Madonna “Girl Gone Wild”
With the Super Bowl behind us and the initial Tweet-steria of “OMG! MADONNA HOOKING UP WITH M.I.A. & NICKI”-like all-caps exclamations a long-distant memory (Twittory? No? Okay.), the brief ride of “Give Me All Your Luvin’”, Madonna‘s somewhat flaccid return-to-the-charts “event”, atop the ‘Things We Care About’ Express has reached its end, with the song failing to muster up much public interest beyond the initial reactions of it being “underwhelming” and/ or “disappointing”.
For “Girl Gone Wild”, the second single/ tease from the pop culture icon’s forthcoming MDNA, it’s looking like Madonna may be on to something with a little (and by “little” we mean a smidgen) more lasting power.
Co-helmed by Italian electro-house mastermind Benny Benassi, “Wild” feels like Maddie simply looked at the past year’s pop charts and decided she wanted to get spun alongside the “Beautiful People”‘s, “We Found Love”‘s and “DJ’s Got Us Fallin’ In Love”‘s of the world with nary a unique twist involved…and somehow it works.
Now, it must be stated again: there is nothing particularly original about any aspect of “Girl Gone Wild”. Taking a cue from Rihanna, Britney and Kylie, Maddie’s vocal presence is completely anonymous modern disco-pop android diva and those Dance 101 lyrics (from “It’s so hypnotic/ The way he pulls on me/ It’s like the force of gravity/ Right up under my feet” to the instantly tired “fire”/ “desire” rhymes to that pretty unconvincing titular claim) feel like a generic patchwork of every “tribute to the DJ” club tune that’s come around in the past twenty-five years, but the song’s sharp, work(wo)man-like precision still manages to hit all our “respectable fluff” pleasure buttons, it’s insistent electro thump, mindless hookery and blips of vocoder landing as an ideal compliment to strobe-light powered romps among sexy, sweaty people at the hottest nightspot.
Mourn all that you want that Madonna seems to have completely given up on producing anything that’s either truly musically daring or on par with her greatest, timeless hits in order to lazily settle on a music mode that simply reads as “now”, but, hey, if her current-era attempt at “trying” results in head-scratching mixed baggery like “Luvin’”, we’ll gladly accept plenty more ho-hum but catchy Confessions on a Dance Floor-knockoff trifles like this.