When Lady Gaga stepped onto the scene in 2008, no one really knew where to place her. Was she the world’s next pop superstar, or was she the flashy new figurehead of an underground, overly theatrical counterculture? Now, some 17 years later, the singer-turned-actress has established her foothold on the music industry, but she continues to defy all expectations of her next move.
Just five months ago, Gaga dropped the jazz-inspired half-soundtrack half-character-study “Harlequin,” which accompanied the infamous musical sequel film, “Joker: Folie à Deux,” in which she starred as Harley Quinn. Unfortunately, despite that project’s swingin’ brass bands and elaborate string orchestras, the film and soundtrack failed to land with critics or her devoted fanbase, the Little Monsters.
But now, Gaga’s back. On March 7, Gaga released her seventh studio album, “MAYHEM,” a stunning 14-track return-to-form that masterfully replicates the dark aura and mystique that helped put her on the map. Pumping with brash electro-industrial soundscapes, theatrical lyrical themes and one powerhouse of a vocal performance, disorder and chaos have never made so much sense.
To help promote the album, Gaga held a press conference where fans – not journalists – could ask her questions about the album. While the Mother Monster sat decked in an all-black ensemble and a pair of shades, the contrasting energy was overwhelmingly warm. One attendee asked Gaga if she were to construct a character around “MAYHEM” as she did with “Harlequin,” who would that person be?
To this, Gaga didn’t mince words: “The lady you’ve known for the last 20 years.”
The record opens with the lead single, “Disease.” With a haunting choral opening, the track quickly explodes into a cacophony of drums and gritty synth pulses, establishing the beat. In the first verse, Gaga comes out swinging, with a vocal delivery that’s as wild and unusual as it is powerful. “There are no more tears to cry / I heard you begging for life / Running out of medicine / You’re worse than you’ve ever been,” she sings. As the groove settles, she then cuts loose at the chorus, going up the octave with a brash, cathartic yell. It’s the perfect synopsis for the project as a whole – traditional pop structures elevated with immense forethought and detail, all with a hint of madness.
That sentiment is perhaps best exemplified in the form of “Abracadabra” and “Garden of Eden,” the album’s next two tracks. In the early phases of her career, such as her “Born This Way” and “The Fame Monster” albums, it’s safe to say that Gaga ruled the dance floor. Back-to-back, she released hit after hit, establishing a signature dark, electropop sound. That sound largely faded away in recent years in favor of a more adult contemporary vibe, but these two songs bring it back effortlessly.
Both “Abracadabra” and “Garden of Eden” are up-tempo dance tracks made of pure adrenaline. In “Abracadabra,” Gaga mixes some high-energy vocal belts in the chorus with a syncopated spoken post-chorus that, when combined with the dirty, gliding synthesizer bass, is utterly addictive. “Garden of Eden” draws upon similar production ideas, featuring another spoken-word, synth-bass post-chorus. Somehow, despite the shared songwriting techniques, the two songs don’t sound repetitive, with countless sonic differences that keep the listener hooked.
Having overcome her share of difficult experiences, Gaga is known for leaning into her inner demons rather than running from them, one of which is her relationship to fame – an obsessive but dangerous lifestyle she has mastered through a whirlwind career. “Perfect Celebrity” is a rollercoaster rocket of heavy hitting drums and an electric pop-punk guitar, a brazen and in-your-face instrumental takeoff that exquisitely paints the addictive power dynamic between the famous and the unfamous.
Gaga’s resonant vocals execute in equal parts indulgent and diabolical: “You make me money, I’ll make you laugh / Show me your pretty, I’ll show you mine / You love to hate me / I’m the perfect celebrity.” Reminiscent of her early work that critiques the messiness of celebrity, this track is a full-circle victory lap, with Gaga ultimately claiming her title as the puppeteer who pulls the strings.
While the record itself revitalizes the dark, avant-garde pop she pioneered two decades ago, there’s no shortage of musical inspirations and influences either; “MAYHEM” is chock-full. Featuring French DJ and producer Gesaffelstein, “Killah” evokes the feverish and swanky guitar magic of Prince, with a wacky but rich baritone sing-speak synonymous to David Bowie and David Byrne. Dripped in intricate harmonies and weaving through falsetto intonations, the central pulse remains steady but saturated in mojo.
Much like Gwen Stefani’s commanding calls to action in “Hollaback Girl,” “Zombieboy” ramps up the energy with an immediate sergeant’s order to little monsters everywhere: “We’re about to be up all night / Wakin’ up a zombie / So put your paws all over me, you zombieboy.” Glittering synths activate a heightened groove and eccentric bassline, and Gaga taps into her spookish Bowie timbre again with trembling reverberation. The wide vocals vibrate through a burst of funkadelic instrumentals; the perfect gem of a song to crank while getting ready for a night out at the club.
The album closes with the mega-hit “Die With a Smile,” a 1970s-inspired power-ballad duet with Bruno Mars. Sonically, the song feels separate from the rest of the album but given that it quickly became one of Gaga’s most streamed songs of all time, with nearly endless radio airtime, its inclusion makes sense. Mars’ and Gaga’s vocals blend seamlessly, with Gaga hitting some of the highest notes we’ve ever heard from her. It’s dramatic, it’s theatrical and it powerfully conveys the story of two lovers who want to love each other like it’s their last day on earth.
Though it’s a project that can’t be tied down to one singular idea, “MAYHEM” thrives because it isn’t meant to be. Fusing the essences of EDM, pop-rock and even some ’70s funk, Gaga expertly balances darkness with joy, a sonic ode to celebrating the strength and grit that has flourished from her wounds. Gaga’s homecoming to dark pop has never felt so sweet.
Nathan Legare can be reached at [email protected] and followed on X (formerly Twitter) @Legare_Nathan. Caitlin Reardon can be reached at [email protected] and followed on X (formerly Twitter) @caitlinjreardon.
