It’s no surprise that gossip columnists and couch critics get a high by posting negativity rather than focusing on the positive when it comes to Madonna. We will focus on the positive which far outweighs the negative and if they were doing their job they would’ve accurately reported the truth. The reviews for the Madonna MDNA tour have been positive and in abundance.
Critical reaction to the MDNA Tour has been mostly all positive reviews. The New York Times wrote, “Madonna and her team do know how to dazzle.” New York Daily News called the show “an idea-intensive, message-packed riddle wrapped in an enigma that must be seen to be believed,” arguing that the show’s risky artistry “deserves praise.” A journalist from The Jerusalem Post described the show in Tel Aviv as an “assault on the senses”. He further comments, “Despite the confused ideas underlying the performance, it’s difficult to imagine somebody not enjoying a Madonna concert. Say what you will about the Kabbalah-studying, gun-toting, fashionista of pop music – and everyone has something to say – but the woman knows how to put on a good show”. Berliner Morgenpost wrote: “Madonna live in 2012 is still magical and unmatched,”  Spanish newspaper La Vanguardia said “the blonde ambition lights up with her art and magic a packed Palau Sant Jordi,”  while newspaper El País said “Madonna shows her intelligence, femininity and elegance in a danceable and spectacular show,” 
Shirley Halperin from The Hollywood Reporter wrote, “With three decades of superstardom under her belt, Madonna has pretty much perfected the art of mass entertainment with a hint of scandal. So it should come as no surprise, even in the Holy Land, that her show would open with a giant cross, the clang of a church bell and cloaked clergymen”; while the show was given a positive review, the fact that the tour contains many songs from the MDNA album was criticized. Saeed Saeed from The National states the performance in Abu Dhabi saw Madonna “bearing her soul”. He says, “While her previous Sticky and Sweet tour saw her lightly poking fun at herself and her various musical guises throughout the years, this concert was at times brutally dark and suffocating and as much an emotional exorcism as a performance”. Ingo Schmidt from WDR 2 gave a positive review of the show in Cologne, Germany. Calling Madonna “provocative and sexy”, he writes: “Madonna has substantiated her claim to the title of “Queen of Pop” and that “she surprised her enthusiastic audience erotically and provocatively.” He also noted that “she dominates even after 30 years on stage.” Neil McCormick from The Daily Telegraph assessed the concert, assigning it 4 out of 5 stars, and wrote, “[t]he real highlight of this show was a stripped back version of ‘Like A Virgin’… Madonna proved herself more than equal to be challenge of all her young pretenders”.
Kat Keogh from Birmingham Mail gave a positive review at the performance in Birmingham. Giving the performance 4 out of 5 stars, she reveals: “Thousands of fans gave a regal welcome as her Madgesty took the stage”, that “the pure theatre of her performance was enough to sustain the 11,000 strong audience” and “the feel good classics proved why the 53 year old is the original and the best.” Madonna’s performance in Edinburgh also received generally positive reviews. Beverley Lyons from Daily Record stated: “Madonna’s still in Vogue with fans” and “this was a remarkable show – and a night when we saw a softer side to the Queen of Pop.”
Madonna’s sold out performance in Zurich, Switzerland also received positive reviews. Critics praised the show stating: “Madonna makes Swiss fans happy again four years after the Sticky & Sweet Tour. They also noted how “the pop-giantess delivered a perfectly choreographed show, leaving space for political messages” and “Madonna’s achievements in the music industry not negotiable.” Madonna’s performances in the United States have been met with critical acclaim. During her performance in Philadelphia, Glenn Gamboa from Newsday wrote that “her latest reinvention might be her most revealing yet” because “her wild, nearly two-hour show is closest to reflecting her current state of mind, while building yet another artistic, well-choreographed slacklining spectacle.” Marc-André Lemieux from Le Journal de Montréal gave a positive view of her performance in Montreal, writing: “the indestructible icon has proposed a concert sometimes dark, sometimes light, but always entertaining and challenging” and commenting that the show is “a fascinating exercise that reflects the journey of a pop singer who has reached her full artistic maturity.”
Ottawa Citizen named her “[a]n entertainer who, admittedly, outdoes all her imitators and progeny when it comes to dancefloor pop – a point made clear when she slyly incorporated Lady Gaga’s “Born This Way” into “Express Yourself”. And such hits as “Like a Prayer”, sung near the end of the set, might even have been a religious experience for some 16,000 adoring fans” in Montreal. Sarah Rodman from Boston Globe praised her performance in Boston at the TD Garden writing: “the truly, remarkably indefatigable pop superstar powered her way through a performance just shy of two hours and heavy on the razzle dazzle but light on hits” also noting how Madonna “remains impressively fleet of foot, dancing nearly non-stop, and when she sang live, perfectly competent of voice, even if the mix didn’t always do her favors and her crew was impressive.” 
Jon Parales from New York Times also gave a positve review: “Madonna, at 54, isn’t giving in to pop obsolescence. The concert is a display of energy and nutty inventiveness, with Madonna costumed as everything from baton twirler to folk dancer”, adding that “the concert is less a story than an excellent excuse for extravagant, perpetually surprising production numbers involving more than three dozen performers, while it turns some of Madonna’s past hits inside out.” Hardeep Phull from the New York Postacclaimed her performance in Yankee Stadium, writing: “the shock-and-awe tactics have been a staple of her 30-year career, but right now they seem to be an especially savvy move” and that the show “remains a master class in performance and spectacle.” Chris Cobb from Ottawa Citizen called the performance in Ottawa: “a Broadway show on wheels” and writing: “in a sense it doesn’t really matter what songs Madonna chooses to sing because the spectacle, with all its bells and whistles, is all.”