Lady Gaga review from skeletons to sexy plague doctors, this is a glorious, ridiculous spectacle
Briefly

Lady Gaga review  from skeletons to sexy plague doctors, this is a glorious, ridiculous spectacle
"Lady Gaga's eighth world tour, The Mayhem Ball, does not lack ambition. It lasts two hours and features 30 songs. It comes divided into five acts, each with a deeply portentous title that glows from the big screens in blood-red gothic script: Of Velvet and Vice; The Beautiful Nightmare That Knows Her Name; Every Chessboard Has Two Queens. It arrives preceded by a lengthy film in which next to nothing happens:"
"Perhaps she's paying tribute once more to her avowed influence Andy Warhol, in this case his notorious always-leave-them-wanting-less approach to cinema. When it becomes apparent that looking pensive and writing on a scroll with a big quill is about the size of it, the audience become a little restive: something that sounds remarkably like a slow handclap erupts. When she finally rolls her scroll up and pensively walks off screen, the cheer is deafening."
"The real Lady Gaga is wheeled out on stage atop a giant scarlet crinoline dress that has something of the look of those crocheted dolls that the decorous but aesthetically challenged used to hide their toilet rolls under. The devoted crowd the most devoted of the lot wearing matching T-shirts demanding Justice for Artpop, the coolly received 2013 album that temporarily derailed her career go berserk."
The Mayhem Ball runs two hours and includes 30 songs across five theatrically titled acts. A lengthy opening film features Gaga in period costume, stoically writing on a scroll while opera plays, prompting a restless audience and a slow handclap. Lady Gaga emerges atop a giant scarlet crinoline dress which is later pulled back to reveal a caged set of dancers, and she becomes locked inside. The crowd, notably wearing Justice for Artpop T-shirts, reacts enthusiastically. The staging balances striking spectacle with deliberate absurdity. Mayhem signals a return to electronic dance-pop after a decade of stylistic shifts.
Read at www.theguardian.com
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