Gaga is a shapeshifter: she made it very clear early on that, meat dress or not, her every move was part of the art. It makes sense that her career, which began with the thumping beats of “Poker Face” and “Just Dance”, accompanied by wacky outfits that nobody knew what to make of, developed into something richly varied, with Gaga starring in 2018’s A Star is Born, releasing the stripped-back soft-rock album Joanne, collaborating with the US jazz star Tony Bennett and generally transforming from the biggest freak in pop to an EGOT-worthy all-rounder.
Gaga has always been avant-garde (Photo by: Theo Wargo/Peacock via Getty)
Where 2020’s Chromatica was a very Covid concept album about health and healing, Mayhem leans into a variety of themes. There’s the bacchanal party of “Garden of Eden”, where Gaga is “falling over in my nine-inch heels”, finding one-night lovers. There’s the social commentary of “Perfect Celebrity”, where she comments on her public role: “I’m made of plastic like a human doll / You push and pull me, I don’t hurt at all.” Throughout, perhaps predictably, there is plenty of love, plenty of sexual tension, plenty of “feel the beat”s.
Gaga’s voice is ageing like fine wine (Photo: Frank Le Bon)
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Read MoreMayhem is great musically, too, dominated by that classic synthy, bassy sound – Queen-meets-Madonna-meets-Basshunter-meets-The-Prodigy. But the album’s highlights are where she pushes herself beyond the failsafe – “Killah” is a glorious Prince-like 80s jam with a husky, understated vocal and outrageously funky guitars. “Zombieboy” is pure old-school disco-house, a creative, modern tribute to a genre with a great big crescendo of a bridge.
In a way, this is an album of few surprises. But that’s its brilliance – not only a return to form but a reminder that the worlds Lady Gaga has created will always exist.
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