No list can represent every fan’s opinion, but I’ve tried my best to rank her songs (along with her more impactful videos) based on their emotional, autobiographical, and cultural significance. That gives us 136 songs, with fewer stinkers than you’d expect, and a top 70 that could rival any pop star’s catalogue. This list is less about judging Lady Gaga’s catalogue than making sense of the recent past - much of which we’ve already forgotten! It includes every commercially released studio track and her more significant featured credits. What will she do next? Your guess is as good as hers. There’s no question that she’s an all-timer.
No artist is completely original, but time has proven Lady Gaga sui generis. Over the years, Gaga’s shape-shifting has painted a collective portrait of a complex, restless, fearless woman. Then she’ll go and do something like almost single-handedly carrying the quarantine-era 2020 VMAs or stealing the show in Ridley Scott’s House of Gucci, and you’ll remember - she’s still Lady Fucking Gaga. It’s true that sometimes the dazzling, attention-seizing provocateur who gave us the VMAs meat dress and vomit art feels like a distant memory. Since then, she has stayed busy - releasing the future-house Dawn of Chromatica remix album, leading the charge on Love for Sale (Tony Bennett’s final record and set of live performances after his Alzheimer’s diagnosis), and holding both pop and jazz-piano residencies in Las Vegas. But seemingly through sheer force of will, 2020’s Chromatica channeled four decades of house-music history to reclaim Gaga’s dance-pop throne for the first time since 2013. Ironically, the sound of Gaga’s iconic dance-pop hits fell completely out of fashion alongside the moody, trap-tinged, playlist-centric downturn of late-2010s pop. Lady Gaga has influenced several generations of weird, countercultural, often LGBTQ+ pop stars - everyone from Lorde to Sia, Nicki Minaj, Charli XCX, Halsey, Troye Sivan, SOPHIE, Janelle Monáe, Billie Eilish, Lil Nas X, and Dua Lipa owes Gaga some debt. She was superwoman no longer, and 2016’s Joanne allowed her to be more vulnerable, to find a sense of equilibrium in her art. Since Cheek to Cheek, 2014’s duet album with Tony Bennett, we’ve witnessed a gradual unraveling of Gaga’s once messianic image. She almost single-handedly raised the bar for pop music, videos, fashion, and live performances.īut the comedown, if you can call it that, was fascinating in its own way. No pop star of the 2010s was more committed to achieving transcendence through her art. Looking back on her first four albums - The Fame, The Fame Monster, Born This Way, and ARTPOP - her sheer ambition was dizzying.
Gaga’s imperial phase was such a whirlwind that, in hindsight, it feels as if we’ve yet to take the collective time to reflect on the full depth of her artistry. Each release became an event her every move was dissected by social media. From her 2008 debut, The Fame, to 2014, when the ARTPOP-hype bubble burst, Gaga sped through several careers’ worth of highs, lows, and controversies. It has been updated to include Gaga’s subsequent releases.Īlthough Lady Gaga has been a household name for more than a decade, the first half of her career still feels as daring, vital, and relevant as ever. *This article was originally published in November 2018. Don't forget to check out the visual art, from outdoor installations and sculptures to indoor paintings and photography, scattered around Smith Center's five acre campus.Over the years, Gaga’s shape-shifting has painted a collective portrait of a complex, restless, fearless woman. Reynolds Symphony Park for concerts, an outdoor courtyard, and more. Schwarz Architects, Inc., the firm behind Fort Worth, Texas' Bass Performance Hall and Nashville, Tennessee's Schermerhorn Symphony Center), The Smith Center boasts three distinct indoor performance spaces-the 2,050-seat Reynolds Hall, 240-seat Myron's Cabaret Jazz room, and 250-seat Troesh Studio Theater-plus a grassy, outdoor 1.9 acre Donald W. Gold LEED certified and Art Deco-inspired (the design team includes David M.
2012 saw opening of Las Vegas' world class The Smith Center For The Performing Arts, which hosts touring Broadway productions as part of its Broadway Las Vegas Series (a partial 2021 line-up includes Hadestown, "The Cher Show," "Tootsie," "Frozen," Aaron Sorkin's version of "To Kill A Mockingbird," and "My Fair Lady"), and is home to seasonal performances by Las Vegas Philharmonic and Nevada Ballet Theatre.