "a great concert singer".[38] The choreography and theatricality were positively received, with Sean Piccoli of theSun Sentinel complimenting the show's "energizing choreography" and "commanding vocals".[50]
The set list was frequently cited as a highlight, particularly the inclusion of Madonna's "classic" songs. Sal Cinquemani ofSlant Magazine referred to them as "unifying, cathartic moments", whileThe Washington Post noted that Madonna had finally "embraced her pop legacy".[26][51] Howard Cohen, writing for theMiami Herald, said the tour celebrated her legacy by breathing new life into her greatest hits.[52] Others, likeThe Palm Beach Post, praised the mature reinterpretations of her older material, with Rochelle Brenner calling the arrangements "fitting for a more seasoned performer".[53] TheSan Francisco Chronicle's Neva Chonin spotlighted performances like "Frozen" and "Material Girl" as artistic highlights.[54] ForThe Star-Ledger, Jay Lustig called it the singer's most "dizzying and dazzling" tour, and Joan Anderman of theBoston Globe applauded Madonna's command over both spectacle and music.[55][56]
Some reviewers offered more mixed assessments. Jane Stevenson of theToronto Sun considered theCircus segment the weakest part of the show, though she praised the inventiveness of "Die Another Day".[57] Tony Clayton-Lea fromThe Irish Times questioned the inclusion of "least appealing" songs like "Die Another Day" and "Hanky Panky", and concluded that while Madonna didn't exactly "rock", she reaffirmed her pop dominance.[58] Cinquemani also criticized the tour's overall structure, saying it "often seemed like it was slapped together", whileMetromix'sGreg Kot called it a "mess, a hodgepodge of ideas that never quite establishes its tenuous theme".[26][40] Paul Taylor of theManchester Evening News described the show as "calculated and soulless", and Kelefa Sanneh ofThe New York Times noted that Madonna seemed "weighed down by her past personas".[59][19]
ForRedEye, Joshua Klein found the show an improvement over the "bleak" Drowned World Tour, yet ultimately called it a "missed opportunity".[60] He criticized the inclusion of older hits for creating a "jarring hodgepodge of conflicting themes, with anti-war protest followed awkwardly by giddy escapism". Klein did single out "Burning Up" as a highlight —calling its performance "absolutely searing"— while also noting "Like a Prayer" as one of the only moments that truly energized the crowd. Conversely, he felt Madonna looked "ridiculous" during "Papa Don't Preach" and "Crazy for You", and turned "Material Girl" into a "droll joke".[60]Jim DeRogatis from theChicago Sun-Times criticized some of the rearranged songs for sounding like "parodies", and found performances such as "Imagine" hollow.[61]
The political elements drew frequent criticism. DeRogatis dismissed Madonna's anti-war statements as simplistic, while Peter Bowes fromBBC News reported mixed reactions from audiences, some of whom found the messaging heavy-handed.[61][62] Cohen said the imagery felt outdated and diluted the intended impact.[52] Cinquemani noted that the political visuals felt unrelated to the actual songs, andRobert Hilburn from theLos Angeles Times argued that the commentary lacked the clarity and urgency of other politically engaged artists.[26][63] TheNew York Post's Orla Healy dismissed the concert for replacing entertainment and spectale with an "endless dose of political and social commentary".[64] Despite the divided opinions, Re-Invention won Top Tour at the 2004Billboard Touring Awards, with Caresse Henry receiving the Top Manager award.[65] Retrospectively, it has been ranked among her best tours byThe Advocate,VH1, andBillboard, the latter describing Madonna as being "in top form both vocally and physically".[66][67][68]
The tour launched to high demand, with tickets initially offered to members of Madonna'sIcon fan club, and VIP packages selling for up to $1,800.[14][69] MTV launched a contest offering fans front-row "pit tickets", which the singer described as a way to connect with her most devoted audience.[22][70] Within five days, dates in major US cities likeNew York,Los Angeles, andChicago sold out;[71] in New York alone, six shows brought in over $12 million.[72] The first ten concerts grossed $23 million, and by the end of the American leg, approximately 750,000 people had attended, with strong grosses in cities like Chicago,Las Vegas, andWorcester.[73][74][75] Halfway through,Billboard magazine predicted the tour to be thetop-grossing of the year, with a gross of $120 million ($199.77 million in 2024 dollars[1]).[36]
In Europe, despite some reports of slower initial sales,[76] the tour proved commercially successful.Manchester's 14,000 tickets sold out in an hour, while four nights atLondon'sWembley Arena grossed $9.8 million.[75] High demand inParis led to additional dates;[77] in Ireland,Ticketmaster doubled its staff and server capacity to handle demand.[78] Lisbon's 15,000 tickets sold out in eight hours.[79] In total, Re-Invention grossed $125 million ($208.09 million in 2024 dollars[1]), becoming 2004's highest-grossing tour.[80] Lucy O'Brien noted that despite its success, the tour "somehow slipped beneath the mass media radar," due in part to inflated ticket prices and the underwhelming reception ofAmerican Life.[81]
During theQ Awards in London,Elton John publicly criticized Madonna, expressing disbelief at her nomination for Best Live Act. He accused her of havinglip synched on the tour, stating, "Anyone who lip-synchs in public on stage when you pay $134 to see them should be shot. That's me off her fucking Christmas card list [...] But do I give a toss? No."[82][83] Madonna's publicist Liz Rosenberg quickly denied the claim, asserting that Madonna "sang every note of her Re-Invention Tour live" and did not engage in trashing other artists. She added that John, "remains on her Christmas card list whether he is nice... or naughty".[82] Madonna herself reportedly responded by sending him a box of chocolates with a sarcastic note.[84] John later walked back his remarks in an interview withEntertainment Weekly, referring to the Awards show as a "very drunken lunch" and admitting he regretted the outburst. "Would I apologize to [Madonna] if I saw her? Yeah, because I don’t want to hurt any artist's feelings. It was my fault. I instigated the whole thing", he said, though he maintained his criticism of pop performers who lip sync. "The reaction to it was so hysterical, it was like I said, 'I think all gays should be killed’ or 'Hitler was right'. I just said someone was lip-syncing".[85]
Separately, during the London leg of the tour, a crew member was seriously injured after falling approximately 30 feet while setting up the stage. He sustained arm and shoulder injuries and was airlifted to the hospital. Manager Caresse Henry issued a statement expressing that the team, "especially Madonna", was saddened by the accident and hopeful for a full recovery.[86]
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On May 25, 2004,CBS announced plans to air a two-hour live special of the tour, reportedly offering $10 million for broadcast rights. However, no air date was ever confirmed.[42] In April 2005, directorHamish Hamilton and The Rude Corp. sued Madonna, claiming over $300,000 in unpaid fees. They alleged a verbal "pay-or-play" agreement to film a European TV special, but said they were never compensated despite attending rehearsals and shows at her request.[88][89]
The official tour documentary,I'm Going to Tell You a Secret, directed byJonas Åkerlund —who had previously worked with Madonna on several music videos— focused on her artistic vision and spiritual beliefs, particularlyKabbalah.[90][91] Originally titledThe Re-Invented Process, it offered a more introspective take than 1991'sMadonna: Truth or Dare. The film premiered on MTV on October 21, 2005.[92]
Critical reception was mixed. Barry Walters noted its shift toward sincerity over shallow celebrity gossip, whilePitchfork'sStephen M. Deusner criticized its lack of self-awareness.[93][94] A two-disc release followed on June 20, 2006, featuring the documentary and a 14-tracklive album and the original rockdemo of "I Love New York".[87] It received more favorable reviews.AllMusic called it "strong and entertaining", and it earned aGrammy nomination forBest Long Form Music Video.[95][96]
Set list, samples and notes adapted per Madonna's official website, the notes and track listing ofI'm Going to Tell You a Secret, and additional sources.[97][27][98][99]
Act 1:Marie Antoinette
Act 2:Military
Act 3:Circus
Act 4:Acoustic
Act 5:Scottish-Tribal
| Date (2004) | City | Country | Venue | Attendance (Tickets sold / available) | Revenue |
|---|---|---|---|---|---|
| May 24 | Inglewood | United States | The Forum | 43,158 / 43,158 | $6,965,055 |
| May 26[b] | |||||
| May 27 | |||||
| May 29 | Las Vegas | MGM Grand Garden Arena | 28,341 / 28,341 | $7,005,548 | |
| May 30 | |||||
| June 2 | Anaheim | Arrowhead Pond of Anaheim | 24,250 / 24,250 | $4,164,450 | |
| June 3 | |||||
| June 6 | San Jose | HP Pavilion | 40,205 / 40,205 | $5,543,715 | |
| June 8 | |||||
| June 9 | |||||
| June 13 | Washington, D.C. | MCI Center | 26,788 / 26,788 | $3,486,684 | |
| June 14 | |||||
| June 16 | New York City | Madison Square Garden | 88,625 / 88,625 | $12,674,925 | |
| June 17 | |||||
| June 20 | |||||
| June 21 | |||||
| June 23 | |||||
| June 24 | |||||
| June 27 | Worcester | Worcester's Centrum Centre | 46,075 / 46,075 | $6,439,890 | |
| June 28 | |||||
| June 30 | |||||
| July 1 | |||||
| July 4 | Philadelphia | Wachovia Center | 30,575 / 30,575 | $4,134,478 | |
| July 5 | |||||
| July 7 | East Rutherford | Continental Airlines Arena | 29,315 / 29,315 | $4,437,345 | |
| July 8 | |||||
| July 11 | Chicago | United Center | 59,591 / 59,591 | $7,894,105 | |
| July 12 | |||||
| July 14 | |||||
| July 15 | |||||
| July 18 | Toronto | Canada | Air Canada Centre | 52,160 / 52,160 | $5,332,703 |
| July 19 | |||||
| July 21 | |||||
| July 24 | Atlanta | United States | Philips Arena | 25,627 / 25,627 | $3,450,874 |
| July 25 | |||||
| July 28 | Sunrise | Office Depot Center | 28,208 / 28,208 | $3,834,522 | |
| July 29 | |||||
| August 1 | Miami | American Airlines Arena | 30,580 / 30,580 | $4,145,760 | |
| August 2 | |||||
| August 14 | Manchester | England | Manchester Evening News Arena | 27,320 / 27,320 | $5,136,114 |
| August 15 | |||||
| August 18 | London | Earls Court Exhibition Centre | 34,087 / 34,087 | $6,356,207 | |
| August 19 | |||||
| August 22 | Wembley Arena | 45,267 / 45,267 | $9,809,717 | ||
| August 23 | |||||
| August 25 | |||||
| August 26 | |||||
| August 29[c] | Slane | Ireland | Slane Castle | 62,275 / 70,000 | $6,575,339 |
| September 1 | Paris | France | Palais Omnisports de Paris-Bercy | 68,000 / 68,000 | $7,357,529 |
| September 2 | |||||
| September 4 | |||||
| September 5 | |||||
| September 8 | Arnhem | Netherlands | GelreDome | 73,300 / 73,300 | $6,759,661 |
| September 9 | |||||
| September 13 | Lisbon | Portugal | Pavilhão Atlântico | 33,460 / 33,460 | $3,286,166 |
| September 14 | |||||
| Total | 897,207 / 904,932 (99%) | $124,790,787 | |||
Adapted from theRe-Invention World Tour 2004 program.[32]
| Studio albums | |
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| Soundtrack albums | |
| Live albums | |
| Compilation albums | |
| Limited releases | |
| Video releases | |
| Concerts and tours | |
| Films directed | |
| Documentaries | |
| Television | |
| Books authored | |
| Companies and brands | |
| Works about Madonna |
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| Impact and legacy | |
| Related articles | |
