Atwood Magazine’s writers dive into the dazzling chaos and creativity of Lady Gaga’s latest album ‘MAYHEM,’ from her return to pop and inner conflict with fame to unleashing the new era of dance pop.
Featured here are Atwood writers Bárbara Martínez Campuzano, Brian Denney, Danielle Holian, Dimitra Gurduiala, Josh Weiner, Kevin Cost, and Noa Jamir!
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To start, what is your relationship with Lady Gaga’s music?
Josh Weiner: I’m proud to say I’ve been in the Little Monster Camp since just about the beginning. I was in 11th grade in the 2008-09 school year, when Lady Gaga’s first wave of hits occurred in the form of “Just Dance,” “Poker Face,” “Paparazzi” and more. A staggering 16 years have since passed, but I’ve continued to be a fervent admirer of the Mother Monster and have enjoyed each of her ensuing releases. I’m glad that the longest dry spell between albums (5 years!) of her career is now over, and I’m excited to share my thoughts on her latest work, MAYHEM.
Noa Jamir: Similarly to Josh, Lady Gaga’s music was a pretty big part of my childhood. Back then her music was always playing on top 40 radio, and it seemed like she was making headlines every week. Even if you didn’t consider yourself a fan, you knew who she was. More recently – maybe within the past six or seven years or so – my connection to Gaga’s music has deepened beyond her radio hits. After seeing the 2018 remake of “A Star is Born” starring her and Bradley Cooper, I realized there was so much more to her artistry than what meets the eye. I began to see her for what she is: a true artist through and through. That movie, amongst other things she’s done over the years, showed the world that she puts her all into every creative endeavor. Furthermore, her ability to shapeshift in and out of genres, from pop, to jazz, to folk-adjacent genres and more has raised the bar for modern pop stardom, and her new project MAYHEM is no exception.
Kevin Cost: My earliest memory of hearing the name “Lady Gaga” was back in 2008 when I flew with my mom to Florida to visit my uncle and he made us watch her performance on the Miss Universe stage. I was immediately intrigued yet confused as to why my very conservative uncle sat us down to watch the entire performance of “Just Dance” and was amazed by her presence, but that is a true testament to her powerful aura. Ever since that introduction, I have been following her career and consider her the most influential artist of our generation. She never stops pushing the boundaries of what music means, feels, and even looks like. Lady Gaga is nothing but an icon.
Brian Denney: I first realized I was a Lady Gaga fan when I caught myself watching the clock in class every day in eighth grade, waiting for the bell to ring at exactly 3:05 so I could sprint to meet my carpool. Every day, like magic, Poker Face would play on KIIS FM at around 3:15, and it quickly became my favorite afternoon ritual that I could not miss.Track after track, I found myself buying all the 99-cent iTunes singles off The Fame until I finally gave in and bought the whole album. That was the moment I knew: I wasn’t just listening to Gaga—I was a fan. Since then, I’ve followed every turn, every reinvention, and every unexpected career move. I’ve seen her in concert, and stuck with her era to era – through dance-op, jazz, and even House of Gucci.
Bárbara Martínez Campuzano: I have always admired Lady Gaga and her music, but I don’t think I appreciated her enough as a child. Then, ten years ago when she performed a tribute for The Sound of Music, I was in complete awe of her vocals. I began to listen to her in many places, through her next albums, and even in the movies she played in like A Star Is Born and House of Gucci. Not only do I consider her a great musician with a voice the world can’t live without, but she’s a great actress as well. There are songs of hers that I consider timeless, such as “Born This Way,” which is also very inspiring for many, and “Bad Romance.”
Dimitra Gurduiala: For me, she is an icon. She’s been almost a mythical figure who has accompanied me basically all my life, although I only started following her seriously after hearing a few covers of her songs on Glee, my favourite series when I was younger. I already knew hits like “Paparazzi” and “Poker Face,” danced to “LoveGame” with my friends and sang “Just Dance” at the karaoke, but the real turning point was the episode of Glee where they sang “Born This Way.” At that moment, something shifted. Slowly but surely, I started to listen to her music more and more, to think of her as an icon of free speech and expression, rather than just a singer. Although she is not one of the artists I listen to the most, I began to have a great deal of respect and admiration for her, which I continue to feel to this day.
Danielle Holian: I’ve ALWAYS been a fan – from discovering “Just Dance” and “Poker Face” on the music video TV channels, I have been hooked ever since! After each album release, I would get the physical CD and literally listen to it on repeat until I knew each lyric and beat to dance to. Lady Gaga is one of my idols and a music artist who made me feel inspired to write songs, eventually working in the music industry as a journalist and publicist. I’ve been part of the Little Monsters club for a very long time, and with many songs to resonate and bop out to, I’m glad to be part of this community. I’m thrilled to discuss my thoughts about MAYHEM.
What are your initial impressions and reactions to MAYHEM?
Noa: The first listen to MAYHEM felt like coming home and kicking off your shoes after a long day; it felt like a big relief, a breath of fresh air. The record has a sound that feels so familiar and so Gaga, yet still she manages to create a completely new world within it. It’s a fun, thrilling sonic world in which she seems truly confident and comfortable in her artistic-skin. Though there’s themes of existentialism and moments where she struggles with internal-conflict, I initially interpreted the album as being a celebration of falling in love, both with somebody and with life itself, as well as showcasing her journey through the chaos of love and life.
Kevin: MAYHEM is a quintessential Gaga record. Every song has this guttural sense of wanting to break free from the norm and force the emotion to center stage. She does this across the entire album, throwing pure pop bliss in your face while raw vulnerability is hidden throughout her iconic ballads, but it still brings an overwhelming sense of joy to experience. After the initial listen, it was difficult to find anything else to listen to at the moment.
Josh: My initial thought was that the title is quite accurate. There’s a lot going on all across this hectic record, and it amounts to a lot of sonic commotion. But the formula works – it’s another very strong record from the Mother Monster, and a helluva lotta fun to listen to, at that.
Brian: MAYHEM is the first Gaga album in a while where my immediate reaction is to turn the volume up. It just feels like her roots – bold, a little chaotic, and completely unafraid to go big. There’s a confidence here that makes it fun from start to finish, leaning into new influences without ever losing its pop core.
It’s also exactly the kind of album I expect from an artist as massive as Lady Gaga. The sound is huge, the production is elevated, and it never plays it safe. If you’re at the top of pop music, there’s a responsibility to push the genre forward – to make music that deserves the recognition it’s inevitably going to get. MAYHEM delivers on that.
Bárbara: This album is, to me, unpredictable as it is what we could expect by Lady Gaga: it is its title. The songs do give off chaos, as well as confidence, turmoil, boldness… All of it becomes Mayhem and I love it. I always listen to the albums by order, so with “Disease,” “Abracadabra,” and “Garden of Eden” I knew right away this was another inventive, daring Lady Gaga album.
Dimitra: Just as my colleagues have already said before me, it is a record that screams Gaga all over the place. It’s a breath of fresh air, totally unexpected, so familiar but also so innovative. I could easily already call it one of the albums of the year.
Danielle: I enjoyed the immediate boldness and chaos of entering the world of MAYHEM for the very first time. It was a thrilling experience listening to a sound that’s so familiar, yet Lady Gaga is still able to catch me off guard. I love her confidence, the expectational lyrics, and enthusiasm throughout the album – while she displays vulnerability with a sense of joy. It was an enjoyable listen from beginning to end. Wishing I could replay, and listen to it for the first time all over again!
How does this album compare to 2020’s Chromatica, and the rest of Lady Gaga’s recent discography – what are the most striking similarities or differences?
Noa: MAYHEM has a very similar essence to Chromatica; I’d say they’re definitely sisters. Chromatica walked so that MAYHEM could run. And yet, they are still quite different records in their own ways. To me, Chromatica was an album of its time. The title alone reminds me of being in the throes of the pandemic when the collective unrest was growing each day. Songs like “Rain on Me” and “Enigma” off Chromatica defined my 2020 and were at the top of my Spotify Wrapped that year. The heaviness that came with the COVID-19 lockdown has been somewhat lifted in 2025, and for that reason (and probably many more reasons), Gaga sounds more liberated now than ever before. On top of that, MAYHEM seems to be very disco/funk inspired. It’s almost as if Gaga wrote this record as a tribute to some of her earliest inspirations. Each song feels like an homage to ‘80s pop, disco, and funk, (there are even hints of rock too), with sounds similar to something you’d find in a Prince or Bowie discography.
Josh: I can see that it functions as a sequel to Chromatica of sorts, although it’s also far from a clone of it. This discrepancy could in part be due to the fact that the two albums share almost none of the same producers – BloodPop, Benjamin Rice, and Axwell vs. Andrew Watt, Cirkut, and Gaga herself – or guest artists, for that matter – Ariana Grande, Elton John, and Blackpink vs. Bruno Mars and Gesaffelstein. But hey, I’m just glad that come what may, Gaga can always remain her ever-entertaining self and keep varying up her creative choices.
Kevin: Chromatica was purely a dance record, even stated by Gaga. It was meant to get you off your feet during a very dark time, but I feel MAYHEM stands tall next to all her previous work. The similarities are somewhat there, but the differences outshine the disco/party-style sounds Chromatica was filled to the brim with. All the songs on MAYHEM are cohesive to one another, with Gaga’s gargantuan voice at the forefront floating across sinister pop riffs and transitioning seamlessly to her jazzy/bubblegum pop side that are heavily influenced by her love of David Bowie and the “art-pop” era in the ’80s. Both records belong next to each other in her discography, but MAYHEM is Gaga maturing back into her roots.
Brian: It truly takes a relisten to fully remember how unhinged some of Lady Gaga’s early albums like Born This Way are – where she jumps from instantly recognizable Billboard-charting singles to utterly wild tracks like “Government Hooker” and “Scheibe.” I was secretly hoping for a return to that level of unexpectedness on MAYHEM, but what we got is much more polished and smooth. I think that’s okay – it’s a part of her evolution as an artist, and MAYHEM brings new elements to her discography that keep the collection exciting.
Bárbara: I think there is an essence to Lady Gaga that can be seen and listened to in every of her albums. She knows how to make a song worth dancing to, a good pop track. I think I liked that from Chromatica, especially with her collaborations with Ariana Grande and BLACKPINK. Her new album is danceable, but the beats sound heavier, bolder. I’ve called this new album daring, although in the past we’ve seen her release things that were even more wild and risqué, because her meaning of mayhem may hint at the changes Lady Gaga has undergone throughout her career up to this point. Each song is exciting and fresh, and they explore new genres like synth-pop while Chromatica was more of a house and dance pop record.
Danielle: With each release from Lady Gaga, what typically stands out first is that I know it’s a Gaga song. There’s no record that I dislike, which makes putting her music on shuffle exciting. Chromatica is undeniably a dance album, a vibrant escape designed to lift spirits during a dark period, as Gaga herself stated. However, MAYHEM stands proudly alongside her entire catalog, carving out its own identity. While it shares some similarities with Chromatica, its differences – particularly in tone and sound – shine much brighter. The songs on MAYHEM flow together effortlessly, with Gaga’s colossal voice taking center stage, gliding over dark, sinister pop riffs and then effortlessly transitioning into her playful, jazzy, and bubblegum pop influences. You can hear the echoes of her deep admiration for David Bowie and the art-pop movement of the ’80s throughout the album. Both records undoubtedly deserve a place next to each other in her discography, but MAYHEM marks a return to Gaga’s roots, a powerful evolution of her artistry. No matter the genre or theme, I always feel giddy to listen to her music.
Lady Gaga teased MAYHEM with “Die With a Smile,” “Disease,” and “Abracadabra.” Are these singles faithful representations of the album?
Noa: This could be an unpopular opinion, but while “Disease” and “Abracadabra” fit seamlessly on MAYHEM, I don’t think “Die With A Smile” sonically nor stylistically makes sense on it. Though I think that song is absolutely beautiful, I feel as though it might have made more sense as a stand-alone single. Even the music video for it has very little to do with the world of MAYHEM, whereas the music videos for “Disease” and “Abracadabra” feel like chapters in the overarching story Gaga is trying to tell with this record. I also don’t love the fact that the album ends with “Die With A Smile,” a song that came out nearly 6 months prior to its release. I feel like tacking on a song that’s already been released at the end of an album is sometimes a little anticlimactic, and that’s how I felt with this record. Regardless, the song is a stunning collaboration between two pop icons, that much is hard to deny.
Josh: I see what Noa means and I agree that you can tell that this song doesn’t fit in so perfectly with the rest of the album, as it sounds pretty different from the rest of the tracks. But then again, it was such a huge hit that I can see why they couldn’t resist the urge to tack it on. Having it be the very end, almost like a bonus track, seems to be the best place to include the song on the track list if it was going to be included at all.
But hey, enough throwing shade – “Die With a Smile” is a great collaboration and a testament to Lady Gaga’s ever-enduring star power and hit-making capabilities, so I’m glad that it was eventually included. As for “Disease,” and “Abracadabra,” I’ll agree that those songs are more accurate representations of the rest of MAYHEM stylistically, so it made sense to make them both this album’s lead singles and opening two tracks. In both regards, they serve as a faithful preview of what is to come.
Noa: That makes sense Josh, and it actually kind of changes my perspective of “Die With A Smile” ending this album! Also, according to a Spotify fan conference, Gaga explained that the album intentionally starts at its most chaotic point, while gradually becoming less chaotic as the tracklist progresses, symbolizing the “mayhem” ending. With that knowledge in my mind, “Die With A Smile” makes more sense on this album, especially following a powerful love song like “Blade of Grass.”
Kevin: “Die With A Smile” was a strange single to release first with this record, but I agree with Josh and Noa about the purposeful placement of the song as the final song. Ending a record she poured her heart and soul into with a lyric like “If the party was over and our time on Earth was through, I’d wanna hold you just for a while and die with a smile” just makes sense. The party is over when the record ends, but we celebrated throughout so why not smile about it? For “Abracadabra” and “Disease,” a masterclass in how to get your fanbase on board with your next project, especially us little monsters.
Brian: Maybe it’s just me, but I don’t think “Abracadabra” really sounds anything like the rest of MAYHEM. It’s one of my favorite tracks, but I wouldn’t say anything else on the album really sounds or feels like it. I do agree with Noa’s point that the “Disease” and “Abracadabra” music videos fit perfectly in the same universe, but the sounds of Abracadabra feel more like something that you would hear on Artpop or The Fame. I think callbacks like this are part of what makes this album such a fun listen for dedicated fans like myself who have been on the Gaga bandwagon for a while now.
Bárbara: I do believe that “Abracadabra” and “Disease” represent the rhythms and the general style of the album. Of course, “Abracadabra” has taken the spot as the top song or one of the favorites of this record. Maybe these three songs may be its most memorable ones. I must say, “Die With a Smile” may have quite a different vibe from the rest of the songs, but it is unforgettable, also standing out for the collaboration with Bruno Mars.
Dimitra: Until recently, I totally agreed with Noa. “Die With a Smile” is really good, but it didn’t really seem to me in line with the rest of the album, or at least what it seemed to want to convey. Reading Kevin’s comment made me think though, and I have to say it makes perfect sense, it gave me a way to see the album from a different point of view. Thank you Kevin!
Danielle: I don’t feel “Die With a Smile” was a good representation of the album as a single sonically, I feel “Disease” and “Abracadabra” fit the single releases better and overall accurating fit the sound and energy stylistically. To me, it just didn’t fit the rest of the album, at the time. As another track on the album, it’s a good addition. It also appeared a little anticlimactic – but as a stand-alone release, it’s a special collaboration between Lady Gaga and Bruno Mars. I agree with Josh and Noa about the placement – it does work overall, I think it’s surprising to little monsters who expected something else, but may have received something much better in return.
MAYHEM has been billed as a return to Lady Gaga’s pop roots – “a declaration of artistic freedom, a celebration of life’s contradictions, and a testament to music’s power to bring people together in the face of chaos.” Does this capture the spirit of these songs, and where do you hear or feel it most?
Kevin: Lady Gaga has never stopped her teachings to be your entire authentic self and she continues to exude that mantra through her music. She has the extremely rare talent to bring fans of all types of genres across the expanding sonic universe and it shows! Several people I have connected with, who push pop music out of their rotation, hold high regard for Gaga. “Shadow Of A Man” is an anthem that I feel many have overlooked, but I feel the general message is “I am me, and not a single person can darken my light.” This is the true essence of what Gaga wants everyone to believe in and that is to believe in yourself.
Josh: On top of where I hear it the most, I can also say where I see it the most– in the video for “Abracadabra,” which features plenty of the electric group choreography and wacky, colorful outfits that the Lady Gaga of my high school years was well known for. The single itself also has some echoes of hits from that era such as “Bad Romance,” as others have remarked, and the same could be said of a handful of the album cuts as well.
Brian: Much like everything Gaga does, I’d argue that description is a bit much – but isn’t that exactly why we all love her? MAYHEM certainly feels like a return to the sounds and styles that made her famous. My favorite part is how over-the-top some of her lyrics are, yet her delivery makes them feel so playful and unserious. Take “Perfect Celebrity,” where she sings, “Choke on the fame and hope it gets you high, sit in the front row, watch the princess die.” It’s a lyric so dramatic that it almost becomes comedic. To me, that’s a quintessential Gaga moment we haven’t seen as much on recent projects, and I’m so glad to see it make a comeback.
Noa: I strongly agree with everybody, MAYHEM is truly such an important moment in her iconic artistic career! “Abracadabra” especially brought a sense of nostalgia for me. Everything about it, but particularly the spell-binding chant “abracadabra amor-oo-na-na / abracadabra morta-oo-ga-ga” has the same outlandish quality of what made me fall in love with Lady Gaga years ago. I could see myself as a 13 year old all over again, lip syncing that song in my room, voguing to it, and pretending there was a wind machine blowing through my hair and that I was in a music video alongside her. That song is peak Gaga in my opinion and feels like an homage to The Fame era.
Bárbara: MAYHEM evokes a feeling that is connected to her early work; I think it is an album influenced by her early beats and her past. When some could think that this is just another record from a famous pop artist, many would rather say that this is a top-charting album with spectacular tracks that remind us of that Lady Gaga never left and will never leave what we first met her as: bold, dangerous, and dramatic with some oddness to it. Yet Lady Gaga has said it perfectly with the fourteen new tracks: she’s had many chapters, many faces, but she remains one and she’s free to be herself through her music.
Dimitra: I think this record is yet another confirmation that Gaga will always bring something unexpected to the scene, that she will (rightly!) do what she wants because she can afford it. Everything she does ends up being successful, no matter how contradictory it may seem. People love Gaga and her art because she puts incredible passion into everything she does, regardless of the genre of music or the medium she uses. And I think MAYHEM represents this freedom very well, even in having totally opposite tracks on the tracklist (like “Abracadabra” and “Die With A Smile”). Her music can be seen as chaos but she is queen of it, coordinating everything like the best of conductors. Utterly fascinating.
Danielle: Lady Gaga has always offered something authentic with her artistry – even though she can offer something completely different, or etched with her signature blend of genres that expand across the sonic universe. MAYHEM is a stand-out moment in her music career – while feeling connected to her earlier catalog. It’s truly remarkable how she has had many eras, styles, all while remaining true to who she is as an artist.
Which song(s) stand out for you on the album, and why?
Noa: I remember instantly loving “Zombieboy”; I knew it was going to be my favorite song off the album the moment it started playing. I also read that the song is a tribute to the late Rick Genest, who starred in Gaga’s revered video for “Born This Way,” which just makes the song feel even more special. It’s filled with so much life, and you can tell she had fun recording it. I adore how much she leans into her artistry and how hard she works to make long lasting, meaningful art, but it’s also really refreshing to hear her just having fun and not taking it too seriously. At this point, she’s earned the right to do that.
Kevin: “Killah” oozes pure style and my first thought was “This sounds like if Nine Inch Nails covered Prince.” The heavily distorted bass vibrating and the shiny twinkle of guitar emits this sense of bulletproof armor and your enemy cannot pierce through your confidence. Several other tracks stood out, but knowing Gaga loves to use biblical references throughout her music, “Garden Of Eden” was such a nod to her early releases and notorious ability to not take everything so seriously. It has elements taken from The Fame and pulls you into the world of making bad decisions on the dance floor.
Josh: Noa and Kevin actually already named some of my favorites – “Garden of Eden” is one of my favorites, in part because of its central lyric (more of that below) and I do like the nod to her old creative ally, ZombieBoy (I still remember seeing him in the “Born This Way” video in 2011 and it Creeped. Me. OUT!). I also like “Celebrity” a lot, and given that her first album in 2008 was called and about The Fame, it’s encouraging to see that Gaga can still provide some intriguing insight into this topic the better part of 20 years later. “How Bad Do U Want Me” is fire for sure, as well. Oh man, this record has some serious highlights, no doubt!
Brian: “Vanish Into You” is the standout for me – the production here is a masterclass, and manages to capture everything MAYHEM has to offer. It’s got those near-perfect pop hooks layered over rich, complex production. More than any other track on the album, “Vanish Into You” sets the tone for what’s to come. It blends classic pop sensibilities with a funky electric guitar, introducing elements that unfold more fully on tracks like “Killah.”
Bárbara: One of my favorite songs of all time, and part of the new album, is “Die With a Smile,” which has been praised since it came out. The intro of “Vanish Into You” is lovely, and it is similar to the song I previously mentioned because they are more related to peace, affection, and they act as a hint to happy endings. Nonetheless, “Garden of Eden” and “Abracadabra” stand out as well, they are more electro, with synthesizers and influences from her early work that make these songs special to someone who is very familiar and in touch with Lady Gaga’s music.
Dimitra: “Killah” and “Zombieboy.” Hearing Gesaffelstein’s touch on the first one is magical, but Zombieboy is perhaps the one that has stayed in my heart the most. The tribute to Rick Genest then made me a little teary-eyed, I admit – he could only deserve such an iconic song, may he rest in peace.
Danielle: “Vanish into You” totally steals the show for me! The production is pure genius – it perfectly captures every bit of what MAYHEM brings to the table. With flawless pop hooks that you can’t get out of your head, all wrapped up in rich, intricate layers, this track is in a league of its own. More than any other song on the album, it sets the stage for everything to come. It’s like a perfect fusion of timeless pop vibes and funky electric guitar riffs that keep you hooked from start to finish.
Do you have any favorite lyrics so far? Which lines stand out?
Noa: I hate to admit this, but there wasn’t much that particularly struck me lyric-wise on MAYHEM. I got the impression that she was attempting to be vulnerable throughout the record, but the lyrics for the most part felt unfortunately skin-deep. Especially considering the amount of writers credited on each song, I wish the writing was as impressive as her vocal delivery. But with that being said, there were a few moments that really stuck out to me, like on the track “Blade of Grass” where she sings: Come on and wrap that blade of grass around my finger like a cast. It’s a metaphor about marrying someone you love, and it’s one that I’d never heard before. It feels truly original and meaningful. And the song as a whole is an ode to her fiancé/co-producer Michael Polansky, so it’s no wonder she sings it with so much emotion and passion! It’s a really beautiful power ballad, and it’s one of the most important songs off the record in my opinion.
Kevin: Lady Gaga knows how to get a crowd off their feet and the intro to “Zombieboy” is a prime example of how to get the party started. “We about to be up all night, wakin’ up a zombie, so put your paws all over me, you zombieboy.” This screams 2007 Gaga before she was a household name and her dire love for making music for people to dance to, even if they thought it was corny. Another lyric I caught after several listens was in “Shadow of a Man,” when she demands to be heard singing “Cause I won’t be used for my love and left out to cry.” A testament to be heard and never take no for an answer.
Josh: In typical Lady Gaga style, this album has got a healthy dash of “Hmmm I wonder what she’s got in mind with that one” lyrics. One that stood out to me was, “I could be your girlfriend for the weekend. You could be my boyfriend for the night,” on “Garden of Eden.” It got me thinking, “Hmmm why does the guy only get a fraction of the allotted time as the girl here? Is there any sort of power dynamic going on here? What makes the difference between a weekend and a night in Gaga’s mind, exactly?” Maybe I’m overthinking this one a bit, but I do admit that my eyebrows took a little trip north when this line came on.
Brian: I’d have to disagree that the lyrics on MAYHEM feel surface-level or lack resonance. If anything, they’re classic Gaga – her music has always been at its best when it leans into the surreal. Are these lyrics going to win her a Pulitzer? Probably not. But will they be blasting on dance floors for years to come? Without a doubt.
As far as lines that stand out, MAYHEM delivers an instantly iconic new chant: “Abracadabra, amor-oo-na-na / Abracadabra, morta-oo-ga-ga / Abracadabra, abra-oo-na-na.” I can already hear the streets of West Hollywood shouting that one in unison.
Noa: I think you’re so right Brian, the lyrics are 100% classic Gaga! This album is also definitely more focused on being high-energy and danceable than it is about lyricism and poetry. I guess I only wish there were more songs like “Perfect Celebrity,” and more moments where the listener could really get a glimpse into her inner world, beyond the surrealism and somewhat vague metaphors. I find her commentary on fame and her experience with the music industry to be super interesting and important, and just personally would’ve loved to see her lean even more into it lyrically-speaking. But regardless, MAYHEM absolutely is going to be a hit record on dance floors across the world, and that was probably what she was going for anyway!
Bárbara: The lyrics are quite catchy, especially in the choruses of “Abracadabra” and “How Bad Do U Want Me,” yet depth isn’t a factor in this album. One that caught my eye, though, is “Perfect Celebrity,” in which she addresses fame and its downsides. “I look so hungry, but I look so good,” “You love to hate me,” or “You make the money, I’ll make you laugh” are lyrics that reflect a personal struggle that Lady Gaga has had to face against public opinion and being a celebrity. It may be one of the most self-reflective songs found in MAYHEM.
Danielle: Can I say that I’m fascinated with all of Lady Gaga’s lyrics? I adore the disco like high energy in the production, and the lyrics as typical Gaga style. Like Brian mentioned about the iconic new chant: “Abracadabra, amor-oo-na-na / Abracadabra, morta-oo-ga-ga / Abracadabra, abra-oo-na-na.” This will be all over the place for the next while – and it’s welcomed. I love how the lyrics are catchy!
Where do you feel MAYHEM sits in the pantheon of Lady Gaga’s artistry?
Noa: I think MAYHEM is deservedly a huge moment for Lady Gaga. Her past records such as Joanne, Cheek to Cheek, and even Chromatica – though special in their own ways – fit into specific niches, and they each attract very different audiences. MAYHEM on the other hand is an album for all Lady Gaga fans as a whole; it’s an album for the little monsters who are all grown up now. Where some of her past projects might seem like side-quests of sorts and showed the depth of her artistry, MAYHEM feels like a homecoming. It’s everything there is to love about the fabulous, never-ending enigma that is Lady Gaga.
Kevin: Lady Gaga has churned out some of the greatest music this millennium, but MAYHEM is her ode to everything she has done in her career thus far. It stands out in various ways, displaying her many talents of songwriting, production, but ultimately underlines the fact that she is not just a musician, she is an artist. I do not want to call this her magnum opus, even though it is pretty close to being so, but we all know Lady Gaga is far from over making music.
Josh: Oh man, those old Lady Gaga records sure have a lot of nostalgia in their favor at this point, don’t they? Mayhem has got some catching up to do in that regard, but I will say that, off the bat, this is the most I’ve ever been impressed by any one of her albums. It makes for a great listen all the way through, and even though it hasn’t got the nostalgia card in its hand just yet, I’d say it’s not too early to call this one of her very best projects ever (it’s already got the highest aggregate score of any of her LPs on Metacritic, for instance).
Brian: MAYHEM feels like a natural evolution in Lady Gaga’s discography – less of a reinvention and more of a refinement. If The Fame was the explosive debut, Born This Way was the boundary-pusher, and Chromatica was the long awaited return to the dancefloor, then MAYHEM is Gaga at her most self-assured. It’s big, confident, and unafraid to take up space.
My first thought when I listened to MAYHEM was, “I cannot wait to hear this live at Coachella.” It’s an album that makes the listener want to experience it – and that is something that only a few artists like Gaga can pull off. For me, MAYHEM sits comfortably alongside her biggest pop moments, proving that she still knows how to make massive, arena-filling music that feels both fresh and deeply authentic to her artistry.
Bárbara: One of my first thoughts when listening to MAYHEM is how much it is a reminder of the old (or the first projects of) pop from Lady Gaga. “Abracadabra” is a pleasant and nostalgic echo of songs like “Just Dance” and “Born This Way.” So, like many of her songs, hopefully some of this album will go through years and generations as memorable. I think this album, which shows artistic evolution, is authentic, organic, a natural Lady Gaga achievement in her musical journey.
Danielle: MAYHEM, for me, is the first Lady Gaga signature-styled album that she has released in a long time… the likes of Joanne and Cheek to Cheek still hold a special place for me, of course. Listening to the album for the first time brought me back to when The Fame, The Fame Monster and Born This Way were released – my younger self would be stoked to hear all of her catalog and now a homecoming where every inch of this record has a nostalgic vibe for the little monsters, but also offers something new for the new listeners.
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:: stream/purchase MAYHEM here ::
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“Garden of Eden” – Lady Gaga
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© Charlie Denis
© Charlie Denis
MAYHEM
an album by Lady Gaga
