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This was so short notice, I am so greatful, and i want to shout out to a special person for hooking me up at the absolute last minute, at 3:15 this afternoon, and emailing me and offering me a way in. THANK YOU SO MUCH to that person if you ever see this, you know who you are. I took LOADS OF NOTES: When we entered, it was around 8:40, I just had enough time to get seated and get waters (it was extremely HOT inside and they had free water cups for everyone) An announcer came on and said multiple takes may occur -- they didn't, it was all ONE take, no technical difficulties that I could sense. I'd say the show itself was around an hour and a half, maybe 1 hour and 20 minutes or so, but without clocks there was no way to tell. The stage curtain was a Japanese style painting, with waterfalls, green hills, red sky with clouds. I tried to sketch it but it came out badly. I managed to smuggle inside a 30 page yellow notebook between my pants and my jacket, with a small pen, and I scribbled every single page over the course of the next 90 minutes. The venue went completely black, and huge pumping synth blared out in no particular pattern, into what became the sounds of DISEASE. The entire castle is slowly lit up, reminiscent of the Born This Way castle from 2011. As more light brought different parts into view, it became a giant broken down church, with a huge organ like structure emerging from the "bedrock" castle walls, surrounded by broken columns, arches, stone, rubble and rocks. Three separate pianos, were built into the center of the church, under massive silver organ pipes. With one turn of a chair, Gaga could play any of the 3 pianos she wanted on that level. There were 3 separate levels, it reminded me of a Christmas village church, with the light streaming out from at least 6 glass windows on the bottom level of the stage, similar to the light emerging from behind the porcelain here: The different musicians were staged on different "piles" or sections of rubble. Tosh's drum kit seemed to rise directly from the broken pillars and rocks, and Ricky Tillo was at one point playing on top of one of the 3 pianos in the center. The castle / church seems to be one giant instrument. One light burst from the side of the stage as bright as daylight, to bathe Gaga's piano in one beam of copper and gold light, as if a single window in a church was beaming down on her as she sang. The arrangement for Disease was completely different, the notes in different places, like a live acoustic reimagining of the song. The church lighting intensified for ABRACADABRA, which was sung sitting at piano, and with accompaniment on guitars from Tim, Ricky, and a black man I'm not sure who yet, who performed from the highest level of the stage. The vocals of Abra were different from what any of us have memorize. I cannot describe it but it felt remixed into something more repetitive. Abra had the sound of a funeral dirge, with a new remix intro I've never heard before. Strobes and beams of light shot out in red from the stage towards the audience and at one point gaga gave an unexpected shriek for emphasis before the launch into "Feel The Beat Under Your Feet The Floor's On Fire...." At one point, she sang almost exactly in the style of Sarah Brightman in The Phantom of The Opera, "SING FOR ME" with great emphasis, the light cut, and green smokey haze filled the stage and was illuminated by green lights. Strobes of green light cut through the fog , and synth built up slowly to give us GARDEN OF EDEN, which was blasted with heavy rock sounds. Gaga was on lead guitar, and her outfit was giving strong Stevie Nicks: This is not the most accurate picture, but you get the idea --- all black For the guitar, both Ricky Tillo and Tim Stewart played right along side her, all three guitars going strong at once. The lights were all very much in the style as one would see in a church, accentuating the pianos. There was no direct spotlight on Gaga. She would disappear behind the rocky outcrops and around and in and out of the columns / rubble and up and down the different levels of the structure. The dress was all black and long and flowing, like Stevie Nicks, and with the front open for her legs in all tight sheer all black pantyhose and high black heels. The back of the dress was down to the floor. and her blonde wig hung halfway down to the small of her back. She wore a veil of black tulle or mesh over her face, I was too far back in mezzanine to tell you exactly what. She walked all the way to the top of the stage, up the very highest point, where the organ pipes were illuminated with bright green. Heavy metal instrumentals soared, and she let out a squeak in the middle of Garden of Eden which made me giggle. Garden of Eden had a sort of extended outro, with Gaga, Ricky, and Tim absolutely JAMMING into a big finish. PERFECT CELEBRITY was next, and the light shone from the stained glass windows under the pianos, in the colors of blue and silver. One strong spotlight cast light on only on her, and the lights from underneath were beaming through the stained glass. From high above the stage, the most incredible phenomenon of laser pointed light, neon, extremely focused pinpoints of light shone STRAIGHT DOWN onto the tops of the 3 pianos, illuminating *only* the tops of the instruments in an extremely bright neon laser focused bright blue light, exactly like the laser cat toys, as if millions of laser cat toys were pointing down and lighting up ONLY the instruments in silhouette. It repeated itself on the rocks, illuminating the rocks in their exact shapes and quivering in the haze of the smoke. Also high above the stage were giant loops and dangles of heavy cords, which were shone with flickering lights of blue and green. like an industrial post apocalypse church scene, with an angel singing below. Tim and Ricky led the guitars for a completely different arrangement of Vanish Into You -- as Gaga writhed on the floor of the stage, reaching out as though beseeching Ricky Tillo and Ricky Tillo alone. She crawled down every step like she had forgotten how to use her legs and dragged herself down the stage for the most dramatic effect. I don't think I can remember her doing such a writhing crawl ever before. She sang upwards directly from her back on the floor. Then got up after the writhing and you could see all the long blonde hair tumble down, just like Stevie Nicks, her vocals actually undulated at one point EXACTLY as Stevie Nicks' does, a powerful animal belt that comes from the depths of Stevie's soul, particularly during Edge of Seventeen -- this exact sound came from Gaga's lips tonight and the Stevie fan inside me thrilled to the core. The lights were giving white and silver and grey and they changed intensity. the piano was STRONG and LOUD and it was powerful and in some places those strikes on the keys were louder than her voice and absolutely definitive -- it was bold and strong and all you could hear. The arrangement again was completely different under her words, it was like the feel of Vanish but all new sounds and the song took new directions out from under what I've remembered all these months. Gaga gave a kind of in place curtsy when she finished Vanish. The crowd went nuts. She walked down to the lowest level and seemed to alternate singing directly to either Tim Stewart or Ricky Tillo, it was as though she completely ignored the crowd, which was understandable, she was in the ZONE. There was an interlude of extremely eerie synth tones, similar to the Travis Scott interludes at the ill fated Astroworld, intense otherworldly pulses that lifted the soul up and then plunged down into alien like depths of oddities and finally horror synths, like our old friends the Horror Synths of Bad Romance. At the culmination of the Horror Synths, a brand new KILLAH arrangement burst onto the stage, clomping and lurching forward into our ears in different ways than any of us have memorized. Lights streamed out in green and the fans clapped to each beat. Killah is now a dark stomp, a dark industrial stomp like Teeth on steroids, back and forth, with each clomp the lights stream green from the stage and every window. Gaga gave a walk like the dead dance, like a horror lurch from a grave, into the camera. The piano streamed out impact synth with each stroke. Her singing was jerky and disjointed. At the point where she sings. "Make the ceiling shake for me" the mezzanine shook as fans jumped. Tim Stewart played so hard he was kneeling on the ground. The pinpoint perfect laser neon lights shone down again, this time in green and white, laser focused on random rocks, instruments, and objects on the stage. The sound was so bold as to be defiant and cocky, full of swagger. Gaga absolutely screamed " YOU KNOW YOURE GONNA DIE TONIGHT" and I swear on GOD the next synth was straight off Nine Inch Nails' "Closer" (I wanna fck you like an animal) and then it darted away from the NIN sound but everyone KNEW the reference. it was GIVING this Blue light bathed us all and the stage and ZOMBIEBOY began, but completely different from what you would traditionally associate with Zombieboy. Gaga was on the top of the 3 level stage, like a lion on Pride Rock, and the lights illuminating these giant pipes of the organ and piano she was at (another piano at the very top) I could just make out a mesh like veil / mask on her face that looked like a white skull from Dia De Los Muertos, but i was very far away in Mezzanine so hopefully other little monsters can clarify. This version was heavy on VOCODER, which is HUGE for me as i was a huge proponent of altered Gaga acapella remixes back in the day, such as the Dan Easton Bad Romance Vocoder version, which i featured on a Necromancy Remix project over a decade ago in 2012. It was giving THIS: Red fog gushed out into the audience and the lights were all red strobes. A long note of synth gave way to LOVEDRUG. "RIver in my eyes": totally new arrangement. Gaga was playing guitar with Ricky Tillo. At some point she took off her veil and the crowd went nuts. Light streamed out from under neath the stage in the broken church windows. Again it was giving a Christmas village church miniature with a candle inside, illuminating the stained glass windows from within and outwards. There were 6 musicians on stage: Brockett Parsons -- off far to the left with 3 keyboards in front of him instead of the circle piano Tim Stewart -- higher on the 2nd level but moving all over Ricky Tillo -- also moving from the bottom to middle levels from what i could see Tosh The Drummer, fixed on his rubble pile with drums -- a black man I don't know who he is yet -- stayed on the highest level and middle levels. i think he was filling in for bassist Johnny Good. -- Gaga, all over At one point another beam of light as bright as a Klieg light like a true beam of daylight, shone on Gaga's 3 pianos , leading into HOW BAD DO YOU WANT ME --- performed in a TOTALLY NEW WAY to what we know. this was like a Prayer. this was like an orchestral step into the deepest most reverent Taylor-ish ballad from the soul. It was done as you would sing a hymn. With all the passion you would see for a religious song. The chords were slow and deep and reverent. You are in the presence of woman, and woman is God, and this song is God, and I am being taken to a celestial plane. As the glitter of the dust that I am, and that you are and that we all will become, the glitter of dust is shining in this beam of white hot light on Gaga, as she prays on stage. Tiny shimmers of synth shine and glisten brightly under "You panic in your sleep (Panic in your sleep) And you feel like such a creep (Feel like such a creep)" like the same Christine McVie synth in "Everywhere" by Fleetwood Mac. Light again emerged streaming from the windows broken under her feet in this broken down church. HBDYWM feels like it's being sung from her soul and each person in the crowd is singing it back and Gaga stretches the big "TELL MEEEEEEEEEEEEeeeeeeeeeEEEEEeeeeeEEEEEE......!!!!"" so far, so much longer than I've ever heard her sing it. There is only her voice and throbbing exploding synth under it as the song climaxes. It ends too soon and cuts fast into "DON'T CALL TONIGHT", with a definite vocoder inside there, stomping new arrangement. Gaga is wearing an all black cowl over her head and at some point covers her entire face with the cowl during this song. She picks Tosh to serenade to, and reaches out her arms again seemingly beseeching him to listen to her and pay attention to her. Brand new intro for SHADOW OF A MAN -- lasers pinpoint into shapes accross the rubble. One beam of light hits Gaga only as she sings. Shadow of a Man has a markedly slower pace and slower synth and guitar than before. There was a crowd call and response and new bold rectangles of neon light pulse down from the cieling in perfect lasers, framing shapes and the floor and becoming neon pillars of light. The lasers beam up the sides of the silver organ pipes in bright blue. Again Gaga channels Stevie Nicks with her perfect guttural growl-cry "shadow, shadow of a MAN" with an extended outro. Gaga sits at the piano and starts into an acoustic version of THE BEAST, again with a different arrangement and notes in different places than what we know. She gets up and sings and walks the length of the bottom stage, stepping through layers and layers of rolling churning dry ice flowing and smoking down from her steps and the stage. long extended piano interlude inside this song. Gaga's vocals bite and have an edge to them "YOU CAN'T HIDE WHO YOU ARE, OH YEAH..."followed by a soft light piano outro. The church windows are partially illuminated as the music turns almost sinister. Bronzey orange light bathes the piano from a point off stage, and soft piano leads into a new arrangement of BLADE OF GRASS. It's sung almost like a prayer would be, deep powerful synth, "wrap that blade of grass" strobes with red and green lights all around. the energy is again funeral dirge, deadly serious, deeply beautiful and passionate and acoustic. Blue lights bathe the whole audience, high synth and Moog synth style synthesizer sounds stream out, more illumination from the church windows. the slow synth builds into a completely different reimagining of DIE WITH A SMILE. Now here's where it gets tricky --- I could not tell for the life of me if it was Bruno Mars voice or a vocoder Gaga's voice during the first part of the song, but towards the 2nd half it was absolutely Gaga singing. The lights were all blue like the DWAS colorscheme and the neon pinpoint lasers shone all over in perfect blue over various random things on stage. Futuristic alien vibes and sounds and pulsations came out over the air. Tim and Ricky stood still as monks, facing the crowd completely motionless. Blue strobe lights and warm blue colored smoke blew off the stage, and there was an odd lurching stomp to Die With A Smile that it normally doesnt have at all. Gaga changed the lyrics to "DIE DIE DIE WITH A SMILE" multiple times. The vocoder was very strong here very Dan Easton Bad Romance. Completely remixed, vocoder version of Die With A Smile -- a funeral march version 80s version with alien synth. It ends so softly and completely different from the "real" version of the song. Gaga is in full black -- she stands in the center of the middle stage, and her musicians gather around her one by one, to do a big final bow of six. They all get a standing ovation for about 3 minutes. "CAN'T STOP THE HIGH" is piped in as the getting up and getting ready to leave song, she doesn't sing it. She speaks for a moment , a very brief address to the crowd, but they are screaming so loudly they literally drowned her out. I scribbled: "Little Monsters formed an operahouse, they demolished it, and they made music together, and then they put it all back -- together. " She sang over some pieces of Cant Stop The High, and walked off stage. House lights slowly came on section by section, and we all left. I was so happy to see so many of my friends, it was like a family reunion. I am so glad I came, and I cannot WAIT FOR YOU ALL TO HEAR IT. I love you all love, your media queen -- Chica ps: I WANT THESE POSTERS OH MY GOD.

EDIT: Lady Gaga Now just posted about it as well (https://ladygaganow.net/news/2026-gaga-mayhem-wiltern/) Description from LGN: "Lady Gaga is set to perform a special, one-night-only concert at the Wiltern Theatre in Los Angeles on Wednesday, January 14, 2026. Here's the official description of the event: MAYHEM: Requiem For one night only, see Lady Gaga perform at The Wiltern for Apple Music Live. This show is a live taping and will be a phone-free experience. All cameras and recording devices are prohibited. Upon entry, all mobile phones, smart watches, smart glasses, and other recording devices will be secured in Yondr pouches."

The venue is really small so the usual Mayhem stage probably won't fit?? I wonder what she'll do for the Paparazzi dress?! this was a joke 🫩

Gaga: @ChicaSkas:

I can’t wait to see how this Wiltern out

Keep streaming this masterpiece!

https://www.wiltern.com/shows https://www.ticketmaster.com/lady-gaga-los-angeles-california-01-14-2026/event/09006429B91CA0D7?_gl=1*1dseeq6*_ga*OTQzNzE5ODEwLjE3NjgyMzg1MTc.*_ga_C1T806G4DF*czE3NjgyMzg1MjkkbzEkZzEkdDE3NjgyMzg1MzMkajU2JGwwJGgw*_ga_H1KKSGW33X*czE3NjgyMzg1MjkkbzEkZzEkdDE3NjgyMzg1MzIkajU3JGwwJGgw

Hopefully taking notes on how to produce a song

Fast thoughts cause I gotta go home. Yes it felt like a goodbye to mayhem era. She was in black veil garments though out the whole show. Overall very moody and with dark atmosphere. The stage pretty much looks exactly like the promo. She sang all standard mayhem tracks start to finish. So yes, DCT. No dead dance, csth, kill for love. Csth was the bow song though and she sang along a little. The rumors about the electro grunge were true. Edit: Home now and I wanna better describe the sound like Trent reznor meets daft punk. Zombie boy and dwas especially had a lot of auto tune on her voice. Zombie boy and Die with a smile had the most different aggrangments. I'm iffy about zombie boys, dwas was awesome and I dont even like that song. At home thoughts: it was all Gaga and her band and everybody was amazing. She sang her butt off. It was all one take. No redos. It was pretty phenomenal, I'm still in shock that I even got to experience it

i really want her to win AOTY

I GOT A TICKET IM RENTING A CAR IM ON MY WAY

Are people finally coming to their senses?

As much as yall love bagging on him, he’s a really close and really good friend to Gaga, so I adore him

I'm sorry but Sabrina doesn't deserve sh*t

It features him embracing latino music and promoting diversity with many people of various races dances with him Can't wait for the "we haven't watched the NFL since they took knees" crowd watches his halftime show and then cry about it on Twitter

No

The way some of y'all are acting like Gaga is responsible for the disco comeback. Like Kylie/Dua/Purple Disco Machine/Doja etc didn't do it first.

tried my best sketching the stage and keeping track of the songs during the show!

Been streaming this every day since it came out. It's my new Heavy Metal Lover / Scheiße.

I hate to break it to you, sister, but she’s been retro since day one.

You can hate him all you want, but he's on Happy Mistake credits, that's enough for a redention.

I am no Bruno fan by any means, but I sometimes feel like I'm one of the only monsters who absolutely adores DWAS.

I think our best chance is ROTY. Hopefully she'll win at least 1 main category.

Old tea but did anybody point out the double standard Gaga faced from the DWUW music video, specifically from working with Terry Richardson It was really unfair to crucify her from working with him when just in November of 2013 he directed Miley Cyrus’s Wrecking Ball and it was an absolute hit and nobody even mentioned or cared about him directing the music video of such a popular song PS I just got to know that XO by Beyoncé which came out in December of 2013 (around the same time DWUW was supposed to release) is directed by Terry Richardson too well nobody canceled Bey at the time this just proves that when an artist has a hating streak, every little detail just adds to the stake they are being burned

i filled a 30 page notebook. my god it slayed so hard. My god. this is A COMPLETELY DIFFERENT WAY TO EXPERIENCE MAYHEM

Seconding this - was all very atmospheric and a very specific tone. Didn’t even really acknowledge the crowd until the very end. The set was GORGEOUS. Costumes were cunty, gothic funeral vibes. No dancers, no choreography, just her and the band absolutely tearing.

Does anyone actually want new music from her anymore though? You know it'll just disappoint when/if it happens Both Katy Perry & Rihanna are now nostalgic legacy artists imo

Keep in mind that there are 15k grammys voters and about 50 blind ballots will be revealed throughout the season. Not even 1% of voters accounted for.

Kim, there's rolling blackouts that are coming

Im sorry but as a non-american seeing SZA paired with Lady Gaga, Beyonce, Taylor Swift, Rihanna.... is so funny She's barely known outside the US and it shows

apparently they're not just blind but also deaf also, this is fake right lolz

It was Mayhem standard, no bonus tracks. Rock opera reworks everywhere. Closing bow song was CSTH. It was a very serious performance. They were giving litte time to fan service and the usual interactive moments. It was all vibe and atmosphere. No retake needed even tho they announced they would if they needed too. Everyone on that stage was performing their asses off.

People who got codes better come ready with detailed 50 pages summaries with drawings and moodboards on Thursday morning

I’M F***ING LOVING THIS ERA SO MUCHHHHH

QUEEN OF ASIA herself has arrived in osaka, japan finally! 🇯🇵 this is her first landing in osaka after almost 16 years through the decade, last time her concert in osaka (kobe) was for THE MONSTER BALL on april 14, 2010.

Honestly my biggest takeaway from this is that killah remains that bitch and you commoners will lose your shits over it all of sudden when I've claimed ha since day one But for real grunge isn't really my thing but news of mayhem and gaga leaning more industrial is a dream come true for me. Can't waitttt

Isn’t filming tomorrow 😭 What if she’s filming something else today

OH MY GOD YES THIS IS IT THIS IS VERY CLOSE TO EXACTLY IT OMG HOW

Honestly, this just further solidifies my thoughts that Gaga "knew" what Mayhem would be when she gave us the brutalist nightmare Chromatica ball staging. Like I know she started writing Mayhem after the tour ended, but the concepts are too consistently tied to that brutalist prison she created for it to have not been the birth of Mayhem.

That was insane. Played Mayhem front to back in order. All new arrangements - synth wave, alternative, DRAMATIC. There were like 5 different pianos. A new version of DWAS that was pretty insane. Killah tore down.

The fanbase is all talk and no show They think Killah is too weird, so they for sure aren't ready for Gaga to really go full throttle with other genres besides pop. Which, btw, she'll never do. Gaga has always been, and will always be, pop + something else. She's been influenced by many different artists and genres, but at the end of the day, all her music is pop.

At this point we have to accept Riri has a breeding kink and we're not getting another album before the menopause

via deuxmoi's Sunday spotted: "Gaga and Abel (along with Gaga's fiancée and one more guy) were seen late last night at Asanebo!" Asanebo is a high-end Japanese restaurant in Studio City. How funny that we are theorizing whether it means anything that they’re both currently in Japan and they actually had a dinner at a Japanese restaurant in LA together earlier this week!

Wtf does “Michael Polansky’s forecast:Mayhem” even mean.

Me reading this thinking someone got it

That stage is very happy to see the crowd

Next single "DANCE..." out this friday 16/01 Album "WOR$T GIRL IN AMERICA" out 27/03 https://www.instagram.com/p/DTdV8B3lPNi/?igsh=MXliamVqNmpjdTNt Tracklist 1. DANCE 4:47 2. BEAT UP CHANEL$ 3:19 3. CANNIBALISM! 2:47 4. OLD TECHNOLOGY 2:39 5. CRANK 2:56 6. GAS STATION 3:39 7. YES GODDD 2:40 8. UNKNOWN LOVERZ 3:19 9. OLD FLING$ 3:37 10.I'M ACTUALLY KINDA FAMOUS 2:36 11. $T LOSER 3:35 12. WHAT IS IT LIKE, TO BE LIKED? 2:18 13. *PRAYER* 0:37 14. BRITTANY MURPHY 3:44 43 minutes idk how to embed the cover