Lady Gaga’s return to pop music pays homage to her entire discography – and channels the Gaga we all know and love.
Over the last 16 years, Gaga has become a certified hitmaker with a multitude of songs that are known and loved by millions of people around the world, all characterized by the same infectious, dark, electro-pop sound. Although she started to stray from that sound with releases like Joanne and the A Star Is Born soundtrack, it is clear that she returned to her roots and came back in full throttle. The energy in this record is much grander than her last, and there’s something very nostalgic about it.
Gaga herself has stated that while writing this album, she felt like she was “writing some of the best music that [she] can remember.” The first single off of this record was, strangely, the viral “Die With A Smile” with Bruno Mars, which was generally liked but overall a little out of place, specifically for this album. She followed it up with the release of “Disease,” an understated track that perfectly encapsulates the sound of the record, although it made little noise. The final single, “Abracadabra,” was the defining single and instantly raised hopes for fans that the classic Lady Gaga sound was back.
Upon its release, many had their expectations blown away. The dry yet heavy moments found in songs like “Killah” and “Perfect Celebrity” blend seamlessly with the loud and dark tracks like “Garden of Eden” and “Zombieboy.” She found a way to use inspiration from her past albums while simultaneously creating a new batch and new feeling to the era. The album’s beginning packs a punch and slowly descends towards the second half, yet it feels natural and exciting. The fusion of different styles of pop that Gaga has explored throughout her career is both all over the place and cohesive, and it opens a new chapter while touching the hearts of fans who started listening during The Fame and The Fame Monster. The self-references go as far as the track titles, equating 2025’s “LoveDrug” and “Zombieboy” to 2009’s “LoveGame” and “Summerboy”.
Overall, MAYHEM is exactly what it sounds like – pure pandemonium in the shape of a masterpiece for modern pop music. It’s a bold statement about what it means to be a pop star who’s entering her 40s, and it’s the most compelling project she has crafted in years.
