Lady Gaga’s ‘MAYHEM’ Concert Cements Her Status As One of Pop’s All-Time Greats – Review

Lady Gaga has never played it safe.

With over eighteen years of being in the music industry, this generational superstar has never been shy to take risks when it comes to evolving her sound, honing her artistry, and stepping onto new sonic frontiers — even when it’s deemed too advanced (or even otherworldly) for its time.

Yet amidst all the challenges and career gambles that have occurred, Gaga has always emerged victorious, constantly innovating her craft and finding new avenues to tap into, pay homage to, and find inspiration in. Because for artists like her, aspects such as fame and commercial success have never been a priority — for what continues to drive and motivate them over time is their constant pursuit of greatness.

Her latest album, MAYHEM, serves as a great example of that fact, having struck the perfect balance between all the sounds that Gaga has touched upon throughout her entire discography. The dark-pop, techno sensibilities from fan-favorite albums like The Fame Monster and Chromatica remain as evident as ever, even as the record simultaneously borrows from the more mellow soundscapes of A Star Is Born and Joanne, the synth-pop sheen of Artpop, and even the rock-heavy elements of Born This Way.

It’s arguably the most cohesive record in Gaga’s discography thus far, which undeniably makes it the perfect vehicle to deliver a live showcase that celebrates her artistic prowess and musical evolution. And following what we (and the rest of the world) had witnessed of her buzz-worthy and critically acclaimed Coachella set, it was evident that Gaga’s succeeding MAYHEM concerts were going to be equally as show-stopping (if even better).

Fresh off of making history in Brazil, the beloved pop star now stands at the central point of Singapore’s National Stadium, kicking off the first of four sold-out concerts to an audience of nearly 55,000 attendees. You see, Gaga’s MAYHEM concerts in Singapore marked her long-awaited return to Southeast Asia after thirteen years of drought for the Little Monsters in the region — making this four-show concert run an unforgettable and unmissable experience for avid fans like myself. 

In the moments leading up to the show, one couldn’t help but pay attention to the hundreds of fans dressed up in the best MAYHEM outfits, ranging from leather, lace, and even latex-laden fits that honored Gaga’s iconic clothing ensembles. High-profile attendees such as Vice Ganda and drag queens like Popstar Bench and Lady Gagita made their way in near-exact replicas of the pop superstar’s outfits, making it evident that the hype and anticipation for this show had reached its fever point.

As the lights around the stadium began to dim, Gaga’s voice echoed throughout all corners of the stadium — reciting a monologue that introduced The Manifesto of Mayhem, playing before transitioning into the first of four acts of the show, Act I: Of Velvet and Vice. Standing atop a 25-foot crimson red gown, Gaga kicked off the show with an operatic rendition of “Bloody Mary,” which seamlessly segued into a high-octane performance of “Abracadabra” — unveiling a number of background dancers emerging from a cage obscured by her lengthy dress skirt. 

That same energy was perfectly matched by two standout performances of “Judas,” “Schieße,” and “Garden of Eden,” with the latter seeing the pop hitmaker perform the track on an electric guitar as she made her way towards the stadium’s extended B-stage. Once there, Gaga was confronted by a doppelganger dressed in an outfit reminiscent of her The Fame era, wherein they and the surrounding backup dancers delivered an impressive dance-off against one another over a massive chess board, before moving into an impressive dance break soundtracked by Gessafelstein’s remix of “Abracadabra.”

Each aspect of the show’s stage design was meticulously planned and crafted, given the realistic nature of the opera house-inspired backdrop, which not only housed a number of background dancers, but also Gaga’s live band. Even the chessboard B-stage paid homage to Alexander McQueen’s ‘Game of Chess’ collection, further highlighting the intricacy of each stage’s details in serving as a near-perfect recreation of various historical and fashion-inspired aspects.

The second act, Act II: And She Fell into a Gothic Dream, then commenced, showcasing Gaga lying still within a burial ground set piece. Surrounded by a number of skeletons, she belted her heart out to “Perfect Celebrity,” caressing the corpse of her dead doppelganger. Despite her immobility and uncomfortable position, it was here wherein attendees could note Gaga’s pitch-perfect vocal abilities, which not only captured the despair and underlying angst of the track, but also sounded even better than what the studio recording could have ever captured.

By the moment that the first few notes to “Disease” began to play, some of the surrounding skeletons came to life, kicking off an intense fight sequence between herself and Mistress Mayhem. Alas, Gaga (as always) emerged victorious, coming out of the grave with the assistance of chrome crutches, then performing a stripped-back and emotional rendition of “Paparazzi.” It’s an interesting deviation from the iconic performance of the track back in the 2009 MTV VMAs, but its equally as meaningful (and perhaps more mature) — serving as a reconciliation of sorts between the pop star and her complicated relationship with fame.

Upon making her way to the balcony of the opera house-inspired stage, Gaga addressed the crowd with a heartfelt speech upon unfurling the Singapore flag. “You are so very special to me, my Little Monsters in Singapore,” she told the crowd. “I’ve missed all of you. I haven’t been here since the Born This Way ball back in 2012, but you have always provided a home for me and taught me so much about life — especially the importance of love.” She then playfully searched the crowd for a former lover of hers, beckoning out the name “Alejandro” before performing the track of the same name in its entirety.

Though it seemed like all was well when Gaga began her performance of “The Beast,” a dramatic turn of events took place when she was dragged to the ground level by her dancers — with her drummer, Tosh Peterson, delivering an explosive drum solo as Mistress Mayhem continued the rest of the song’s vocal performance via a pre-recorded section that played on the stadium’s LED screens. 

Then came Act III: The Beautiful Nightmare That Knows Her Name, which erupted with a high-energy run of songs that comprised of the funky “Killah” and the disco-infused “Zombieboy” that were both accompanied by large-scale dance numbers. Soon after, a skull-laden piano was brought out for Gaga to play “Die With A Smile,” with audiences responding to it with a sea of flashing lights waved from across every section of the stadium.

Upon the conclusion of her performance of the hit track, the synth-pop notes to “How Bad Do U Want Me” rang out as Gaga strutted down the catwalk to get up and close with the Little Monsters. In the moments wherein both the popstar and audiences were waving at one another, her adversary Mistress Mayhem emerged out of a trap door under the B-stage, searching for Gaga as the segment came to a close.

With Act IV: To Wake Her Is to Lose Her, the beloved musical visionary concocted a novel mash-up of her newer tracks “Shadow Of A Man” and “Kill For Love,” before turning the stadium into one giant riot with the fan-favorite “Born This Way.” “I can hear you. Thank you for teaching me about love. Thank you for teaching me about acceptance. Now let me hear you [again], were you Born This Way?” she shouted at the crowd. Even close to fifteen years in her career, the anthemic hit single still managed to strike a chord with the thousands in attendance, with the entirety of Singapore’s National Stadium erupting into one giant dance party. 

To slow things down, Gaga performed a stripped-down, piano-only performance of the ballad “Blade Of Grass,” which she dedicated to her fiancé, Michael Polansky. Keeping to the mellow mood, she then prepared to play “Shallow,” which she dedicated to the country of Singapore. “I was told that this was one of your favorites from my songs, which is a controversial choice,” she joked.

Despite anyone’s hesitations or grievances towards the track, what resulted was another standout performance of the night, given just how jaw-dropping it sounded in real life. Mind you, I’m not particularly an avid fan of the song, but Gaga’s live rendition of the track induced literal goosebumps on me upon hearing it.

With everyone’s spirits on such a high, Gaga performed her ‘final’ song of the night, “Vanish Into You,” by moving around and interacting with the Little Monsters standing by the barricades. Even as she belted her heart out to the track, the pop icon took time to sign CDs, read fan signs, and even snag a sweet picture with Lady Gagita, showcasing just how much she genuinely values her fanbase.

Even as she disappeared for a few minutes prior to the encore, it was clear that everyone’s spirits were at an all-time high. Beyond the mere, straightforward performances that one usually experiences at live shows, what each act and number from the concert demonstrated was Gaga’s ability to transcend the usual standards of performance — considering how it was simultaneously theatrical and meaningful in nature.

Of course, a Lady Gaga concert wouldn’t be complete without her seminal hit “Bad Romance,” which was performed through an elaborately choreographed number that simulated a medieval medical procedure, done in a very Lady Gaga manner. The theatrics and maximalist production really solidified this number as a performance to remember, especially as it was at this point where Gaga defeated Mistress Mayhem with a proclamation that “Monsters never die” — echoing the prevailing power of the artist’s love for her fans and her craft against her personal demons.

It’s no secret that Gaga has faced several hurdles and challenges in the years leading up to this concert, but what the MAYHEM concerts in Singapore have proven is that this pop icon isn’t going anywhere any time soon. Despite all the odds, Gaga has utilized this show as a metaphorical means of triumphing over her personal demons — telling her journey of healing through each intricate detail of the night’s performance.

One could liken it to what one would witness in a traditional opera show, given that they’re filled with the same drama, intrigue, and narrative redemption that Gaga presented all throughout each of these shows. The form and overall function of what these MAYHEM concerts have aspired to achieve are undoubtedly risky in nature (especially when considering the sheer scale and amount of effort required to bring each show to life), but in the end, that same risk has ultimately paid dividends to everyone involved with the show.

Every aspect of these shows was presented in a manner that was very true to Gaga’s form, theatrical ambition, and artistic intentions, which was showcased without compromising who she is fundamentally. Whether it was through the concert’s varied set list, grand production, or her astounding performance in general, it’s become undeniable that these MAYHEM shows are a standout moment of her illustrious career within the entertainment industry.

Through her discography alone, it’s evidently clear that Gaga is perhaps one of the most versatile and greatest living performers of this day and age. But upon seeing that discography come to life through massive shows like this, it should be an undisputed fact that Gaga has already solidified her status as one of pop music’s all-time greats.

No matter what venture, genre, or future set of risks and gambles that lie ahead for this pop superstar, it’s clear that MAYHEM is a celebration of everything she has accomplished in nearly two decades in the scene. And if there’s anything we could predict for her in the future, “greatness” is the only word that comes to mind.

Listen to Lady Gaga’s MAYHEM in its entirety below: