The market for pop music only seems to grow increasingly crowded with every passing year as social media continues to propel more and more would-be superstars into the charts. In such an overstuffed space, the idea that someone like Lady Gaga— who’s biggest hits are more than 15 years old in 2025— could throw herself back into the limelight should be unthinkable. Music is ever unpredictable though, as the singer’s latest album ‘MAYHEM’ has quelled the naysayers, jumping straight into the US charts as the hit Bruno Mars collab ‘Die With A Smile’ continues to rake in streams. What’s more, the album deserves the success: though not as raucous or shocking as its bold title might suggest, Lady Gaga’s 6th studio release is a stylish and striking record and a nostalgic reinvention for the pop star.

It’s miraculous just how succinctly ‘MAYHEM’ recaptures the vibrant energy fans will remember from 2009’s ‘The Fame Monster,’ lending itself to some of Lady Gaga’s most impactful songs in years. The first half of the album is positively brimming with excitement, never giving the listener a chance to catch their breath as one infectious dance beat gives way to another, and another, and another. Opening cut ‘Disease’ sets up a number of the masterfully-curated sounds the record will lean on, with its booming percussion and thick, droning bass lines giving rise to a showstopper of a chorus: Gaga is no stranger to a strong hook, of course, but the offerings seen across the likes of ‘Perfect Celebrity’ or ‘LoveDrug’ are in contention to rival even her best work. ‘Garden Of Eden’ feels handcrafted to fill any good dance floor, gliding along through its instantly memorable refrains of “DJ, hit the lights:” though the track’s chorus feels a little obvious, the song is nonetheless catchy to the nth degree. 

Really, the worst criticism we can muster for a song like ‘Vanish Into You’ is that many of Gaga’s writing and lyrical choices can feel a little safe, taking a healthy degree of inspiration from her own catalogue in places— we’re delighted, then, to see these ideas consistently elevated by the striking, sleek production that comes to define the best moments of ‘MAYHEM.’ Though an otherwise by-the-numbers pop hit, single ‘Abracadabra’ is transformed into a dance-pop masterpiece through its crisp drum loops and stunning outro, complete with characterful vocal mixing. The bass often takes centre stage, lending the album a mesmerising groove: cuts like ‘Perfectly Celebrity’ and ‘Garden Of Eden’ are amped up far past expectations as a result, immersing the listener into one of the most impactful pop records we’ve heard in years.

Lady Gaga isn’t just content to revive her classic sound though, as the best moments of ‘MAYHEM’ see her thrown into new and exciting sonic landscapes. The one-two punch of ‘Killah’ and ‘Zombieboy’— both of which benefit greatly from input from French DJ and producer Gesaffelstein— represent the absolute climax of the album, launching Gaga into the statosphere. Though bizarre, the driving bass lines and funk-inspired guitar lines of ‘Killah’ (oddly reminiscent of Red Hot Chili Peppers) make for a truly joyful listen: you can hear the fun Gaga had creating the track in her playful vocal delivery, which stands as some of the best on the record. ‘Zombieboy’ isn’t quite as out-there of a creative decision, admittedly, but we’d be lying to call this song anything less than an absolute pleasure. Between its gigantic chorus, consistently thrilling melodies and bold solo choices towards the end, the track has us positively floored every time we spin it, ending the record’s first half on the highest of highs.

The greatest tragedy of ‘MAYHEM,’ then, is that Lady Gaga fails to quit while she’s ahead: by contrast, the album winds on for a few tracks too many and loses itself along the way. Though the final leg of the record is more than serviceable, the drop in energy after ‘LoveDrug’ is severe, and the album never really manages to recover from there on out. It’s a mixed bag. ’Don’t Call Tonight’ and ‘Shadow Of A Man’ both return to the tried-and-true pop aesthetics of earlier tracks, injecting some fun back into the album (even if their success, in isolation, is a little limited). By contrast, the Taylor Swift-esque ‘How Bad Do U Want Me’ grinds the entire album to a screeching halt, wandering through its four-minute runtime with all the excitement of an unexpected funeral. There’s also the flat, dull balladry of ‘The Beast’ and ‘Blade Of Grass’ to consider— taken in combination with the unexpected, and rather unjustified, inclusion of ‘Die With A Smile,’ ‘MAYHEM’ brings itself to a close on a disappointingly sour note, going out with more of a whimper than a shout.

Lady Gaga’s 6th studio album is undoubtedly a mixed bag, petering out to an upsetting degree in its final stretch. The album will, without a doubt, be remembered for its highlights though, and they’ll certainly be enjoyable to look back on— the first eight tracks of ‘MAYHEM’ are a staggering achievement in pop songwriting, bringing all the energy and passion needed (and then some!) to keep the singer relevant in 2025. With a little more refinement, this album might have been a generational release: as is, its merely a thoroughly enjoyable dance-pop extravaganza, and a wonderful return to form for one of the most iconic performers of the century.