Albums: True Blue (1986), The Immaculate Collection (1990), Something to Remember (1995), The Confessions Tour (2007), Celebration (2009)
Songwriters/producers: Madonna/Patrick Leonard

Pop has always been seen as music made for the youth, by the relative youth. Whilst the popstar of the moment can get by on exuberance alone, as they grow older, the sheer difficulty of exuding an expected maturity in an art form largely concerned with instant gratification only gets worse. Whereas AC/DC can churn out the same album for 30 years, society saves its harshest ageism for the aging female popstar for doing the same.

Madonna at 51 has now been fighting that battle for literally decades - but once, in 1986, she decided to jump the gun before the weight of her teenage wannabe following became too heavy a burden. Live to Tell, though immediately different from any other Madonna single, is an entirely natural transition - she never feels like she’s out to prove herself. Even though she’s not in a position of power for once - the lyrics being about escape from some form of sexual or domestic abuse - the strength of her determination is, as always, what gives the song life.

Where the closest reference point, her Love Don’t Live Here Anymore cover (to be reviewed during Something to Remember) on Like a Virgin, builds to an anguished peak, Live to Tell is more emotionally restrained and cinematic - but just as dark. Its brooding, mid-tempo nature may make it the least instant of Madonna’s ’80s singles, but also one of the most rewarding.

The music video was likely the public’s first glimpse into the new Madonna on her own terms - away from the constant media obsession following her recent marriage to Sean Penn. Nonetheless, there’s still a connection - Live to Tell having been originally written by Patrick Leonard for a different film, then recorded by Madonna for At Close Range, starring none other than Sean Penn. The video alternates clips from the film - not having seen it, I can’t comment on the song’s relevance - with shots of a very plain-looking (but undeniably beautiful), emotive Madonna. She wouldn’t stand out from a crowd of average people - but she would stick out in a crowd of Madonna wannabes, and in that respect, her first of many image makeovers succeeded perfectly.

The performance of Live to Tell on the Confessions Tour was likely Madonna’s last real controversy - supposedly for drawing messianic comparisons by singing it atop a giant disco cross, wearing a crown of thorns. In typical kneejerk fashion, those doing the condemning had likely heard of, but not seen the performance itself. Musically, the slightly modernised arrangement with the classical organ works wonders, and Madonna sounds perfectly in her element - the melody is an ideal fit for her current tone and vocal range. Visually, it’s nothing if not fascinating; a counter ticks from zero to 12 million - a measure of the number of children orphaned as a result of AIDS, with images interspersed - and stops abruptly at the song’s bridge, when Madonna comes down from the cross.

My secular, thought-out interpretation is this: firstly, Madonna sings both for and from the perspective of the orphans. Inner strength and determination in harsh times - exactly what the song is about, and one thing they need. Secondly, and most importantly to the perception of the performance, she comes down from the cross. Though she may attempt to help the situation, it’s not her burden to bear - at least not alone. As she gestures to the crowd, takes off the crown of thorns and lays down, the Raising Malawi and Clinton Foundation websites flash onscreen. The message - to extend both solidarity and support, that they’ll make it through - should be clear (though honestly, she says it better herself).

Blasphemy? Hah - for being one of few popstars able to encourage compassion and charity without resorting to preaching or grandstanding, Madonna deserves nothing but praise.