Review Summary: A murkier, smokier sequel
Why wasn’t this album called
Confessions On A Dancefloor II? A puzzling choice, but my theory is it sounds more suited to the darkroom or the line to the bathrooms, rather than the dancefloor itself. If the first
Confessions was illuminated by a shining disco ball,
Confessions II is darkly lit by lasers through a shroud of smoke.
We weren’t off to a great start. First single “I Feel So Free” made me worried that the branding of the album was a cheap gimmick, as the astonishingly un-catchy song felt like a limp re-tread of her former hits. Thankfully though, the album settles into its groove fairly quickly – “Good For The Soul” picks up the pace and teases greatness, before “One Step Away” fully takes you to pathos-infused euphoria, and “Bring Your Love” offers the album’s big pop girl diva moment.
Confessions II just keeps getting better, as “Danceteria” is most successfully exemplifies the album’s sequel status, with its lyrical updates to the iconic bridge in “Vogue”, merged with a French house beat that feels both like a throwback and a fresh new trend. It’s a nod to her icon status, but doesn’t feel desperate in any way. She continues to be a trailblazer.
However, something that bothers me throughout is that the production and mixing lacks crispness and polish, especially compared to its predecessor. Conversely this makes many tracks more suited to the dark, muffled, smoked-filled nightclub vibe, so maybe this was an active choice. I can see Madonna’s vision, but it’s blurry.
(And no, that isn’t an age joke)
The album is also repetitive, both thematically as well as in tempo and song structure – there are only so many spoken-word verses one can take. Again, this may be by design, as it truly feels like losing yourself at the club, dissociating and letting your body, rather than your mind, guide you. But at 16 tracks,
Confessions II is too long to sustain this, and the body grows tired before its final stretch.
Ultimately, this album has to balance two wildly differing expectations. Is it as amazing as 2005’s
Confessions? Not nearly. But is it her best album since then? Easily. And most importantly, does Madonna assert herself in today’s pop landscape as someone not to count out? Undoubtedly.
