Her new album is a work of self-citation, rummaging around in Gaga’s own past for inspiration. It’s also, somehow, the freshest collection of songs she has released in years.

She dances on the line between clever self-referentiality and less inspired rehashing on her new LP, committing to the over-the-top excess that first made her a star.

It is as complete a statement about who Lady Gaga is in 2025 as anything could be. MAYHEM repositions Gaga as a dance diva heavily indebted to the icons who came before her to an audience as likely to know her for wearing a meat dress as for performing with Tony Bennett.