Lady Gaga’s seventh studio album, MAYHEM, is a high energy return to the bold, pop brilliance that made her a household name. While it doesn’t break new ground, it successfully balances nostalgia with polished production, offering fans a mix of darker pop anthems, bold 80’s and funk-inspired tracks.
Our first true taste of the new era was “Disease”, a gritty, glitchy first single. The aesthetic tied in with the sound presented a dark, viral, even sinister taste of what we thought was to come.
“Abracadabra” the second single is callback to Gaga’s early days, channeling The Fame Monster with its camp, high-energy production. The chant of “Morta-ooh-Gaga” nods to the moment she crashed onto the charts, transporting us back to the 2010’s. Gaga presents us with more nods to her career. “Garden of Eden” with its chant-like quality is reminiscent of ARTPOP’s “MANiCURE,” paired with a formulaic but perfect pop chorus.
“Perfect Celebrity” is the end of a terrific four track run. A dark, industrial track that could have worked well as the album opener. There’s a Princess Di reference in the lyrics that feels like a nod to Gaga’s unreleased and fan favourite track “Princess Die”. “You love to hate me, I’m the perfect celebrity.” she sings in the chorus, in today’s world of influencer and cancel culture, it’s both timely and a reflection of Gaga’s own career trajectory. During the ARTPOP era, Gaga was subject of a mini cancellation of sorts.
We shift from the brash, loud production of “Perfect Celebrity” to the slinky, guitar-driven “Vanish Into You“. The thumping chorus makes it a solid, if not standout, track. This is the sound that will dominate the middle of the album. “Killah” – A funky, chaotic track that descends into a busy, noisy breakdown with Gesaffelstein’s distinct influence is enough to keep you invested.
“Zombie Boy” – A disco-infused, funky surprise. The last 20 seconds, featuring growling bass and darker synths, align more with expectations from the various album teasers that made their way online prior to album’s official announcement. “LoveDrug” and “How Bad Do U Want Me” are a lot of fun, that showcase Gaga’s always-impressive vocals. The blend of anthemic 80’s synth production feels perfect for a sunset drive with the windows down. The latter capturing a playful and flirty energy in its lyrics.
The teased track from the end of Gaga’s ‘Chromatica” concert film has been revealed to belong to “Shadow of a Man” which continues the funk-pop streak. The chorus is fast and catchy—an easy earworm and a highlight of the record. A homage to Michael Jackson in it’s vibe.. Gaga was shown to mimic one of Jackson’s famous dance moves at the end of the concert film. Coincidence? Perhaps not.
The end of the album gives us the closest things we’ll be getting to ballads and while sonically they do fit the album.. they’re a bit of a slog. While Gaga’s vocals shine, “The Beast” and “Blade of Grass” are a potential skips of future listens. They feel like a callback to the Joanne album, with drawling vocals she’s accustomed to her slower songs that may take a bit of time to fully appreciate… or not depending on how badly they grate on you.
MAYHEM is a largely cohesive album, transitioning from industrial, dark pop in the first quarter to a mix of 70s glam rock, disco, and anthemic 80s pop in the middle before ending on a limp note with the two ballads only saved by the brilliant “Die With A Smile” to close out the album. The early teasers and visuals led fans to expect something grittier and harsher than what was ultimately delivered. The production is strong, and Gaga’s vocals are as stellar as ever. While the album doesn’t introduce anything groundbreaking, it thrives on familiarity—blending past influences with refined execution and reminding us how much a star she is.
Is it something we’ve heard before? Yes. Is it still great to have Gaga back? Absolutely.
