Madonna has been almost everything — that’s the party line of her nearly four-decade-long career. But on her 14th album due in June, “Madame X,” she promises to become an actual shape-shifter, a secret agent “fighting for freedom” and “bringing light into dark places” in the guises of a professor, a housekeeper, a nun, a cabaret singer and a prostitute, among others. If her overstuffed 2015 album “Rebel Heart” was a touch reflective, reckoning with elements from her past as a not-always-embraced cultural rabble-rouser, “Madame X” so far promises to be a bit of a romp. She has said the inspirations come from her adopted home, Lisbon, and her longtime fascination with Latin music, which has been a part of her aesthetic since she touched down in New York at age 19. Its first single, “Medellín,” is a spotlight for the Colombian star Maluma, who met Madonna backstage at the MTV Video Music Awards last year and cheerfully glides through the track. Though this is likely the song on which she morphs into a cha cha instructor, Madonna is playing a fantasist. The producer Mirwais, who was one of Madonna’s core creative partners from her 2000 album “Music” through “Confessions on a Dance Floor” in 2005, returns to help provide a dreamy backdrop for her carefully sung (and digitally tweaked) voyage to an alternate past: a life, and love, in Medellín. The track soars when it hits its arms-outstretched chorus and dips when it reaches its most cringe-worthy lyric, but while its missteps aren’t barbed enough to deflate a reverie, it feels more like a stride in the right direction than an emphatic stomp forward. CARYN GANZ