Madame X - Madonna

It doesn't matter what Madonna releases, the build up to a new record is these days hailed by the press with an outpouring of both love and loathing. Thrown into the mix is usually a press spectacle which allows these opinions to be shaped further. This year's much-hyped but vocally disappointing appearance at Eurovision had the wider press question if Madonna was worse the fuss. As she delivers her fourteenth studio album, Madame X, she effortlessly shows she is worth the hype.

Now based in Lisbon, Madame X has elements of Fado thrown into her experimental pop mix. Although there are a few questionable moments contained with the deluxe edition's 15 tracks, this is not a case similar to her last two albums where the stellar moments were outnumbered by the questionable.

Interestingly Madonna performed the album's weakest cut, the Quavo featuring Future, at the aforementioned heavily criticised appearance. The misleadingly weak number is both musically and lyrically weak, which makes it a stand alone on a record of mostly forward thinking pop. It is joined at the lower end of the album's content but the musically potent but lyrically challenging Killers Who Are Partying and the rather uninspired Crave, which features Swae Lee.

Those three numbers aside Madame X is a stunning musical moment which sees Madonna deliver her finest left-of-centre pop moment since Ray of Light. While the interim period has seen her more direct pop shine releases shine brightest, Madame X sees the return of the shining innovator.

Batuka has echoes of an epic 90s dance anthem with a Portuguese flair. The hypnotic Crazy is a simple and understated pop song that will have you hooked. The collection closes with the sensationally uplifting I Rise. However it is the lead single and opening song, the Maluma featuring Medellin, which proves the album's prize gem.

Overall Madame X is a stunning return but one of pops most iconic players. The arrival of her best work in years may have provoked discussion about assorted issues, but we'd suggest simply allowing the finished record to do the talking.