All of Lady Gaga's albums ranked, from Mayhem to The Fame Monster

The National

09-03-2025

About two decades ago, Lady Gaga shook up the music landscape with her brash, uncompromising brand of maximalist pop – heavy on anthems and attitude. Now, with the release of Mayhem, her first solo album since 2020's Chromatica, the US singer attempts to reclaim her status as queen of the dance floor after years of sonic exploration that's ranged from folk and rock to the Great American Songbook. It has been a remarkable journey, showcasing a restless creative spirit enamoured with sounds spanning various genres and generations – making her far more than a typical pop star. From collaborative albums with Tony Bennett to the high-energy pop early in her career, here's how Gaga's albums rank within her storied career. An unlikely pairing, perhaps, but vintage crooners such as the late Tony Bennett, Tom Jones and Engelbert Humperdinck have openly expressed their admiration for Lady Gaga, praising her iron-willed determination to entertain. In a 2012 interview with The National, Engelbert described Gaga's approach as the essence of show business: 'I know she is a bit wild but very talented – [artists like Gaga] are keeping the business fresh and much talked about". That same charm and showmanship come together in her two collaborative albums with Bennett. Though released seven years apart, they can be seen as one lively and affectionate tribute to the Great American Songbook, featuring interpretations that range from playful (I Get a Kick Out of You) to reverent (I Can't Give You Anything But Love). Initially considered an outlier in her catalogue, both albums ultimately underscored how Gaga's music and artistic approach are deeply rooted in pop music's rich heritage. There are two ways to think about Chromatica – either as a solid pop album whose reception was stymied by the Covid pandemic or as a misfire that was later course-corrected with Mayhem. Either way, at the time, it was seen as a welcome return to dance-pop after the folk and roots-driven sound of its predecessor, Joanne. In Chromatica, the ebullient synths were back, as were the big hooks, evident in tracks such as Stupid Love and 911. Yet, failing to resonate beyond Gaga's core fanbase, Chromatica eventually disappeared without a whimper. Viewed as Gaga's first commercial setback, Artpop had a relatively tepid reception – despite selling more than 2.3 million copies within a year of its release. This may have been due to oversaturation, as Gaga had released a steady stream of hits, two albums, and an EP in the years leading up to it. Fortunately, the album has been receiving renewed recognition in recent years. While messy and at times lacking cohesion, many of its tracks remain high-concept and cutting-edge pop. Songs such as Applause and Guy feature some of the singer's most theatrical and sensuous vocal performances to date. Though Artpop marked a commercial chink in her armour, it may well serve as an inspiration for future pop stars. Those who viewed Gaga's embrace of a stripped-down folk and rock approach on Joanne as a complete left turn weren't paying close attention. She had been performing stripped-down versions of her songs since 2009, including well-received sets for BBC Radio 1's Live Lounge and piano renditions of Poker Face and Speechless during The Monster Ball Tour. Joanne felt like a natural evolution. It was a welcome break from the high-energy pop sound of her past, which – as Artpop proved – was beginning to yield diminishing returns. Named after her late aunt and produced by Mark Ronson, Joanne features some of her most heartfelt songs, including Come to Mama and Hey Girl, the latter a striking collaboration with Florence Welch. Despite its analogue-inspired influences – ranging from 1970s R&B to folk and rock – it remains unmistakably a Lady Gaga record, and a very good one at that. Welcome back, Gaga. Ever since the release of the hit single Abracadabra – a return to the high-energy, synth-fueled sound that defined her rise – fans hoped it wasn't just a one-off. Fortunately, Gaga's journey leads back to her roots with an album packed with electronic pop bangers – noisy, glamorous and unapologetically bold. There are references to disco and 1980s funk, such as in The Garden of Eden, while Killah provides a thrilling fusion of drum and bass and strident funk. Fun and with nothing to prove, Gaga's return to her signature sound places her alongside releases from Chappell Roan and Sabrina Carpenter in ushering in a bold new era of pop music. It is a confident sound best described as "peak Gaga". After staking her claim to the pop throne – a move that sparked much-publicised tension with Madonna – Gaga doubled down with Born This Way. Loud, proud and with energy to burn, it delivered euphoric and cathartic anthems that wouldn't resurface until Dua Lipa's arrival on the music scene years later. The crunching riffs of The Edge of Glory and You and I had Gaga embracing more rock elements, while the album's garish cover and its era-defining music videos cemented her status as a pop trailblazer in full command of her craft. Now, this is how you make an entrance. After introducing herself to the world – and the dance floor – with the pitch-perfect electro-pop of The Fame in 2008, Gaga returned less than a year later with The Fame Monster. The album was a reissue of her debut album and featured eight new tracks, including hits Bad Romance and Alejandro. Combining them, The Fame Monster has 17 tracks that span 73 minutes – leading to some of the most scintillating pop music released this century. The relentless energy, shape-shifting lyricism embracing everything from joy to trauma, and Gaga's chameleonic vocal ability – sensitive one moment, uncompromisingly forceful the next – solidify The Fame Monster as one of the greatest modern pop albums of all time.