Madonna and Feid’s ‘Read My Lips’ Joins FIFA World Cup 2026 Album

imogenhartley
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Madonna and Feid release bilingual single ‘Read My Lips’ as a FIFA World Cup 26 Album bonus track. Produced by Madonna, Stuart Price and Tainy

Madonna and Colombian reggaeton superstar Feid released “Read My Lips” late Thursday, June 25, 2026, as a Bonus Edition cut from the Official FIFA World Cup 26 Album, expanding the compilation to 20 tracks. The bilingual collaboration was produced by Madonna, Stuart Price, and Tainy, and first reached audiences as part of Confessions II: The Film, Madonna’s 13-minute short film that premiered at the 2026 Tribeca Film Festival earlier this month. It is now available as a complete standalone release for the first time, arriving as one of the more significant new music moments of the World Cup’s group stage.

The track fits precisely into the larger cultural momentum surrounding both artists right now. Feid has spent the past two years establishing himself as one of Latin music’s most commercially consistent performers, with streaming figures that consistently rival the genre’s most established names. Madonna, meanwhile, is operating in the middle of one of her most visible years in over a decade. The “Read My Lips” release is the second public preview of Confessions II material that involves a high-profile collaboration, following the earlier release of “Bring Your Love” featuring Sabrina Carpenter.

‘Confessions II’ and What ‘Read My Lips’ Previews

Confessions II, the full album, is set for release on July 3 via Warner Records, making the World Cup bonus edition drop both a standalone event and a strategic preview with one week of runway before the full project lands. The film itself framed six songs as chapters in a fever-dream-like narrative set inside a night of dancing at a club, with Feid taking center stage to sing in Spanish for “Read My Lips” and Sabrina Carpenter appearing for “Bring Your Love.” That film premiered at Tribeca on June 12 and has since generated the kind of press attention and critical re-evaluation of Madonna’s late-period creative ambitions that the Confessions II campaign has been building toward.

“Read My Lips” is a bilingual track in the truest sense. The English sections carry the sharp, declarative energy of Madonna’s dance-pop instincts at their most direct, while Feid’s Spanish verses bring the track fully into the Latin-crossover territory that the FIFA World Cup’s soundtrack demands. Stuart Price, who produced the original Confessions on a Dance Floor in 2005, returns as co-producer alongside Tainy, the Puerto Rican hitmaker whose credits span Bad Bunny, J Balvin, and Rosalía and who has become one of the most significant production voices in the genre convergence between reggaeton and global pop.

MetLife, the Halftime Show, and Madonna’s Summer Timeline

The scale of what Madonna is building toward becomes clearer with each release. On July 19, she will join BTS and Shakira on stage at MetLife Stadium for the halftime show at the 2026 FIFA World Cup Final, the first-ever halftime show in World Cup history. That performance, before a global broadcast audience that will dwarf any single concert or streaming event, is the commercial and cultural apex of a summer campaign that has been staged with considerable precision.

“I Feel So Free,” the first song released from Confessions II in April, debuted on Digital Song Sales, Hot Dance/Pop Songs, and Dance/Mix Show Airplay, and reached Number 1 on Dance Digital Song Sales. That performance established the commercial infrastructure for what the full album campaign is building toward. “Read My Lips” with Feid, arriving on the FIFA World Cup album and now available as a standalone release, is the penultimate step before the July 3 album drop and the July 19 halftime performance. For an artist whose creative and commercial instincts have always operated in parallel, this is a summer where those two tracks are running at exactly the same speed.

Author
imogenhartley

Imogen Hartley

Imogen Hartley started writing about music because she was tired of reading reviews that described albums without actually saying anything. Based in Bristol, she covers emerging artists, pop culture, and the cultural politics of who gets called a serious musician and who gets dismissed. She spent several years contributing to music and culture outlets across the UK before joining Latetown Magazine, where she writes with the kind of directness that makes artists uncomfortable and readers come back.

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