Latest news with #Chromatica
Straits Times
13-05-2025
- Entertainment
- Straits Times
MBS celebrates Lady Gaga's upcoming Singapore concerts with light shows, cocktails and more
Lady Gaga is set to perform at the National Stadium on May 18, 19, 21 and 24, her only stops in Asia. PHOTO: AFP SINGAPORE – Lady Gaga fans will want to head down to Marina Bay Sands (MBS) to soak up the vibes inspired by the American pop star's return to Singapore. She is set to perform at the National Stadium on May 18, 19, 21 and 24, her only stops in Asia. Her last concerts here were a three-night engagement at the Singapore Indoor Stadium in 2012. Dubbed Born This May, a play on Lady Gaga's 2011 hit Born This Way, the integrated resort's series of Gaga-themed experiences include a special edition of the Spectra – A Light & Water Show from May 15 to 24. The free dancing fountain jet show will be synchronised with popular singles, such as Poker Face (2008), Bad Romance (2009) and Abracadabra (2025), and feature visual projections inspired by the singer-actress. There are two shows every night, at 8.30 and 9.30pm. During this same period, the MBS facade and waterfront will also be lit up in shades of orange, inspired by the colours featured on Lady Gaga's latest album Mayhem, released in March. The light-up starts at 7pm and ends at 11.59pm. The Marina Bay Sands facade and waterfront will be lit up in shades of orange, inspired by the colours featured on Lady Gaga's latest album Mayhem. PHOTO: MARINABAYSANDS/INSTAGRAM On May 17, nightclub Marquee Singapore will hold a Born This May party. It features decor and installations that reflect Lady Gaga's various music eras, as well as themed cocktails. She will not be making an appearance at the event, but the DJ sets will include her songs. The party kicks off at 10pm and ticket pric es s tart at $20 (go to Fans will also want to check out th e ArtScience Museum's Iri s Van Herpen: Sculpting The Senses exhibitio n, which ends its run on Aug 10. It includes iconic pieces that the Dutch fashion designer created for Lady Gaga, including the Hydrozoa dress from the Sensory Seas couture collection that the performer wore for the launch of her sixth album Chromatica (2020). Tickets prices start at $18 (go to Lady Gaga in Iris van Herpen's Sensory Seas couture for the launch of the album Chromatica. PHOTO: IRIS VAN HERPEN Restaurants and bars at MBS are also offering a variety of drinks and dishes inspired by the singer. Cafe Origin + Bloom, for example, is serving up desserts such as Electric Eclair, Pop Art, Disco Reverie and Cherry Boom ($12 each), while Rise Restaurant has a cocktail with gold dust garnish, Oceanic Bloom ($20). In addition, Wakuda Restaurant & Bar's Chef's Menu features a bottle of limited-edition 2010 Lady Gaga x Dom Perignon Brut ($1,200) and The Club's Squid Ink Gnocchi or Chopped Cheese ($35 each) are dishes that the New York native reportedly enjoys eating while on tour. Join ST's Telegram channel and get the latest breaking news delivered to you.
The Guardian
12-04-2025
- Entertainment
- The Guardian
Lady Gaga at Coachella review – a thrilling all-timer of a performance
In 2017, Lady Gaga took on an unenviable task: filling in for Beyoncé, who dropped out of a Coachella headliner slot due to pregnancy. Gaga's replacement performance, in her country-tinged Joanne era – as usual, she was years ahead of the pop curve – more than sufficed; perhaps only Beyoncé can hold a candle to her in terms of true-blue live performance ability, and she delivered the set of a consummate entertainer and generational talent. But Gaga felt that she had unfinished business. 'I've had a vision I've never been able to fully realize at Coachella for reasons beyond our control,' she wrote in an Instagram post announcing her return to the desert for another headliner slot this spring. 'I have been wanting to go back and do it right, and I am.' Did she ever. Gaga, more than any other contemporary pop star, has approached pop as transmogrification, live performance like a hunter – the piercing gaze, transparent hunger and annihilating focus of an apex predator. And with Gagachella, as her fans have already termed a thesis statement of a set, she goes in for the kill. You knew from the minute she appeared in full deranged queen regalia, the head of a multi-story hoop skirt that opened to reveal a birdcage prison of backup dancers, that the vision was nigh. The nearly two-hour performance, covering 22 songs from her dance pop catalogue, joins Beyoncé's postponed Homecoming in the pantheon of seminal Coachella headliner sets – a fully realized vision of a pop master, a testament to years of hard-earned experience at the highest level, and a banger dance party with production and delivery in a league above her peers. At 38, Gaga reigns as a monarch in pop music, a fact she wielded to stupefying effect on Friday evening to a crowd that extended far beyond any eye could see. 'Welcome to my house,' she intoned before opener Bloody Mary – understatement of the month, as her house was the sprawling skeleton of a neoclassical opera house, her domain an arresting realm of elaborate make-believe. For the purpose of Mayhem, the new album which returns to her original principles of pounding volume, dirty synths, high theatrics and irresistible hooks, Gaga conjures an entire fantasy of witches and queens, a typically twisted, self-referential fairytale of literal dark and light told in five acts. Gagachella was notably not a full career retrospective – no tracks from Artpop, Joanne or Chromatica, with just A Star Is Born's Shallow as the lone representative of Gaga's decade-long pivot away from gritty, sticky music that makes you want to move. And yet it still felt comprehensive, all-encompassing, by seamlessly braiding her foundational texts – The Fame, Born This Way – with her latest one. Mayhem is easily Gaga's best album since Artpop, both a return to form and a hard-won study of warring personas contained in one self, pop music with sharp teeth and beastly desire. Ever the visionary and literalist, she renders her internal strife as a court battle between a domineering queen in black and a innocent in white, with full wig changes from black bob to blond ringlets necessitating long, pulsating transitions that lavished attention on her army of backup dancers and, frankly, metal instrumentalists. Gagachella, too, marks a return to form – from the outset of her career, Gaga has treated pop music as possession, her spasmodic dance style like an exorcism, more refreshingly loose and instinctual than her peers. The Mother Monster's visions – a chess battle to the death (Poker Face), rage at fame sung to a skeleton (Perfect Celebrity), new Gaga strangled by 2009 VMAs Gaga in a zombie-filled grave (Disease, the concert high point that left me agape) – possessed Coachella with an unstoppable need to dance, primal screams of the gagged. Gaga's voice, honed with time, was more dextrous and luminous than ever, and though she didn't miss a note, the performance was as much a feat of acting as singing – Gaga the possessed, the haughty, the hunted, the strangled, the Oscar nominee. Her performances often have the feeling of life-or-death stakes; even a track as sinuously groovy as Killah gets the embodiment of a demonic fever, accompanied by French producer Gesaffelstein entombed in black, the oil-slicked phantom of Gaga's twisted opera. But in the spirit of duality, she also broke character just enough – to salute her fans, her fiance, her spiritual belief of interconnectedness. 'The truth is we're all one. It's all just one big fucking thing,' she said before the triumphant victory lap of Born This Way. 'I love you so much.' The mayhem carried through a transcendent finale of Bad Romance staged, naturally, as a Frankenstein-esque revivification with plague masks, Gaga's face at the conclusion shifting between performance snarl and personal joy. With both, she led not one but two extended curtain calls with the full cast and crew – unusual for a music festival, but fitting for an all-timer night of pop theater in the desert.
Express Tribune
26-03-2025
- Entertainment
- Express Tribune
Lady Gaga announces 'Mayhem Ball' tour dates following album's success
Lady Gaga is gearing up to bring her Mayhem album on the road with the "Mayhem Ball" tour. Kicking off in Las Vegas this July, the tour will span across North America, Europe, and the U.K., with stops in cities like Las Vegas, Seattle, New York City, Miami, Toronto, Chicago, London, Paris, and Berlin. This tour follows her previously announced spring shows in Mexico, Brazil, and Singapore, and marks a return to major venues like Madison Square Garden in New York City and Chicago's United Center. In Europe, Gaga will perform at iconic locations, including London's O2 Arena, Stockholm's Avicii Arena, and Paris' Accor Arena. The Mayhem Ball is set to follow the success of Gaga's Mayhem album, which debuted at No. 1 on the Billboard 200 chart. While speaking about the upcoming tour, Gaga said, 'This is my first arena tour since 2018,' reflecting on her past experiences with large-scale performances. However, this will also be Gaga's first tour since her 2022 Chromatica Ball stadium tour, which supported her Chromatica album. Though she enjoys the high-energy atmosphere of stadium shows, Gaga shared that the Mayhem Ball will offer something different. 'I wanted to create a different kind of experience — something more intimate, closer, more connected — that lends itself to the live theatrical art I love to create,' she explained. Tickets for the North American dates will go on presale March 31, with general sales beginning on April 3. In Europe and the U.K., presale tickets will be available on March 31, with general tickets available on April 3.
Yahoo
11-03-2025
- Health
- Yahoo
Lady Gaga Reveals She Suffered From Psychosis During a Certain Era of Her Music: ‘I Was Not Deeply in Touch With Reality'
Lady Gaga has always been open about her life away from the spotlight, from the highs to the lows. She's opened up many things, with the most recent being her previous experiences with psychosis five years ago in 2020, amid her Chromatica era. In a recent interview with The New York Times, Gaga revealed her previous diagnosis. More from SheKnows Teen Anxiety Has Doubled Since 2020. What Can Parents Do To Bring It Back Down? 'I had psychosis. I was not deeply in touch with reality for a while. It took me out of life in a big way, and after a lot of years of hard work I got myself back,' The Joker 2 star said. 'It was a hard time, and it was actually really special when I met my partner because when I met Michael [Polansky], I was in a much better place, but I remember him saying to me, pretty early on, 'I know you could be a lot happier than you are.'' She added, 'I hate feeling defined by it. It felt like something I felt ashamed of. But I don't think that we should feel ashamed if we go through times like that. I mostly just wish to say, it can get better. It did for me, and I'm grateful for that.' There is a lot of misconception around psychosis so we're going to break down what it actually is. Psychosis is a series of symptoms that affect the mind to 'where there has been some loss of contact with reality,' per The National Institute of Mental Health (NIMH). According to the same outlet, the symptoms vary, including paranoid ideas, trouble thinking logically, anxiety, confused speech, trouble sleeping due to fantasy, and more. It's more common than you think: studies estimate that 15 to 100 people out of 100,000 develop psychosis each year. But what causes it? While Gaga didn't divulge what caused it, experts claim it can be caused from medications, 'physical or mental illness that emerges later in life,' sleep deprivation, and more. However, it can be treated with antipsychotic medication, support, and more treatments recommended by your professional. Gaga revealed in the interview that in order to feel better, she 'had to figure out a way to integrate [herself] fully with [her] stage persona.' She channeled 'Lady Gaga's boss energy,' adding, 'I'd like to think that I'm a kind person, but there's a ferociousness and a hardness and an intensity that I have onstage as a performer. So I had to learn how to hold those two things and have them not be at war with each other. I've learned to not pour gasoline on it. I used to like more chaos, just living life on the edge constantly. I'm now proud to be much more boring.'Best of SheKnows 18 Baking Soda-Free Natural Deodorants That Won't Irritate Your Sensitive Pits 24 Celebrities Living With Autoimmune Disorders 13 Celebs Who Battled Sex Addiction
New York Times
10-03-2025
- Entertainment
- New York Times
On ‘Mayhem,' Lady Gaga Wants You to Party Like It's 2009
Even throughout Lady Gaga's requisite ups and downs as a singer, songwriter and actress (the less said about last year's 'Joker: Folie à Deux,' the better), the 38-year-old New Yorker born Stefani Germanotta has remained imperially famous for so long, it can be difficult to recall the subversive thrill of her initial rise. When she ascended to superstardom in 2009, Gaga was an unabashed striver of a downtown club kid who cut her crowd-pleasing electro-pop with a deadpan, Warholian affect and an old-fashioned sense of musical showmanship. Whether dressed like an alien, an evil monarch or a butcher shop's display window, she reveled in artifice and rewrote the script for the female pop star, reimagining sexuality as something weirder and more expansive — for both herself and her fervent fan base — than it had been in the Britney-and-Christina era. She was a welcome shock to pop's system in the risk-averse late aughts — a romanticized era she mines for self-mythologizing nostalgia on her emphatic new album, 'Mayhem.' 'Mayhem' is a bright, shiny and thoroughly sleek pop record, produced by Gaga, the rock-star whisperer Andrew Watt and the Max Martin protégé Cirkut. Even at its dirtiest — the digital grunge of 'Perfect Celebrity,' the slithering liquid funk of 'Killah' — every sound is etched in clean, bold lines. It's considerably sharper than her previous two pop solo efforts, the tepid 2016 quasi-country album, 'Joanne,' and her unfortunately timed 2020 return to the dance floor, 'Chromatica,' a mixed bag that now sounds overly dated thanks to its embrace of pop's then-trendy obsession with sound-alike house samples and beats. (Gaga recently admitted in a New York Times Magazine interview that she wasn't operating at her highest level in the 'Chromatica' era: 'I was in a really dark place,' she said, 'and I wouldn't say I made my best music during that time.') But over the past few months, Gaga has stoked anticipation for her sixth pop LP with a wildly successful (if relatively anodyne), chart-topping Bruno Mars duet, 'Die With a Smile,' and two of her hardest-hitting singles in a decade: the deliciously warped 'Disease,' a churning, industrial pop dirge that highlights Nine Inch Nails as an influence on this album, and 'Abracadabra,' a latex-tight dance-floor incantation with a chorus that finds her speaking in tongues like the high priestess of her own self-referential religion: 'Abracadabra, amor ooh na na / Abracadabra morta ooh Gaga.' It is, of course, an expertly executed sequel to her 2009 smash 'Bad Romance,' just as the following track, the skronky, gloriously hedonistic 'Garden of Eden' plays out like an even more vivid return to the club she visited on her first hit, 'Just Dance.' Throughout its 14 tracks, 'Mayhem' dances on the line between clever self-referentiality and less inspired rehashing. The corrosive 'Perfect Celebrity' is a sonic highlight that nonetheless butts up against the album's thematic and lyrical limitations, returning to one of her favorite, and now tired, topics: the damage inflicted by fame. Is the opening line — 'I'm made of plastic like a human doll' — a winking throwback to the 'Chromatica' track 'Plastic Doll,' or a bit of recycled imagery? For the first time since her semi-misunderstood 2013 bacchanal 'Artpop,' Lady Gaga commits to the clenched-fist conviction and over-the-top excess that made her a star in the first place. She sounds locked in all throughout 'Mayhem,' even during its most middling and questionable material, which begins around the eighth track and carries through the second half. The midtempo 'LoveDrug' gets lost in lyrical clichés, while the slow-crawling electro ballad 'The Beast' feels written expressly for placement in the trailer of an instantly forgettable direct-to-streaming erotic thriller (though Gaga sings the heck out of it just the same). Still, her riskier moves usually pay off. 'Killah,' an outré collaboration with the French D.J. and producer Gesaffelstein, stretches a sex-is-death metaphor to truly absurd extremes, but Gaga, vamping like an even more cartoonish version of David Bowie circa 'Young Americans,' gives the song a goofy urgency that's hard to resist. While there's a lot of superficial gore and carnage on 'Mayhem' — and much of it is enjoyably campy, like the lite-disco 'Hollaback Girl' throwback 'Zombieboy' — the album's underlying conflicts are internal. In the elaborately choreographed video for 'Abracadabra,' two opposing Gagas wrestle for control; on the wrenching 'How Bad Do U Want Me,' the other woman is a shadow self. That song, a deliriously catchy synth-pop anthem that draws such clear inspiration from Taylor Swift that some fans thought she was an uncredited backing singer on the track (she isn't), is the most obviously derivative moment on 'Mayhem' — and also one of the best and most fascinating. Centered around a percolating interpolation of Yaz's 1982 new-wave classic 'Only You,' Gaga's soaring, impassioned vocal gives the digitized arrangement a jolt of humanity. 'How Bad Do U Want Me' stands out for sounding relatively au courant, considering that the rest of the album draws on the sounds of pop's recent past or timeless legends (Bowie, Prince and Michael Jackson are all touchstones). But it also displays a sense of old-school vocal prowess that elevates Gaga above her newest peers. In the time since Gaga's most dominant influence, and under Swift's powerful star, pop music has become considerably chattier, looser and more performatively confessional. Even artists who present themselves in opposition to Swift's aesthetics have been transformed by them: see Charli XCX's 2024 sensation 'Brat' (like 'Mayhem,' fueled by nostalgia for the 2000s), which is filled with shrugging, run-on lyrics that feel honest and raw in a way that continues to elude Lady Gaga. When it comes to expressing her demons or desires, Gaga would still rather reach for an overwritten monster metaphor. Subtlety, she reminds us throughout the maximalist spectacle of 'Mayhem,' has never been her love language, and she can only convincingly play the girl next door if you happen to live on the dark side of Mars. But that is also what makes 'Mayhem' feel like a refreshing anomaly. In recent years, pop vocalists have also become quieter, breathier and more restrained — which in some cases is a polite way of saying less talented. In a world of so-called lowercase pop, Gaga still has the caps-lock on in a bold, 96-point font, like she did in 2009. Throughout the album, she belts to the heavens and hits her marks with precision and flair, reminding her peers what a capital-E entertainer sounds like. If that makes her old-fashioned, so be it — sometimes there's a benefit to sounding a little behind the times.
