49 SCORE: 8.452 2015 PLACEMENT: UP 11 - 60 of 210 (7.922) HIGHEST SCORE: 10 x 30 (@AshtrayHeart @cheida @dodoriazarbon @P'NutButter @eatyourself @Doenjang @sfmartin @Cutlery @Suburbia @soratami @GimmeWork @dylanaber @Ana Raquel @Andy French @Up Down Suite @godspeed @Dreampopboy @Modeblock @scottdisick94 @MilesAngel @Zdarlight @joeee @SloMover @paperboyfriendd @Michael17 @Lila @clowezra @acl @FrozenNight @Touchofmyhand) LOWEST SCORE: 4 x 1 (@Daniel_O) MY SCORE: 8.5/10 Well, this basically just 2005 Space Odyssey: The Faggening, isn't it folks? One of the first tracks to emerge from the Confessions sessions (how fun to say) along with the first two singles, "Future Lovers" is basically a big gay stupid intergalactic dance fantasy where everyone transcends the trappings of reality and terrestrial life and becomes nothing but a state of blissful consciousness zooming through the cosmos. Basically: Curiously, it's the only track on the album to list Mirwais Ahmadzaï as sole producer but I would imagine Stuart Price had a hand in it at some point when he brought the album together in the closing stages. Perhaps it started out life as one of the songs she wrote for one of those musicals she was working on at time (what was the PLOT to these fucking things GOD) but either way, it eventually found its way onto Confessions as part of the relentless opening section, both album and tour. My appreciation of it has actually grown a lot since 2015! "In the EVEEDENCE OF IT'S BRILLEE-ENCE!!!" getting shriller and shriller with each pass is kind of an ear ache, but I guess I acclimatised. Stockholm Syndrome or changing tastes? We just don't know. But yes, while I don't think it should be the last Confessions album track standing, I understand why it is. And of course, the main reason for why it's here (presumably, but let's be honest now) is its role in the Confessions Tour where it opened the show in a ridiculously grand fashion. Madonna emerges from a disco ball in her best jockey drag, and invites us into the best tour of her career. The production really pops live, and the song's straight up shameless inspiration point in Donna Summer's "I Feel Love" crosses into a legitimate interpolation. The entire thing ends up feeling more complete than the studio version. And did I mention GAY? Either way, enjoy!