Madonna’s latest reinvention finds her taking on the guise of Madame X, an embodiment of female empowerment who, in the singer’s own words, acts variously as “A dancer. A professor. A housekeeper. An equestrian” – and more.

Madame X kicks off with the hypnotic electro/Latin pop number ‘Medellin’, which finds Madonna establishing the album’s upbeat, optimistic tone: “I took a pill and had a dream / I went back to my 17th year / Allowed myself to be naive”. ‘Dark Ballet’, meanwhile, pretty much does what it says on the tin, musically speaking, with Madonna giving ‘The Nutcracker Suite’ a synth-pop makeover influenced by Wendy Carlos’ celebrated score for A Clockwork Orange.

There is a notable political dimension to Madame X, with Madonna regularly alluding to the tumultuous times in which we live. On ‘Killers Who Are Partying’ – half acoustic ballad, half skittering electro workout – she champions a variety of progressive causes: “I will be gay if the gay be burned... I will be Africa if Africa is shot down.”

On up-tempo disco-pop number, ‘God Control’, meanwhile, she says simply, “Honour democracy” (she also sings the striking line “That dope I don’t smoke it’s true”). Musically, Madame X boasts a variety of infectious electro grooves courtesy of a production team that includes Diplo and Madonna’s long-time collaborator, Mirwais. There are also a variety of Latin and world rhythms throughout, an element influenced by the singer’s relocation to Lisbon, where her son hopes to become a professional soccer player.

Other highlights of this hugely enjoyable outing include the skanking reggae number ‘Future’; the afrobeat-influenced ‘Batuka’; the electrifying dance workout ‘Fez Gustovo rev 1’; and the celebratory ‘I Don’t Search I Find’ – the title of which could be a manifesto for Madame X.

The album comes to a close with the stirring ‘I Rise’, on which Madonna defiantly states “I rise above it all.” A wonderfully accomplished and eclectic effort.

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