As a lifelong fan of Broadway musicals and a rock enthusiast who grew up with the spirit of punk, I can confidently say that Lady Gaga’s latest performance was nothing short of electrifying. It was like watching a one-woman moshpit, with her energy levels reaching an all-time high, making it feel as if she was burning off a week’s worth of calories with every number.
Could a performance of show tunes and Great American Songbook classics, delivered with both reverence and skill, transform into a punk-rock concert experience, or at the very least, evoke a sense of rebellious energy reminiscent of punk rock?
The intriguing question arose during my attendance at Lady Gaga’s surprise late-night performance at downtown L.A.’s Belasco Theater: Is there any artist who can skillfully blend the elegance of Broadway/movie musical numbers with the raw energy of rock ‘n’ roll? Such artists might exist, but they are unlikely to reach superstardom, and even in a smaller sphere, they would probably recognize the challenge of merging these vastly distinct styles. Luckily for us, Lady Gaga doesn’t seem to share that understanding. Having witnessed Monday night’s show, I can confidently say that she has the unique ability to unite the refined artistry of Tin Pan Alley with the electrifying performance style reminiscent of punk rock’s anarchy… at least for one unforgettable late-night (or early morning) spectacle.
The concert featured her and an exceptional six-piece band performing her latest “Harlequin” album from start to finish, with an intensity that surpassed any recorded versions by far. It’s important to note that she considers this current record as a 6.5 on her scale, with a more modern pop album rated 7.0 scheduled for release in four months. Given the unique nature of this performance and the peculiar stage decoration at The Belasco, it’s unlikely she’ll ever repeat such a show. However, as a one-off event, it was magnificent. I’ve been vocal about my admiration for Gaga’s performances in the past, including her shows at Dodger Stadium, her Chromatica residency, and especially her Jazz & Piano shows in Las Vegas. The “Harlequin” segment shares a distant relative resemblance with these, but let me assure you, her performance at The Belasco was completely madcap yet one of the best things she’s ever done.
The experience could only be truly grasped by being present, as a veil of secrecy enveloped the event – no cameras allowed, phones or watches confiscated, and no official photos released. However, it’s guaranteed that there will be a release at some point, though the details are yet to be disclosed. It might seem strange when you eventually watch it, whether in two weeks, six weeks, or a year from now, causing you to wonder what I was talking about. The uncertainty of anticipating something meant for eventual small-screen viewing is always a risk. But within that room, the energy was as electrifying as, say, the final show Jack White performed there a couple of years ago. And I never thought I’d say that about a show with “That’s Entertainment,” “That’s Life,” and “Get Happy” on its playlist.
The psychological message behind the show was somewhat enigmatic and intriguingly unsettling. The stage design, diverging significantly from typical show-business standards, was nothing short of captivating. It was meticulously arranged to resemble a dimly lit, cluttered studio apartment that bore the signs of hard living. Light filtered in through broken venetian blinds, suggesting a history of damage caused by anger or wild festivity. Lady Gaga’s “bed” was merely an unmade bedsheet-covered mattress on the floor, with a pillow she playfully destroyed, ultimately scattering feathers throughout the audience, reaching even the balcony seats.
Was this disheveled apartment intended to portray Lady Gaga’s character from “Joker: Folie à Deux,” who isn’t quite the rocker persona she typically presents? For an audience unaware of the movie, it could be seen as a plausible interpretation, especially given that the star had only recently attended its premiere. Indeed, her performance seemed to exude madness or drug-induced energy. However, this wasn’t necessarily the case.
Amidst an uncertain atmosphere, Lady Gaga appeared to be in the throes of ecstatic excitement during her performance, leaving anyone who doubted her exuberance after the film premiere earlier that day to chuckle. It seemed as though she was burning through a year’s worth of energy in just over an hour and a half on stage. With smartphones confiscated, it was challenging to determine when the concert officially began or how long it lasted, as approximately half of the songs were repeated – yet this repetition didn’t diminish her enthusiasm or the audience’s thunderous applause.
Lady Gaga often played with a small stuffed doll from the bed, sometimes using it as her on-stage partner. She moved around with an improvised flexibility, much like a pliable figure, yet she also demonstrated moments of precise execution that showcased her years of dedicated practice. Given the vintage nature of some of her performances, there were dance moves reminiscent of the 1920s flapper era. However, when Gaga wasn’t creating a mini-concert for herself, she was turning into a solo mosh pit.
The show occasionally gave off a genuine punk vibe through its decor, energy, and the performer’s passionate stage presence, but this wasn’t reflected in the music itself. Instead, her voice remained as pristine as ever, suggesting she was burning through a week’s worth of energy with each performance. The exceptional band truly embodied the spirit of rock ‘n’ roll, even if not all songs strictly adhered to that genre. With both a trumpet and saxophone player constantly moving in the mix, the group frequently transitioned into New Orleans-style jazz, especially during their rendition of “Oh, When the Saints,” which paid homage to Louis Armstrong while also suggesting he had always been a rock musician at heart.
The performance featured brief instrumental segments, presumably for wardrobe changes. However, each time Lady Gaga returned, she wore a simple outfit compared to her usual extravagant styles, yet still maintained an understated glamour. The show started with the eerie emergence of a dimly lit barbershop quartet who later reappeared with the band for a rendition of “Love Will Tear Us Apart.” One interlude consisted of the band playing a tremolo-guitar heavy instrumental, which was listed on the setlist (that Gaga herself revealed on Instagram) as a Cramps song. The evening was characterized by a blend of classic mid-century Broadway and film musical elements, yet with an eccentric twist to make it unique.
I find Lady Gaga’s show slightly more appealing than her Jazz & Piano residency in Vegas, which was enjoyable. However, Gaga managed to infuse the nostalgia present in her show with a unique twist, making it distinctly Gaga. There was an aspect of role-playing when she donned costumes and sang songs from another era, but the material for her “Harlequin” era is also reminiscent, albeit featuring some original compositions and selections from lesser-known, more contemporary shows like “The Roar of the Greasepaint, the Smell of the Crowd.” The song “The Joker,” for instance, originates from this show, although many initially thought it was a new creation. It’s thrilling to see her revisiting our shared past of musical theater and pushing boundaries, creating an atmosphere that’s undeniably hers. Yet, her deep respect for these songs is evident, but there’s also a sense of freedom in how she handles them, much like an unmade bed.
In this apartment-studio setup, there was enough space for a grand piano, where Lady Gaga found tranquility to take a seat and perform initially her current duet with Bruno Mars, “Die With a Smile,” followed by a smooth transition into Charlie Chaplin’s “Smile.” This displayed the refined side of Gaga that the audience has grown accustomed to – a classy performer suitable for high-end concert venues. To say the least, it was impressive, but the most captivating moments occurred when she transformed into the rocker she often hints at… even grabbing an electric guitar during “Happy Mistake.
It’s not straightforward to understand all her reasons for creating another album aside from the “Joker” soundtrack, but one plausible theory is that, having demonstrated her collaborative skills, she desired to execute something entirely under her creative direction. If true, this upcoming project, being a live show, underscores that her unrestricted perspective can be captivating not just conceptually but a powerful, impactful experience. And if this single performance serves as the closest she’ll ever get to a pure rock album or tour, it would certainly suffice. For those of us who appreciate classic Broadway, aggressive bands, and a vocalist with the talent to excel in any of these genres, what could be better than a “World on a String” performance that truly rocks?
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2024-10-04 00:47