The monster is back.
Lady Gaga released her seventh studio album, “MAYHEM,” on March 7, cementing the return to her dark pop roots.
It’s not all “The Fame” though. Gaga brings multiple influences to this record that makes it one of her best yet. Upon first listen, you’re never sure of what to expect.
These 14 tracks are unpredictable, and they defied everyone’s expectations for Gaga’s comeback. Each song is objectively good, but some shine brighter than others.
Like anything in today’s ever-connected Internet, “MAYHEM” found itself in drama from release — the exact thing Gaga herself was worried about when coming back to this kind of music.
Let’s save gossip for later and start reviewing the music.
The good
After taking this album to work, on a drive to Normal and through midterm studying, it’s safe to say there are skips, but there are also major hits.
It’s hard to call the first half of this record anything other than club bangers. The songs are upbeat and danceable. The chart-topping single “Abracadabra” even comes with its own choreography.
“Killah” featuring Gesaffelstein, is an example of the latter. It’s sexy, funky and the new power bottom anthem. The ’90s electro-pop influence is there, and it left us gagged. Gaga’s witty lyrics play off a syncopated beat broken up by a scream drop as the bridge. Her airy vocals successfully inspire a certain mood.
Following is “Zombieboy,” which plays with a similar ’90s to early 2000s evocative funk. It’s also the best track on the record, just to be clear.
Preceding them both is “Garden of Eden,” which may have triggered a full cultural reset. We’re talking “The Edge of Glory” or “Paparazzi” type of impact. Maybe not as big as “Poker Face,” but it’s the most relevant non-single on “MAYHEM.”
It’s also a perfect bridge between the highkey “Abracadabra” and the less EDM “Perfect Celebrity.” The combination of lyrical melody and typical Gaga staccato interjections and chorus is unspeakable, magnificent.
The only track from the second half of the record that makes it into the top tier is “Shadow of a Man.”
First of all, Michael Jackson is absolutely jamming to this from beyond. His direct influence on Gaga’s music can be felt throughout this track as well as on “The Beast.” Her powerful belts resemble MJ’s iconic R&B pop vocals, and the jams are up to par.
Also, the story this song tells is beautiful and, unfortunately, quite relatable. “I don’t want to be used for my love and left out to cry / I don’t want to fade into the darkness tonight” viscerally demonstrates the toxicity a lot of people experience in their relationships.
On the flip side, “Die With A Smile” is not only heaven on phonorecord, but a representation of good, earnest love.
The ballad featuring Bruno Mars not only won a Grammy, is the most beautiful song in the world and got over two billion — yes, with a B, streams — but it’s also somehow the perfect closing track to this chaotic collection.
“MAYHEM” has this effect where actively or passively listening to it makes time fly by. The emotional whiplash caused by “Die With A Smile” not only brings a tear to one’s eye, but leaves you content.
The dramatic soaring vocal performance over a simple piano and guitar line is the perfect tie-in to all the themes of love, sex and relationships shown across this record.
When you listen to it and “Disease” as singles, you think there’s no way they could work on the same record; oh yes they can.
The bad
It hurts coming from “Die With A Smile,” but there are some less impressive parts of the album that need light too.
To be clear, there are no bad songs, just less fortunate ones.
Most of these are found in the last 25 minutes, which is not unusual. The problem child is “How Bad Do U Want Me.” She’s a nice song; she’s just controversial.
Apparently, it is difficult for some people to fathom that a singer-songwriter would make a song in a traditional singer-songwriter style, but we’ll get into that later.
To be fair, the uninitiated may only want Gaga for her party hits, and “How Bad” is not that. “LoveDrug” is likely more up their alley. It feels like a legacy callback, but it doesn’t hit the same way as “LoveGame.” Missing is that palpable electronica feeling that made “The Fame” such a breakthrough album.
Next up on the chopping block is “Blade Of Grass.” It’s a beautiful ballad, but it’s a little too slow. Also what is she even talking about? The premise is simple, but the track is so souped up in metaphors that it feels a little too nonsensical at times.
And the ugly?
Finally, the drama. “How Bad Do U Want Me,” get over here.
The big “issue” with “How Bad” is, apparently, it’s too Taylor Swift. Too Swift to the point people were accusing Gaga and Swift of working together without proper crediting.
Okay, let’s say this even mattered; if Swift worked on Gaga’s album, she wouldn’t have to be credited. Ghostwriters, producers, background vocalists and instrumentalists across the globe will tell you so.
Continuing the assumption that anyone cares; THE Gaga can make whatever style of music she wants. This mentality feeds directly into the next ugly issue facing this release.
Gaga has stated in multiple interviews she’s anxious about returning to this more avant garde, artistic style, and breaking down genre walls is part of that.
Just because she’s not conforming to “Gaga” means nothing, because guess what? She is actually Gaga so anything she does is “Gaga.”
Mother bird returned with a worm, and instead of a joyous embrace, you turn your nose and whine.
I, for one, am not going hungry, because every track from “Disease” to “Die With A Smile” eats.
All this to say Gaga’s “MAYHEM” is an incredibly worthwhile listen, whether on the dance floor or at home. It doesn’t look like a tour will happen this year, so be on the lookout for 2026 tickets to hit the market; something tells me this will be a tour worth using sick time for.
