'MAYHEM' is an Intoxicating Dance with the Dark, Glittering Facade of Lady Gaga
- Abby Anderson
- Mar 8
- 4 min read
Stand-out tracks: “Abracadabra” “Perfect Celebrity” “Shadow of a Man”
Our favorites: “Garden of Eden” “How Bad Do U Want Me” “Don’t Call Tonight”
Release date: March 7, 2025
Label: Interscope
For fans of: Kesha, Charli XCX, Ariana Grande
From its first ear-splitting synth, MAYHEM is a twisted, stunningly addictive trip, examining an ever-sparkling, ever-strengthening star in Lady Gaga. But under the glitz and gargantuan production is a duality, a striking vulnerability, of the nakedness of letting the world get a glimpse of the Gaga-facade - to a point that it almost drives her mad. "There are no more tears left to cry," Gaga proclaims as she spirals into "Disease," which pulses out the seams with classic dance-pop production. She traps us in her world of desire, power, and petulance, unafraid to defy a noxiousness: "Screaming for me baby / like you're gonna die / poison on the inside / I could be your antidote tonight." She carries her mystical illusion into the earwormy hooks and the delightful weirdness of "Abracadabra." Gaga has a hypnotizing ability to captivate with simple club-pop, entrancing in the same ways she did all the way back in her debut, The Fame, unmistakably reinventing the familiar “Gaga oh na na" that insinuates that she's well aware this may be a 'Bad Romance,' but she wants it anyway.
Deceptively fresh while reeking of poison, “Garden of Eden,” is just as taunting as that infamous apple. With a pop hook to sink your teeth into, Gaga sings, “I can be your girlfriend for the weekend/You can be my boyfriend for the night." She continues to blur our perception of her persona, luring us closer while holding us at arm's length; Gaga sings, “I’ve been feeling this familiar feeling / Like I’ve known you my whole life / Take you to the Garden of Eden / Poisoned apple, take a bite.”
A cacophonous rocker that's as addictively harsh as fame itself, “Perfect Celebrity” flaunts the lines Gaga draws between letting us into her world in the spotlight while never letting us see the darker sides of it. It’s the voice of an artist drowning in fame, yet relishing it at the same time, “I’m the perfect celebrity / So rip off my face in this photograph / You make me money, I’ll make you laugh / Show me your pretty, I’ll show you mine."
Then Gaga's exterior finally cracks. In the face of heartbreak, “Vanish Into You” leans into her desire to be seen. She hides behind a larger-than-life pop sonic while singing, “Once in a blue moon I forget you / And once in your life you’ll be mine / Do you see me? / Do you see me now?” In an effort to slip between all her pop personas and morph her current perception, Gaga then dances through every vein of pop she's ever touched, flexing her sonic versatility. “Killah (feat. Gesaffelstein)” pulses with a cruisy, electro-bass and veers into Joanne territory, while “Zombieboy” channels a disco-inspired Flashdance-vibe and “LoveDrug” brings us back to the addictive, glittery heart of ARTPOP.
If Gaga hadn't ensnared us in her web yet, the following tracks are some of Gaga’s finest to date. “How Bad Do U Want Me” is the best of what pop music has to offer - an irresistible hook, a deceptively good bad girl, and an incredibly simple yet effective drum and rhythm guitar progression. She's irresistible as she sings, “Cause you hate the crush but you love the rush / And I’ll make your heart weak every time." It's followed by "Don't Call Tonight," which shatters and rebuilds the concept and sonic of The Fame Monster's“ Alejandro,” sparkling with sleek production and a delicious guitar riff. To round out the set is possibly the single best song in Gaga’s massive catalog. “Shadow of a Man,” is a disco-flecked determination to bring down the patriarchial system. Gaga stands as a symbol of individuality but embraces her defenselessness with a defiant power: “I don’t wanna fade into the darkness tonight / Show me the light / I don’t wanna be the one to fall on the knife to come alive."
As MAYHEM starts to descend out of its tumultuous, pop pinnacle, Gaga finally starts to let her guard down. “The Beast” carries Gaga through one last moment of subjecting to her power, leaning into her sensuality while acknowledging her trepidation in relationships. With her often-forgotten vocal prowess soaring through every note, Gaga finally owns her desire to be seen in the deepest way. And she gets her wish; “Blade of Grass” and “Die with a Smile” close the project, decrescendoing into a softer, protective side, where Gaga finally stands tall guarding the love she’s found.
MAYHEM is a sensational dancefloor-battleground where Lady Gaga’s personas collide, shatter, and ultimately find a fragile peace, leaving us with the lingering question: Will we go mad trying to separate the star from the woman beneath the glitter?
TO LEARN MORE ABOUT LADY GAGA:
