A s soon as we arrived at Wembley Stadium's gates at 4 p.m., we ran out onto the pitch, put down our markers and waited with anticipation for the show to begin.
Armed to the teeth with digital cameras and mobile phones we were definitely guaranteed a whale of a time. From the opening number Candy Shop, we were treated to a razor sharp looking Madonna. Taking to the stage in a leather dominatrix corset she looked gorgeous as she danced at break-neck pace amid her female dancers who were just merely keeping up.
I had finally fulfilled a dream of 15 years. My wish had come true... I was swept off my feet by the thrilling extravaganza.
Can you believe this woman is 50? Madonna's incredible physique was shown in all its glory as her unfeasibly muscly arms shone through each number as she performed hits that recalled her many different resonant stylish looks.
One number in particular that stood out was, undeniably, Vogue, where, together with her dancers, she strutted, leapt and wowed an audience with her exasperating energy.
Throughout the two-hour, 22-song set, she never stopped dancing. The Wembley audience was awed by her amazing set (and legs). Even watching her leap from side to side after every immaculate dance routine was jaw-dropping.
Undoubtedly, Madonna's Sticky and Sweet tour has a sports, gym theme at heart and this was projected in a brilliant manner in Into The Groove where she used a skipping rope like a young boxer.
The music of each track was re-arranged to great effect, testament as to how this artiste who survived the 1980s and 1990s has always managed to reinvent herself. La Isla Bonita was magnificently turned into a Spanish dance where Madonna was backed by Latin guitarists and an accordion that had members of the audience dancing flamenco.
What blew the emotional chords and had females in tears was Madonna's mellow rendition of You Must Love Me, taken from the Evita musical soundtrack.
Madonna's only flaw was when she struggled to keep in tune in Ray of Light. But the show itself more than made up for any downside pinpointed by the harshest of the critics, with the stunning projections evoking different themes on various screens that would rival a Pink Floyd live concert any time.
The projections were used brilliantly, especially when Madonna sang alongside Pharrell Williams and Kanye West on the video screens in certain numbers.
What impressed me was Annie Lennox's Here Comes the Rain being played in the background to the shots of drops of rain being projected onto the screen that leaned towards oriental philosophy coupled by a dancer who performed superbly Kata Japanese choreography.
Madonna's wittiness was also brought to the fore during She's Not Me, where she fought with four mannequin look-alikes that represented different stages of her career.
Madonna still reigns supreme as the queen of pop despite the Britneys and Kylies who try to emulate her.
Armed to the teeth with digital cameras and mobile phones we were definitely guaranteed a whale of a time. From the opening number Candy Shop, we were treated to a razor sharp looking Madonna. Taking to the stage in a leather dominatrix corset she looked gorgeous as she danced at break-neck pace amid her female dancers who were just merely keeping up.
I had finally fulfilled a dream of 15 years. My wish had come true... I was swept off my feet by the thrilling extravaganza.
Can you believe this woman is 50? Madonna's incredible physique was shown in all its glory as her unfeasibly muscly arms shone through each number as she performed hits that recalled her many different resonant stylish looks.
One number in particular that stood out was, undeniably, Vogue, where, together with her dancers, she strutted, leapt and wowed an audience with her exasperating energy.
Throughout the two-hour, 22-song set, she never stopped dancing. The Wembley audience was awed by her amazing set (and legs). Even watching her leap from side to side after every immaculate dance routine was jaw-dropping.
Undoubtedly, Madonna's Sticky and Sweet tour has a sports, gym theme at heart and this was projected in a brilliant manner in Into The Groove where she used a skipping rope like a young boxer.
The music of each track was re-arranged to great effect, testament as to how this artiste who survived the 1980s and 1990s has always managed to reinvent herself. La Isla Bonita was magnificently turned into a Spanish dance where Madonna was backed by Latin guitarists and an accordion that had members of the audience dancing flamenco.
What blew the emotional chords and had females in tears was Madonna's mellow rendition of You Must Love Me, taken from the Evita musical soundtrack.
Madonna's only flaw was when she struggled to keep in tune in Ray of Light. But the show itself more than made up for any downside pinpointed by the harshest of the critics, with the stunning projections evoking different themes on various screens that would rival a Pink Floyd live concert any time.
The projections were used brilliantly, especially when Madonna sang alongside Pharrell Williams and Kanye West on the video screens in certain numbers.
What impressed me was Annie Lennox's Here Comes the Rain being played in the background to the shots of drops of rain being projected onto the screen that leaned towards oriental philosophy coupled by a dancer who performed superbly Kata Japanese choreography.
Madonna's wittiness was also brought to the fore during She's Not Me, where she fought with four mannequin look-alikes that represented different stages of her career.
Madonna still reigns supreme as the queen of pop despite the Britneys and Kylies who try to emulate her.