 became one of the decade 's most successful dance hits .   The accompanying music video , directed by Madonna 's choreographer Jamie King , was a continuation from the " Hung Up " music video . It featured Madonna and her dancers roaming around a city in a van , dancing on roller skates and Madonna fighting with a group of men in a cage . She performed the song on her 2006 Confessions Tour in a similar fight sequence to that shown in the video . An additional video was created as a backdrop for a remix of the song , which depicted political leaders and scenes of war and destruction .   = = Background and composition = =   " Sorry " was one of the first tracks developed for Confessions on a Dance Floor , along with " Hung Up " and " Future Lovers " . It was also the one which took the most time to finish because Madonna " thought it was too melodramatic and could never decide when it was right . " The songs were developed with a remixed perspective in mind . Madonna commented that , " Whenever I make records , I often like the remixes better than the original ones . [ ... ] So I thought , screw that . I 'm going to start from that perspective " . She promoted the album at the dance party " Misshapes " held at Luke & Leroy 's nightclub in Greenwich Village , invited by Junior Sanchez to take over the DJ booth where she mixed " Hung Up " with " Sorry " . Musically , " Sorry " is an uptempo dance song containing layers of beats and strong vocal on the chorus . It is set in common time with a moderately fast dance groove tempo of 132 beats per minute . Composed in the key of C minor , Madonna 's vocal range spans from F3 to G4 . It follows the chord progression of E ♭ – Cm – A ♭ – B ♭ during the spoken introduction . It then changes to Fm – Gm @-@ Cm in the chorus , while continuing in A ♭ – Cm – A ♭ – Fm in the intermediate verses , ultimately ending in repeated lines of " I 've heard it all before " .   Lyrically the song has excerpts of different languages including French , Spanish , Italian , Dutch , Hebrew , Hindi , Polish and Japanese . The song talks about personal empowerment and self @-@ sufficiency , denoting a shift in focus of Madonna as an artist from her previous songs about supremacy like " Everybody " ( 1982 ) , " Vogue " ( 1990 ) or " Music " ( 2000 ) which was centered around the subject of music itself . Among the various remixes , the Pet Shop Boys remix incorporated Whitney Houston 's " I Wanna Dance with Somebody ( Who Loves Me ) " with a more pronounced bassline and uses a double breakdown in the introduction . Pet Shop Boys and Madonna had always mutually admired each other , from the time they wrote the song " Heart " ( 1988 ) for Madonna but never delivered it . The remix had added lyrics sung by band member Neil Tennant which subsequently appeared on their remix album Disco Four . Madonna 's voice hits on the first chorus which was remixed to have a masculine synth and a serious hook . A breakdown happens before the fifth minute ends , leading to the entry of programmed drum sounds after which the song ends .   = = Critical response = =   Jennifer Vineyard of MTV News wrote that " Sorry " is the " album 's strongest track " and that it is a " Pet Shop Boys @-@ esque " song . Vineyard went on to say that it " ... wistfully evokes the sounds of the ' 80s @-@ era dance clubs that first lofted her toward stardom . " According to a review in the BBC 's Collective , " New single ' Sorry ' states Queen Madge 's unapologetic stance , and though the song is wrapped up in relationship sentiment , one cannot help but hear the subtext , perhaps directed at her more savage critics : ' there are more important things than hearing you speak ' . " Alan Braidwood from BBC Music called the song " lethally catchy " . Mike Pattenden of The Times and Sal Cinquemani from Slant Magazine noted that the bassline of the song utilizes The Jacksons ' 1980 song " Can You Feel It " . The song was noted by Slant Magazine as one of the best songs of 2006 . In a review of " Sorry " from Virgin Media , it wrote that the song 's musicscape features an " infectious combo of pumping , filtered synths and disco beats " . Keith Caulfield from Billboard commented that , " [ Sorry ] should keep fans hung up on Madonna 's ability to create instant radio and club classics . " He also called the song " springy " while reviewing the album .   Ben Williams of New York magazine , wrote that the song is " propelled by a catchy bass melody " . Joan Morgan of The Village Voice , in review of
Ġbecame Ġone Ġof Ġthe Ġdecade Ġ' s Ġmost Ġsuccessful Ġdance Ġhits Ġ. Ġ Ġ ĠThe Ġaccompanying Ġmusic Ġvideo Ġ, Ġdirected Ġby ĠMadonna Ġ' s Ġchore ographer ĠJamie ĠKing Ġ, Ġwas Ġa Ġcontinuation Ġfrom Ġthe Ġ" ĠHung ĠUp Ġ" Ġmusic Ġvideo Ġ. ĠIt Ġfeatured ĠMadonna Ġand Ġher Ġdancers Ġroaming Ġaround Ġa Ġcity Ġin Ġa Ġvan Ġ, Ġdancing Ġon Ġroller Ġsk ates Ġand ĠMadonna Ġfighting Ġwith Ġa Ġgroup Ġof Ġmen Ġin Ġa Ġcage Ġ. ĠShe Ġperformed Ġthe Ġsong Ġon Ġher Ġ2006 ĠConf essions ĠTour Ġin Ġa Ġsimilar Ġfight Ġsequence Ġto Ġthat Ġshown Ġin Ġthe Ġvideo Ġ. ĠAn Ġadditional Ġvideo Ġwas Ġcreated Ġas Ġa Ġbackdrop Ġfor Ġa Ġremix Ġof Ġthe Ġsong Ġ, Ġwhich Ġdepicted Ġpolitical Ġleaders Ġand Ġscenes Ġof Ġwar Ġand Ġdestruction Ġ. Ġ Ġ Ġ= Ġ= ĠBackground Ġand Ġcomposition Ġ= Ġ= Ġ Ġ Ġ" ĠSorry Ġ" Ġwas Ġone Ġof Ġthe Ġfirst Ġtracks Ġdeveloped Ġfor ĠConf essions Ġon Ġa ĠDance ĠFloor Ġ, Ġalong Ġwith Ġ" ĠHung ĠUp Ġ" Ġand Ġ" ĠFuture ĠLo vers Ġ" Ġ. ĠIt Ġwas Ġalso Ġthe Ġone Ġwhich Ġtook Ġthe Ġmost Ġtime Ġto Ġfinish Ġbecause ĠMadonna Ġ" Ġthought Ġit Ġwas Ġtoo Ġmel od ram atic Ġand Ġcould Ġnever Ġdecide Ġwhen Ġit Ġwas Ġright Ġ. Ġ" ĠThe Ġsongs Ġwere Ġdeveloped Ġwith Ġa Ġrem ixed Ġperspective Ġin Ġmind Ġ. ĠMadonna Ġcommented Ġthat Ġ, Ġ" ĠWhenever ĠI Ġmake Ġrecords Ġ, ĠI Ġoften Ġlike Ġthe Ġremix es Ġbetter Ġthan Ġthe Ġoriginal Ġones Ġ. Ġ[ Ġ... Ġ] ĠSo ĠI Ġthought Ġ, Ġscrew Ġthat Ġ. ĠI Ġ' m Ġgoing Ġto Ġstart Ġfrom Ġthat Ġperspective Ġ" Ġ. ĠShe Ġpromoted Ġthe Ġalbum Ġat Ġthe Ġdance Ġparty Ġ" ĠMiss h apes Ġ" Ġheld Ġat ĠLuke Ġ& ĠLer oy Ġ' s Ġnightclub Ġin ĠGreenwich ĠVillage Ġ, Ġinvited Ġby ĠJunior ĠSanchez Ġto Ġtake Ġover Ġthe ĠDJ Ġbooth Ġwhere Ġshe Ġmixed Ġ" ĠHung ĠUp Ġ" Ġwith Ġ" ĠSorry Ġ" Ġ. ĠMus ically Ġ, Ġ" ĠSorry Ġ" Ġis Ġan Ġupt em po Ġdance Ġsong Ġcontaining Ġlayers Ġof Ġbeats Ġand Ġstrong Ġvocal Ġon Ġthe Ġchorus Ġ. ĠIt Ġis Ġset Ġin Ġcommon Ġtime Ġwith Ġa Ġmoderately Ġfast Ġdance Ġgroove Ġtempo Ġof Ġ132 Ġbeats Ġper Ġminute Ġ. ĠComp osed Ġin Ġthe Ġkey Ġof ĠC Ġminor Ġ, ĠMadonna Ġ' s Ġvocal Ġrange Ġspans Ġfrom ĠF 3 Ġto ĠG 4 Ġ. ĠIt Ġfollows Ġthe Ġchord Ġprogression Ġof ĠE ĠâĻ Ń ĠâĢĵ ĠC m ĠâĢĵ ĠA ĠâĻ Ń ĠâĢĵ ĠB ĠâĻ Ń Ġduring Ġthe Ġspoken Ġintroduction Ġ. ĠIt Ġthen Ġchanges Ġto ĠF m ĠâĢĵ ĠG m Ġ@ - @ ĠC m Ġin Ġthe Ġchorus Ġ, Ġwhile Ġcontinuing Ġin ĠA ĠâĻ Ń ĠâĢĵ ĠC m ĠâĢĵ ĠA ĠâĻ Ń ĠâĢĵ ĠF m Ġin Ġthe Ġintermediate Ġverses Ġ, Ġultimately Ġending Ġin Ġrepeated Ġlines Ġof Ġ" ĠI Ġ' ve Ġheard Ġit Ġall Ġbefore Ġ" Ġ. Ġ Ġ ĠL yr ically Ġthe Ġsong Ġhas Ġexcerpts Ġof Ġdifferent Ġlanguages Ġincluding ĠFrench Ġ, ĠSpanish Ġ, ĠItalian Ġ, ĠDutch Ġ, ĠHebrew Ġ, ĠHindi Ġ, ĠPolish Ġand ĠJapanese Ġ. ĠThe Ġsong Ġtalks Ġabout Ġpersonal Ġempowerment Ġand Ġself Ġ@ - @ Ġsu fficiency Ġ, Ġden oting Ġa Ġshift Ġin Ġfocus Ġof ĠMadonna Ġas Ġan Ġartist Ġfrom Ġher Ġprevious Ġsongs Ġabout Ġsupremacy Ġlike Ġ" ĠEverybody Ġ" Ġ( Ġ1982 Ġ) Ġ, Ġ" ĠV ogue Ġ" Ġ( Ġ1990 Ġ) Ġor Ġ" ĠMusic Ġ" Ġ( Ġ2000 Ġ) Ġwhich Ġwas Ġcentered Ġaround Ġthe Ġsubject Ġof Ġmusic Ġitself Ġ. ĠAmong Ġthe Ġvarious Ġremix es Ġ, Ġthe ĠPet ĠShop ĠBoys Ġremix Ġincorporated ĠWhitney ĠHouston Ġ' s Ġ" ĠI ĠW anna ĠDance Ġwith ĠSomebody Ġ( ĠWho ĠL oves ĠMe Ġ) Ġ" Ġwith Ġa Ġmore Ġpronounced Ġbass line Ġand Ġuses Ġa Ġdouble Ġbreakdown Ġin Ġthe Ġintroduction Ġ. ĠPet ĠShop ĠBoys Ġand ĠMadonna Ġhad Ġalways Ġmutually Ġadmired Ġeach Ġother Ġ, Ġfrom Ġthe Ġtime Ġthey Ġwrote Ġthe Ġsong Ġ" ĠHeart Ġ" Ġ( Ġ1988 Ġ) Ġfor ĠMadonna Ġbut Ġnever Ġdelivered Ġit Ġ. ĠThe Ġremix Ġhad Ġadded Ġlyrics Ġsung Ġby Ġband Ġmember ĠNeil ĠTenn ant Ġwhich Ġsubsequently Ġappeared Ġon Ġtheir Ġremix Ġalbum ĠDisco ĠFour Ġ. ĠMadonna Ġ' s Ġvoice Ġhits Ġon Ġthe Ġfirst Ġchorus Ġwhich Ġwas Ġrem ixed Ġto Ġhave Ġa Ġmasculine Ġsynth Ġand Ġa Ġserious Ġhook Ġ. ĠA Ġbreakdown Ġhappens Ġbefore Ġthe Ġfifth Ġminute Ġends Ġ, Ġleading Ġto Ġthe Ġentry Ġof Ġprogrammed Ġdrum Ġsounds Ġafter Ġwhich Ġthe Ġsong Ġends Ġ. Ġ Ġ Ġ= Ġ= ĠCritical Ġresponse Ġ= Ġ= Ġ Ġ ĠJennifer ĠVine yard Ġof ĠMTV ĠNews Ġwrote Ġthat Ġ" ĠSorry Ġ" Ġis Ġthe Ġ" Ġalbum Ġ' s Ġstrongest Ġtrack Ġ" Ġand Ġthat Ġit Ġis Ġa Ġ" ĠPet ĠShop ĠBoys Ġ@ - @ Ġes que Ġ" Ġsong Ġ. ĠVine yard Ġwent Ġon Ġto Ġsay Ġthat Ġit Ġ" Ġ... Ġw ist fully Ġev okes Ġthe Ġsounds Ġof Ġthe Ġ' Ġ80 s Ġ@ - @ Ġera Ġdance Ġclubs Ġthat Ġfirst Ġloft ed Ġher Ġtoward Ġst ard om Ġ. Ġ" ĠAccording Ġto Ġa Ġreview Ġin Ġthe ĠBBC Ġ' s ĠCollective Ġ, Ġ" ĠNew Ġsingle Ġ' ĠSorry Ġ' Ġstates ĠQueen ĠMad ge Ġ' s Ġun apolog etic Ġstance Ġ, Ġand Ġthough Ġthe Ġsong Ġis Ġwrapped Ġup Ġin Ġrelationship Ġsentiment Ġ, Ġone Ġcannot Ġhelp Ġbut Ġhear Ġthe Ġsub text Ġ, Ġperhaps Ġdirected Ġat Ġher Ġmore Ġsavage Ġcritics Ġ: Ġ' Ġthere Ġare Ġmore Ġimportant Ġthings Ġthan Ġhearing Ġyou Ġspeak Ġ' Ġ. Ġ" ĠAlan ĠB raid wood Ġfrom ĠBBC ĠMusic Ġcalled Ġthe Ġsong Ġ" Ġleth ally Ġcatchy Ġ" Ġ. ĠMike ĠPatt end en Ġof ĠThe ĠTimes Ġand ĠSal ĠC inqu em ani Ġfrom ĠSl ant ĠMagazine Ġnoted Ġthat Ġthe Ġbass line Ġof Ġthe Ġsong Ġutilizes ĠThe ĠJack s ons Ġ' Ġ1980 Ġsong Ġ" ĠCan ĠYou ĠFeel ĠIt Ġ" Ġ. ĠThe Ġsong Ġwas Ġnoted Ġby ĠSl ant ĠMagazine Ġas Ġone Ġof Ġthe Ġbest Ġsongs Ġof Ġ2006 Ġ. ĠIn Ġa Ġreview Ġof Ġ" ĠSorry Ġ" Ġfrom ĠVirgin ĠMedia Ġ, Ġit Ġwrote Ġthat Ġthe Ġsong Ġ' s Ġmus ics cape Ġfeatures Ġan Ġ" Ġinfectious Ġcombo Ġof Ġpumping Ġ, Ġfiltered Ġsyn ths Ġand Ġdisco Ġbeats Ġ" Ġ. ĠKeith ĠC aul field Ġfrom ĠBillboard Ġcommented Ġthat Ġ, Ġ" Ġ[ ĠSorry Ġ] Ġshould Ġkeep Ġfans Ġhung Ġup Ġon ĠMadonna Ġ' s Ġability Ġto Ġcreate Ġinstant Ġradio Ġand Ġclub Ġclassics Ġ. Ġ" ĠHe Ġalso Ġcalled Ġthe Ġsong Ġ" Ġspring y Ġ" Ġwhile Ġreviewing Ġthe Ġalbum Ġ. Ġ Ġ ĠBen ĠWilliams Ġof ĠNew ĠYork Ġmagazine Ġ, Ġwrote Ġthat Ġthe Ġsong Ġis Ġ" Ġpropelled Ġby Ġa Ġcatchy Ġbass Ġmelody Ġ" Ġ. ĠJoan ĠMorgan Ġof ĠThe ĠVillage ĠVoice Ġ, Ġin Ġreview Ġof