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On ‘Mayhem,’ Lady Gaga is a monster reborn

BBG News

Towards the conclusion of our chat in Santa Monica late last year, Lady Gaga‘s gaze grew distant. I had enquired about the possibility of reviving her Las Vegas residency “Jazz & Piano”. This query seemed to prompt her to reflect for a while on her artistic identity, particularly her reputation as an artist known for exploring various genres.

She continued, “I developed a deep affection for it,” she said. “You see, when I moved away from New York City at a younger age, what I missed most was the tight-knit group of people I had grown up with on the Lower East Side. In this community, our shared experiences, knowledge, and references were our unique language. We expressed ourselves through these shared touchpoints in our conversations, entertainment, and interactions.

Three months since our conversation, during which Lady Gaga was finalizing her latest studio album, I now understand why she yearned for the past: “Mayhem,” released last Friday, is brimming with nostalgic nods to icons such as David Bowie, Blondie, Nine Inch Nails, New Order, and Chic; moreover, it subtly recalls her earlier hits, including her 2009 mega-hit “Bad Romance,” which resonates powerfully in many of her new tracks.

She explained to Entertainment Weekly that the nachos in question on “Abracadabra” from her album are indeed hers, and it was her who came up with them.

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As a devoted cinema-goer, I must admit, this self-legendary narrative aligns perfectly with the colossal figure of 2010s pop whose music has indelibly molded her successors in much the same way Bowie, Prince, and Madonna’s work influenced her. However, imitation can be a potent lure when creative fervor begins to dwindle – a clever strategy to bolster a flagging fanbase around an album primarily intended to support a tour (the primary source of income in today’s music industry).

It seems that some artists from Obama’s era, such as Justin Timberlake and Katy Perry, have struggled recently with their comeback attempts, even Lady Gaga faced a similar predicament. Last year, they both released albums marketed as a return to their original style, but unfortunately, neither of them were successful. Initially, “Disease,” the first track from Gaga’s latest album “Chaos and Harmony,” didn’t fare well on Billboard’s Hot 100 either, raising concerns about her potential comeback after a period spent acting and recording jazz music. However, the massive success of her duet with Bruno Mars, “Die With a Smile,” hinted at Gaga transitioning into the adult-contemporary phase of her career, leading some to believe she wouldn’t revisit the dance-pop style that defined her earlier years.

Mayhem” contradicts that notion: Boisterous, jittery with intricate grooves and skillfully designed hooks, it’s a triumphant revival of her signature style – her best since 2011’s “Born This Way”. It’s the kind of album you’d expect her to release before headlining Coachella, as Lady Gaga will do next month.

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Wesley Schultz, a member of the folk-rock duo based in Denver, is admired as a hero by artists such as Zach Bryan and Noah Kahan.

In my perspective, “Mayhem” isn’t my first foray into tapping back into the energy that made me shine. While “Chromatica,” released in 2020, was intended as a sort of correction to the classic-rock exploration of “Joanne” (which itself was a response to the perceived extravagance of “Artpop” from 2013), the disco elements of “Chromatica” were overshadowed by the pandemic. However, timing seems to be on my side with “Mayhem,” as Sabrina Carpenter and Chappell Roan have brought vibrancy and spectacle back to the Top 40 after a prolonged period of hushed melancholy, and Charli XCX has resurrected the indie-sleaze style that once thrived in my beloved Lower East Side.

It’s more enjoyable to listen to ‘Mayhem’ than ‘Chromatica’. The songs are harmonious, consistent, and definitely fun. They explore the intersections of love, sex, and fame, even when she sings about being consumed – “Swallow the limelight and hope it elevates you / Sit in the front row, witness the princess fade”. Yet, her voice suggests she’s loving every moment. Collaborating with producers such as Cirkut, Andrew Watt, and Gesaffelstein, she infuses the tracks with rich basslines and electric guitar screeches, while she playfully switches between various quirky accents and vocal mannerisms. ‘Killah’ references a melody from Bowie’s ‘Fame’; ‘Perfect Celebrity’ pays homage to Nine Inch Nails’ industrial funk; ‘Zombieboy’ echoes the effervescent Champagne high that Chic mastered.

She tells her lover in ‘Garden of Eden’ that it feels like a familiar sensation, one she’s had since the very beginning, much like knowing someone all her life.” In ‘Mayhem’, she masterfully conveys how vivid and real those memories are.

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2025-03-10 21:01

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