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“And so “Fragile” happened pretty quick.”
“So one thing that we’d started doing on the tour was making mixtapes.”
“Let’s start from that as the foundation” — which just meant restructuring everything and finding different musicians and different ways to mix and present that show.”
““Good for the Soul” was really a song and a kind of statement, I think, for Madonna — we have elements of extraterrestrial ideas in there, right?”
“That became a really exciting way to work because it broke down that wall between live performance and production.”
“I just loved how she was writing, how she sounded, how the songs were coming together, how much fun it was to do, and how open it was to do as well.”
“They combine the element of Madonna who’s so great in the moment, but also with the preparation and technical perfection of her performance.”
“Ricardo Gomes* 2005’s Confessions on a Dance Floo r got its start on the road, after producer Stuart Price served as Madonna ‘s musical director on two tours: 2001’s Drowned World Tour and 2004’s Re-Invention Tour .”
“The genesis of that is ultimately Madonna saying very curtly, “This needs an injection, this needs a shock.” I’d looked around and gone, “Wow, we really haven’t used a ton of guitar in this record.”
“So there’s a singular focus on creating that music because that music will then dictate all the decisions that are gonna be made about video, about lighting, about choreography.”