Lady Gaga - Mayhem
MAYHEM!!!
Where?
Lady Gaga returns with her highly anticipated album Mayhem, but instead of chaos and unpredictability, we embark on a journey through synth-pop and dance music.
The album opens with its two singles, “Disease” (previously reviewed here) and “Abracadabra”, a track that tries to pass as a dancefloor banger rather than truly being one. From there, Gaga delivers “Garden of Eden”, an undeniably single-worthy track that initially recalls 143-era Katy Perry before unfolding into something far more intriguing. Another standout is “Perfect Celebrity”—the album’s only rock-leaning moment—which brings a clear Nine Inch Nails influence with its heavy-hitting chorus and dynamic groove.
The album is well-crafted and polished, with the instrumentals standing out as its strongest element. Most tracks sound at least good, though few truly distinguish themselves within Gaga’s broader discography. Many of them feel like variations of songs she has already made. The first half of the album is more engaging thanks to its variety, while the second half blends into one long stretch of “fine”—consistent, at least, but lacking the emotional carousel she could have delivered.
As the album progresses, Gaga slows the pace, immersing herself in full-fledged synth-pop with disco and funk influences straight out of the ’80s. It’s danceable, energetic, and well-executed—but also safe. Many tracks sound exactly like what you’d expect from a textbook Gaga song: good, enjoyable, but predictable. Lyrically, the album rarely digs deep, prioritizing simple emotions over a truly immersive musical experience. And by the way, “Die With a Smile” has no reason to be there (except for the obvious one), especially when the album already has a clear closer in “Blade of Grass”.
Despite its aesthetic and presentation, Mayhem might be Gaga’s safest record yet. Polished, accessible, and tailored for mainstream appeal, it almost feels like an embodiment of the actual meaning of "Perfect Celebrity" from a textbook. But it’s crafted in such a way that fans likely won’t notice.
Musical references are scattered throughout the album—hints of Gwen Stefani, Prince, Nine Inch Nails, Charli xcx, and even shades of Taylor Swift and Rihanna. Yet, it never stops sounding like Gaga. However, I’d like to make a deeper comparison, perhaps not a direct musical one but rather an artistic one—The Weeknd and his recent trilogy. Both are immensely talented artists with unforgettable hits and iconic eras, yet both seem increasingly constrained by the weight of their own legacies. Whether driven by commercial appeal or a fear of alienating their fanbase, they risk becoming artists who blend into their own expectations, rather than breaking free from them.
Gaga has spent her career mastering the "bigger than just a singer" formula—pop icon, Oscar-nominated actress, jazz aficionado, and creative force. But when it comes to her solo work as "Lady Gaga, the pop sensation from 2009," it feels like she’s hesitant to fully move beyond that persona. Perhaps it’s because of the loudest part of her fanbase, who are no longer the majority (hello, “Die With the Smile” success) and still living in 2009, or maybe because she’s unsure of what else she can offer while staying commercially viable. While Mayhem is technically solid, it lacks the thrill, risk, and sheer joy that defined her earlier work. Nostalgia is a powerful tool, but when an artist begins to feel like a nostalgic relic of themselves, it raises the question: what’s next, and for how long?
So, where is the Mayhem? Because Gaga’s seventh studio album, Mayhem, is well-structured, meticulously polished, and ultimately risk-averse. It’s a solid, toothless, and enjoyable album. But perhaps the true Mayhem is happening within Gaga herself as she navigates her place in this phase of her artistry.
7.0/10
