Lady Gaga returns to her dance-floor dominance and gothic sensibilities on Mayhem, her seventh studio album, marking a triumphant return to the dark, club-ready sounds that defined her early career. The 38-year-old pop icon, who has long captivated audiences with her artistic evolution, digs deep into her past while crafting a bold, modern twist on her signature style.
Mayhem, which dropped on Friday to the delight of her loyal fanbase, Little Monsters, arrives as a throwback to the raw, unapologetic energy of her early years. For those who’ve missed the dance-in-the-dark Gaga, this album serves as a nostalgic journey home after the more reflective Chromatica in 2020. The album opens with “Disease,” a track that immediately recalls the edginess of The Fame Monster (2009), with its hauntingly provocative lyrics: “I could play the doctor, I could cure your disease,” a direct nod to her infamous hit “Bad Romance.”
Gaga’s return to her roots is unmistakable throughout Mayhem, with tracks like “Perfect Celebrity,” which feels like an evolved version of The Fame’s “Paparazzi,” as Gaga muses on the toxic nature of fame: “You love to hate me / I’m the perfect celebrity.” Meanwhile, “LoveDrug,” a trippy, 80s-infused song, harkens back to The Fame era, specifically recalling “LoveGame” in both name and mood.
The album also features a celebration of the darker, more mystical aspects of Gaga’s persona. “Zombieboy” channels the party anthem vibes of Born This Way while honoring the late tattooed muse who appeared in her iconic “Born This Way” music video. On “The Beast,” Gaga leans into her edgier, more primal side, singing, “I wanna feel the beast inside / I know you’re hungry, ready to bite.”
But it’s not all about throwbacks. Mayhem also dips into new territory, blending gothic, industrial beats with a touch of rock. Tracks like “Disease” and “Abracadabra” have a haunting, almost cinematic quality, while the latter borrows from Siouxsie and the Banshees’ 1981 track “Spellbound,” creating a dizzying, enchanting atmosphere. Meanwhile, “Garden of Eden” merges religious imagery with an undeniably club-worthy sound, showing Gaga’s knack for blending spirituality with hedonism.
As always, Gaga’s penchant for experimentation is front and center. “Killa” lets her inner freak run wild over electro beats, while “Die with a Smile,” her collaboration with Bruno Mars, offers a glimpse of pop perfection. And “Blade of Grass,” a heartfelt piano ballad inspired by her fiancé Michael Polansky’s proposal, demonstrates Gaga’s softer, more vulnerable side. Written with Polansky, it is a tender, intimate moment amidst the album’s more hard-hitting tracks.
While Mayhem may not hit every note for every fan—some moments fall flat compared to her past bangers—it undeniably reaffirms why Lady Gaga became the icon she is today. With the help of producers Andrew Watt, Cirkut, and Gesaffelstein, she crafts an album that’s both a tribute to her dance-pop legacy and an exploration of new sonic landscapes.
In the end, Mayhem is a brilliant return to form. It’s Gaga doing what she does best—embracing her weirdness, pushing boundaries, and taking us on a thrilling ride of pop, rock, and everything in between. Whether you’re a die-hard Little Monster or a casual listener, Mayhem proves that Lady Gaga is, and always will be, Mother Monster.
