#Lady Gaga Joanne World Tour Dates

[themusicenthusiast]

Lady Gaga Announces ‘Joanne World Tour’ Presented by Live Nation; Coming to American Airlines Center in Dallas on December 8th

Lady Gaga will be traveling the globe with the ‎Joanne World Tour starting on August 1st in Vancouver, BC and September 22nd in Barcelona with a series of concert dates throughout Europe and the UK before returning to North America in November and December this year.  ‎Tickets for the concert in Dallas on Friday, Dec. 8th will go on sale Monday, Feb. 20th at 10AM. Buy tickets at Ticketmaster.com.

Grammy and Golden Globe winner and Academy Award-nominated Lady Gaga is a one-of-a kind artist and performer. She has amassed an outstanding 30 million global album sales and 150 million single sales, making her one of the best-selling musicians of all time. Gaga is also one of the biggest living forces in social media with over 61 million likes on Facebook, over 65.1 million followers on Twitter and over 21.3 million followers on Instagram. Her fifth studio album “Joanne” was recently released and debuted at #1 on the Billboard Top 200, marking her 4th consecutive #1 album - the first female to do so in the 2010s. Tickets for Lady Gaga Joanne World Tour are on sale Friday, February 10th in Barcelona, Paris, Zurich, Hamburg, Berlin and Koln. Tickets go on sale Monday, February 13th for the first leg of the North American performances as well as the balance of the European dates. Tickets for the second leg of the North American Tour will go on sale on Monday, February 20th. All arena performances in North America & Europe will feature general admission on the floor, the 4 North America stadium shows have reserved seating on the floor with reserved seating in all venues in the stands. There will be a ticket limit of 8 tickets per transaction for all first day sales. Once on sale, tickets to the Dallas show will be available for purchase HERE.

Citi cardmembers can take advantage of a special pre-sale opportunity for show dates in the United States, beginning Wednesday February 8th at 9am through Sunday, February 12 at 5pm for all performances going on sale on Monday, February 13th. For concerts going on sale the following Monday, February 20th the Citi cardmembers may access pre-sale tickets from Wednesday, February 15 a 9am through Sunday, February 19th at 5pm (all times local).  For complete pre-sale details visit: citiprivatepass.com.  There is an 8 ticket limit per transaction. Joanne World Tour Dates: August 1--Vancouver, BC--Rogers Arena 3--Edmonton, AB--Rogers Place 5--Tacoma, WA--Tacoma Dome 8--Los Angeles, CA--The Forum 11--Las Vegas, NV--T-Mobile Arena 13--San Francisco, CA--AT&T Park (Stadium) 15--Sacramento, CA--Golden 1 Center 19--Omaha, NB--CenturyLink Center 21--St. Paul, MN--Xcel Energy Center 23--Cleveland, OH--Quicken Loans Arena 25--Chicago, IL--Wrigley Field (Stadium) 28--New York City, NY--Citi Field (Stadium) September 1--Boston, MA--Fenway Park (Stadium) 4--Montreal, QC--Bell Centre 6--Toronto, ON--Air Canada Centre 10--Philadelphia, PA--Wells Fargo Center 15--Rio De Janeiro, BR--Rock In Rio Festival 22--Barcelona, ES--Palau Sant Jordi 24--Zurich, CH--Hallenstadion 26--Milan, IT--Mediolanum Forum 29--Hamburg, DE--Barclaycard Arena October 1--Antwerp, BE--Sportpaleis 3--Amsterdam, NL--Ziggo Dome 6--Paris, FR--AccorHotels Arena 9--London, UK--O2 Arena 15--Birmingham, UK--Barclaycard Arena 17--Manchester, UK--Manchester Arena 21--Copenhagen, DK--Royal Arena 23--Stockholm, SE--Ericsson Globe 26--Berlin, DE--Mercedes-Benz Arena 28--Koln, DE--Lanxess Arena November 5--Indianapolis, IN--Bankers Life Fieldhouse 7--Detroit, MI--Little Caesars Arena 10--Uncasville, CT--Mohegan Sun 13--Louisville, KY--KFC Yum! Center 15--Kansas City, KS--Sprint Center 16--St. Louis, MO--Scottrade Center 19--Washington, DC--Verizon Center 20--Pittsburgh, PA--PPG Paints Arena 28--Atlanta, GA--Philips Arena 30--Miami, FL--American Airlines Arena December 1--Tampa, FL--Amalie Arena 3--Houston, TX--Toyota Center 5--Austin, TX--Frank Erwin Center 8--Dallas, TX--American Airlines Center 9--Oklahoma City, OK--Chesapeake Energy Arena 12--Denver, CO--Pepsi Center 14--Salt Lake City, UT--Vivint Smart Home Arena

[keatondj]

My Personal Ranking of Lady Gaga’s Discography

The time has come. The day has arrived. I am so excited to finally do this list!

Lady Gaga is one of the most influential, innovative, and incomparable artists of this generation. I think her to be one of the greatest musical artists to ever live. Her impact on pop culture as a whole cannot be ignored, and her talents as a singer/songwriter is limitless.

I remember first seeing her perform on So You Think You Can Dance with that iconic bleach-blonde, sharp-edged wig and those LED glasses with text on them and being absolutely mesmerized. Ever since that performance, I had been a casual fan, but absolute admirer of her music. Around 2016-2017 is when I decided to listen to pop music more regularly, and the first artist I knew I had to add to my library was Gaga. It was then that I listened to all her albums and officially became a Little Monster.

Each one of her albums is so incredibly unique, yet so undeniably Gaga at the same time. With the recent release of her sixth studio album Chromatica, I can now finally give my ranking of her incredible discography. I will only be covering her solo studio albums, so A Star Is Born and Cheek to Cheek will not be included.

A new thing I want to add to each album review is add a superlative that the album possesses to showcase its respective strength in the discography as a whole.

Reminder: this is my opinion. Everyone has a different ear, and certain sounds and songs resonate with different people. I’m just sharing my personal thoughts and experiences with these albums.

6. Joanne (2016)

This feels like pure blasphemy to put this album as the lowest ranking on the list when it is objectively one of Gaga’s strongest and more mature albums. It showcases her versatility as a songwriter to the nth degree, and she is the most vocally ferocious on this album. 

It is incredibly top-heavy for my taste (the first seven songs are absolutely sublime to listen to). It’s unfortunate, but from “Sinner’s Prayer” to the end, the album becomes borderline unlistenable to me. Gaga’s vocal delivery on the last few songs seems over-dramatic and unauthentic, and also technically not up to par with what I know she can do.

I think the big concern about Joanne is the feigned nature that I think I’m listening to. Gaga has always been theatrical and performative with her music, but with Joanne, I don’t seem to buy it as well. It suits a more dance-pop and electronic feel that we know and love her for. Maybe that’s the gay sensibilities in me talking; that’s just how I feel. 

She was far more successful with the A Star Is Born soundtrack in terms of writing for this genre. I applaud Gaga for going out on a limb with this massive genre shift, and it worked well, for the most part.

Favorite Songs: “Diamond Heart” through “Million Reasons”

Superlatives: Most Stripped, Most Diverse

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5. Artpop (2013)

I have very conflicted feelings about this album. At its best, it is exploratory, imaginative, and audacious. At its worst, it’s ostentatious, inaccessible, and clumsy.

It undoubtedly has some of Gaga’s sickest and coolest production to date; she really amped up the electronic feel for this album. She also experimented with several contemporary genres (hip hop, R&B, dubstep, trap, rock, etc.) quite skillfully on various tracks like “MANiCURE”, “Do What U Want”, and “Swine”. However, the production does go overboard sometimes, creating a heavy and clunky sound (”Swine” often becomes very harsh to listen to).

Lyrically, I find that it can be very distant, boastful, and vain. Certain songs like “Donatella” and “Fashion” are very specific to Gaga’s lifestyle and obvious love for high fashion, but it is not relatable to the common listener (or at least not me). The extravagant nature of the songs, and even the album as a whole, is hard to really dive into.

I still love this album a lot, but more like as a guilty pleasure. I see many people regard it to be her underrated masterpiece, and I understand where they are coming from, but find them to be misguided. It’s a strong piece of work, but Gaga just shot for the stars and went a little too far for her own good.

Favorite Songs: “Aura”, “Venus”, “G.U.Y.”, “Sexxx Dreams”, “ARTPOP”, “Applause”

Superlatives: Most Experimental, Most Bold

                                       ---------------------------

4. The Fame (2008) 

It truly pains me to put this album so low because it’s the record that introduced us to the brilliance of her work and it features some of my absolute favorite Gaga tracks on it (”Poker Face” still hits hard even today). I cannot let the nostalgic nature of the album cloud my judgment, though. This only goes to show how incredibly strong her discography is; we are really splitting hairs at this point.

What Gaga did for the music industry back in 2008 is insurmountable and outrageous. She brought back the four-to-the-floor sound to the radio in a campy and edgy way that we had never heard before. She will most likely be the biggest juggernaut of an artist I will ever see in my lifetime; she will define my era of music as a child. This is the era I mainly associate with the iconic nature of Lady Gaga. 

It’s comparatively tame to her other work since she was still testing the waters and figuring herself out as an artist. But by 2008′s standards, terms like “disco stick” and “bluffin with my muffin” were totally out-there and controversial. Songs like “Paparazzi”, “LoveGame” and “Poker Face” pushed the envelope and influenced many artists for years to come.

Besides the lead singles, many of the songs on the album are not too remarkable and probably the closest thing you can classify as “filler tracks”. They’re inconsequential, generic, and uneventful compared to the powerhouse singles. 

While these songs also deal with fame and the opulent lifestyle like the ones I mentioned for ARTPOP, they were written from the perspective of someone who was not yet famous. The whole idea of the album is playing with the universal dream and fantasy of what fame is like. In turn, that make the album so much more relatable, universal, and engaging.

This is one of the greatest debut albums ever produced, and it paved the way for Gaga’s career and artistry. I’m happy to say that it basically gets close to pop perfection from here on out.

Favorite Songs: “Just Dance”, “LoveGame”, “Poker Face”, “The Fame”, “Starstruck”

Superlatives: Most Revolutionary, Most Iconic

                                            ---------------------------

3. Chromatica (2020)

This is the first album of her work that I was eagerly waiting for as a proper Little Monster. I was absolutely ecstatic when the first information about the album was coming out, including the singles. It was the album that I had been waiting for for a long time... and it absolutely delivered. It was everything I needed it to be and more.

Vocally, it is Gaga’s most impressive work to date. Her voice has matured so beautifully over the past 12 years, and she has learned to use her upper register in the D5-F5 range more healthily, powerfully, and consistently than before. There were several moments throughout the album that I was gobsmacked at the force of her voice. 

I will admit it is the most “tame” of all her works in terms of the outlandish and campy nature with which we know her for (just ahead of The Fame). Instead, she writes with more sophistication, finesse, and honesty that has come with more experience. On first listen, it seems rudimentary, but as time goes on, the inner complexities of the album start to reveal themselves.

For being a straight-up dance album through and through, it is brutally honest and personal. There is real pain and heartache that is displayed through much of the album, and Gaga is using music as a means of catharsis to release the pain. It makes the album incredibly relatable and accessible, allowing the listeners to dance through the pain. Released in a time when the whole world was faced with such uncertainty and worry, this album is definitely a great outlet for those looking for comfort.

Being as huge of a fan of artists like Kylie Minogue, Robyn, and Carly Rae Jepsen as I am, this album truly delivers on the dance/dance-pop department. The production is impeccably done and spearheaded by Bloodpop (who I hope is Gaga’s main collaborator from now on). Even the Chromatica interludes are stunningly gorgeous and inform how the next act of the album will go. In my opinion, Act I of the album (Tracks 1-6) is absolute pop perfection; I wouldn’t change a single thing about any of those tracks.

The album may run a little short, and it’s tamer compared to her earlier works, but it is still brilliant nonetheless. With a collaboration with the reigning Princess of Pop, Ariana Grande, you know it has to be amazing. This will absolutely go down as one of the best dance albums ever written. This is Gaga’s return to form, and we have been so blessed.

(Ok, but Chromatica II into 911 is THE serve. She did THAT. Do you know what she did? THAT.)

Favorite Songs: “Chromatica I”, “Alice”, “Stupid Love”, “Rain On Me”, “Free Woman”, “Fun Tonight”, “911″, “1000 Doves”

Superlatives: Most Cohesive, Most Personal

                                       ---------------------------

2. The Fame Monster (2009)

I’m gonna be perfectly honest here: it took the longest time for this album to grow on me. Even longer than ARTPOP. But with time, I was finally able to see just how sleek, crisp, and perfect of an album this really is.

This was Gaga’s expansion to The Fame that she wrote based on her experiences with touring, fame, and the toll that can take on someone. It is a concept album with each song being based on a personal fear of Gaga’s that I am sure were all amplified with the high intensity of being a pop star. 

You can immediately tell the difference between this album and its predecessor. It’s darker, it’s sexier, and it’s candid. Where The Fame was written from a place of imagination and wonder, this was written from a place of truth and fear. The amount of growth that came from just a year on the road is staggering.

It is undeniably her most polished album in terms of production and composition. It took the ambition of sonic perfection that The Fame was going for, and amped it up even more. Each song has its own feel to it, but they all work together so well as an album.

There is one song that makes this album imperfect and keeps it from my number one spot, and the song will make tons of Little Monsters angry: “Speechless”. I just don’t like it, no matter how many times I’ve tried to get into it. It’s written in C major (my least favorite key), it’s overly sentimental and hokey, and it disrupts the flow of pop that keeps the album together. I know it’s an incredibly personal song for her, but it is just mediocre to me; I skip it everytime.

Other than that, I think the album is absolute perfection. “Bad Romance” is one of the most iconic and influential songs in her songbook and even the Great American Songbook, and the non-singles are just as powerful, if not better. This album is the standard to which Gaga is held, and any album in the future will struggle to hold its own against this amazing work. Except one. ;) 

Favorite Songs: “Bad Romance”, “Alejandro”, “Monster”, “Dance In The Dark”, “So Happy I Could Die”

Superlatives: Most Polished, Most Dark

                                         --------------------------- 

1. Born This Way (2011)

Is there really any other option?

It’s the album that debuted at #1 on the Billboard charts. It’s the album with 5 of her most iconic and successful singles (the title song, “Judas”, “The Edge of Glory”, “You And I”, and “Marry The Night”). It’s the album that was unabashedly open about its advocacy, and gave voice to anyone who ever felt cheated by life or counted out. Of course it has to be in the number one spot.

This is Gaga at her freest, her most courageous, her most daring. She went all out in this record, and the results are absolutely remarkable. I am a massive fan of the 80′s in all aspects (especially the music), so the influence of 80′s rock and pop on the album satisfy my sensibilities swimmingly. The ingenuity and artistry which she demonstrates in the composition of this album is just mind-blowing.

“The Edge of Glory” is her best song. Hands down. No question. Bottom line, cut, and dry. The first time I heard it back in 2011 was so impactful to me. I learned just what an impressive singer Gaga is, and how powerful of a songwriter she is. It is one of the most euphoric, devil-may-care, and joyous songs ever written, and one of the most important songs in my life. The fact that it perfectly closes out the thrilling roller-coaster ride of Born This Way is the cherry on top.

It might be a little messier and imprecise than The Fame Monster, but it’s lows never get as low, and its highs are astronomically high. The arc that this album takes me through is astonishing. It is an album about celebrating life, loving others and yourself, and throwing caution to the wind. Who can’t relate to that and find comfort in it?

I could go on for ages about this album, but I’ll keep it simple. This is Gaga’s magnum opus, and one of the best pop records ever created. I am so unbelievably grateful for what it has done for my life, and it will forever be one of my favorite albums ever written. It taught me that I am unequivocally born this way, and that I should strive to be on the edge of glory.

Favorite Songs: The whole tracklist   ¯\_(ツ)_/¯

Superlatives: Most Daring, Most Adventurous, Most Creative

                                        ---------------------------

I have been wanting to do this list for so long, and I am thrilled to finally get my thoughts out in a post. Lady Gaga is one of the best and most iconic musicals artists ever, and I am eagerly hopeful for the future of her music. I recently uploaded a reaction video of me listening to Chromatica for the first time if you’d like to watch. I am an absolute dork in it, and completely got my life on the first listen. I’ll include it as a separate post on my page as well. Enjoy!

https://youtu.be/zdEH2RRc3DE

[onestowatch]

From Stefani Germanotta to Lady Gaga to Mother Monster: How a Star Was Born [WHERE ARE THEY NOW?]

Photo: David Crotty/Getty Images

“I had a boyfriend who told me I’d never succeed, never be nominated for a Grammy, never have a hit song, and that he hoped I’d fail. I said to him, ‘Someday, when we’re not together, you won’t be able to order a cup of coffee at the fucking deli without hearing or seeing me.” These powerful words were uttered by Lady Gaga in 2010 and seem all the more prophetic than ever some odd nine years later. 

The GRAMMY Award–winning singer and songwriter, Academy Award–winning actress, philanthropist, and political activist has paved out a path for herself to become one of the most pivotal figures in pop music and culture as a whole. In light of a year that saw a slew of acclaim, from the Academy Awards, the GRAMMYs, and beyond, we reflect back on how Gaga, Mother Monster, known as Germ to her friends and Loopy to her father, rose from a girl who would supposedly “never succeed” to a household name who regularly makes history. 

Photo: Evening Standard 

Born Stefani Joanne Angelina Germanotta in New York City, from a young age she was urged to pursue her creative inclinations, picking up the piano at age four at her mother’s behest that she become a “cultured young woman.” Performing at a host of open mic nights and in a series of plays growing up, Germanotta would follow her passion for creative arts for the entirety of her formative years, in spite of rejection. Though she did make a small appearance in an episode of The Sopranos when she was 14, Gaga unsuccessfully auditioned for a number of New York shows. With an Oscar under her belt now, we are sure it is all water under the bridge. 

Earning early admission to Collaborative Arts Project 21, a musical theatre training conservatory partnered with New York University’s Tisch School of the Arts, at the age 17, the distinctive nightlife of New York City would become a wellspring of creative influence for the soon-to-be Mother Monster. Dropping out of school in her sophomore year to fully focus on music, Germanotta would make her musical debut with Grandmaster Melle Mel on the audiobook accompaniment to the children’s book The Portal in The Park, but more importantly, it was during this time she would form The Stephanie Germanotta Band. 

The Stephanie Germanotta Band, popularly shortened to The SGBand, would become a staple of the downtown Lower East Side club scene and the catalyst to Lady Gaga. Talent scout Wendy Starland would discover Germanotta at one of The SGBand’s shows, and subsequently introduced her to producer Rob Fusari, whom she would go on to date for a brief period and is purportedly the first one to call her by the name “Lady Gaga.” With a name taken from Queen’s song “Radio Ga Ga,” the music produced alongside Fusari would go on to catch the eye of Def Jam Records, and the rest was history, or so we would say if Def Jam Records did not go on to drop Gaga three short months after signing her. 

Following the unfortunate turn of events, Gaga would return to her family home heartbroken yet resolute to make a name for herself. Immersing herself in New York’s growing underground neo-burlesque scene, she would come to befriend performance artist Lady Starlight. Taking inspiration from ‘70s tribute acts and glam rock, the pair would adopt the name Lady Gaga and the Starlight Revue and present ‘The Ultimate Pop Burlesque Rockshow’ at venues around New York, as well as a set at Lollapalooza in 2007. During their time performing together, which continues to this day, multiple people would see the promise in this experimental pop artist, the likes of which included record executive Vincent Herbert, Akon, and chairman and CEO of Interscope Records, Jimmy Iovine. 

Akon, who had met Gaga during her time at Sony/ATV, where she wrote songs for Britney Spears, Fergie, and The Pussycat Dolls, persuaded Iovine to sign the then undiscovered artist to a joint deal record deal. This joint deal would produce The Fame. For those of you somehow unfamiliar with The Fame, it is Gaga’s landmark debut album and one of the important pieces of 21st-century pop. Yet, in spite of securing a record deal, some radio stations still refused to play her music, citing it as too provocative, dance-oriented, and underground. Gaga’s response? “My name is Lady Gaga, I've been on the music scene for years, and I'm telling you, this is what's next.”

The Fame proved not to be just a successful debut for Gaga; it established Gaga as an artist fully capable of unapologetically doing things her own way and having the world applaud her for it. Preceded by the singles “Just Dance” and “Poker Face,” the latter of which would go on to become 2009’s best-selling single in the world, The Fame would also receive Gaga five GRAMMY nominations and two wins, officially proving that boyfriend all those years ago oh so wrong. Critical acclaim and record-breaking would become commonplace for Gaga.

“Poker Face” broke yet another record, spending 83 weeks on Billboard’s Digital Songs chart. “Bad Romance” become the most watched music video on YouTube in April of 2010, and in that same year, Gaga became the first person with more than a billion combined views on the platform. She was the most nominated artist for a single year at the 2010 MTV Video Music Awards, as well as the first female artist to receive two nominations for “Video of the Year” during the same ceremony. She entered the Guinness Book of World Records as the most downloaded female act in a year in the US in 2008. In 2010, Gaga’s first headlining tour, ‘The Monster Ball Tour’ grossed over 227-million dollars, making it the highest grossing concert for a headlining artist ever. The list goes on.

It was difficult to imagine Gaga topping the astronomical success of her debut, but then she released “Born This Way” in 2011, the lead single from the eponymous sophomore album. Selling more than one million copies in a span of five days, it would net Gaga another page in the Guinness World Record book for the fastest selling single on iTunes. The acclaim and awards for Born This Way poured in in similar effect to The Fame, but what is most remarkable is not the fact that Gaga managed to do it twice, or even four times with the release of 2013’s Artpop and 2016’s Joanne, but that throughout it all she remained completely true to herself.

Photo: Candice Lawler 

While vast sonic exploration exists throughout Gaga’s impressive catalogue, from the experimental aesthetic of her experimental underground club days to her sound in The Fame days to the more restrained poise of modern Gaga, her ethos has remained the same. It is an ethos centered around the idea that as long as you are true to yourself, you are beautiful and important, and it begins to explain just why so many people resonate with her as an artist. This is not pop selling you a perceived notion of beauty; this is Gaga telling you that “There’s nothing wrong with loving who you are.”

Beyond the realm of music, raising millions for charity and relief efforts, launching a nonprofit focused on empowering youth and community development, and advocating for LGBTQIA rights, Gaga has found the time to achieve another long-held dream of hers. Acting. Since first making that small appearance on The Sopranos in 2010, Gaga’s passion for the art form still burned all those years later. 

While she would appear in a few small roles in films during her rise to fame, it was not until 2015 that Gaga would see this dream fully-realized, appearing in American Horror Story: Hotel. She would also go on to return to the anthology series the next year in American Horror Story: Roanoke. However, chances are it was not her role as a supreme witch that left an impression but her landmark lead role in A Star Is Born.

A Star Is Born was the movie that proved we could somehow fall even in more with Gaga. A remake of a 1937 film of the same name, it captured the hearts of the critics and the public alike. From the impeccable soundtrack, which featured a whole host of Gaga songs to swoon over and cry to, to the performance of a lifetime, A Star Is Born cemented Gaga as an artist capable of doing it all. Co-writing and producing most of the songs on A Star Is Born alongside fellow star Bradley Cooper, the film’s lead single, “Shallow,” would earn Gaga her first Academy Award win for “Best Original Song.”

There is no one else quite like Gaga, and there likely never will be. Through rejection, dismissal, criticism, Mother Monster has gifted the world with lasting pop that will stand the test of time and all while doing it entirely on her own terms. So, whether you first become a fan of her from Lady Gaga and the Starlight Revue, The Fame, A Star Is Born, or you are reading this after discovering her for the first time following the forthcoming release of her sixth studio album one thing is certain. There will always be a place for all of you little monsters. 

[rumorednightspress]

New Tour: Lady Gaga

Fresh off the heels of an amazing Super Bowl LI performance, Lady Gaga has announced the dates for the North American leg of her Joanne World Tour. Check out the dates and ticket information here. 

[timothyhollywoodkhan]

Lady Gaga Tour Date 2017 – in support of the pop star’s latest album – Joanne Lady Gaga Tour Date 2017 On the heels of Super Bowl 51 show Lady Gaga is gonna rock you out so get ready North America, Brazil, and Europe…

[gagainvegas]

Lady Gaga to drop new album on first night of Las Vegas residency — reports

June 28, 2018

LADY GAGA IS REPORTEDLY PLANNING TO RELEASE THE FIRST OF THREE NEW ALBUMS ON THE EVENING OF HER FIRST LAS VEGAS RESIDENCY SHOW AT THE PARK THEATRE AT PARK MGM IN DECEMBER.

The 'Bad Romance' hitmaker will kick off her 74-date run at the Park Theatre at Park MGM in Sin City in December, and she's said to be planning to surprise fans with a shed-load of new music at the same time.

An insider told the Daily Star newspaper: "The first proper Gaga album will be unveiled around the time of her Vegas shows in December."

The 32-year-old singer is also said to be keen to take on some more acting jobs after landing a role as Ally in the upcoming musical drama 'A Star Is Born' alongside Bradley Cooper.

They added: "Because of her Vegas show she will be available in Los Angeles to do movies."

Gaga headed back into the studio with Bloodpop, one of the producers behind her last record, 2016's 'Joanne', in May.

The 'Born This Way' singer has been working on new music since April, after being forced to cancel her 'Joanne World Tour' due to health issues.

The singer was "devastated" to have to axe the last 10 dates of the European leg in February, because she was suffering with "severe pain" caused by the long-term condition fibromyalgia.

The 'Poker Face' hitmaker has also been recording in Cannon Beach, Oregon - which is said to have "healing properties" - with producer DJ White Shadow, who she worked with on both 'Born This Way' and 'Artpop'.

Her bassist Jonny Good previously said that Gaga is determined to be back to her best in time for her residency.

He said: "By the 'Joanne tour' she was already five tours in, battling hip injuries. Nobody knows how she's done it.

"She never moans - she does have a great team though, a great physical team. They help. Everyone helps keep the ship together."

[everymovie2020]

A Star is Born (2018)

Date watched:  20 October 2018

Well, it finally happened.  I finally got to see the movie I have been waiting six months to see. Was it as good as I knew it would be? Yes.

I'm going to put some thoughts under a cut so as not to spoil it for anyone.  SPOILERS SERIOUSLY SPOILERS

I was impressed that I managed to hold the tears in until the end, because I was fully expecting to be crying when they began to sing The Shallow.  And honestly, if I'd gone to see this movie on my own, I probably would've allowed myself to cry.

I cannot get over how great Gaga was.  She looked amazing, she sounded amazing and she totally held her own against B-Coops.  God, I love her so much.

I honestly don't know when this Lady Gaga love started for me, because I always liked her music but was put off by the costumes and the stunts (and the meat dress, which I can't even look at in pictures, it grosses me out so much).  I think it was when she started stripping everything back that I fully got on board with her.  Artpop lost me (aside from Gypsy, which is one of my favourite Gaga songs) but I was back on board with Joanne, which I loved.  And the music from ASIB reminded me a lot of what she was doing with Joanne. That's my kinda music. Big vocals plus guitar, bass, piano and drums.  GIVE IT TO ME.

 It was so exciting to see Willam and Shangela on the big screen!

It reminded me a lot of the 1970s version, only I bought the romance between Jackson and Ally more than I did Esther and John Norman.  Especially the first time he sees her perform La Vie En Rose, ugh, the look on his face?  HOLY SHIT.  I want a guy to look at me like that.

And I LOVED that this movie brought back the lost art of the movie sex scene, like when the fuck did we stop showing sex in the movies?  SHOW MORE SEX.  It was romantic and tasteful; I loved it.

And I ALSO LOVED the scenes of them performing together on stage and touring. So in love!

Here's the thing – obviously I had seen the 1970s version, and I had been well spoiled for this version, so I knew exactly what I was getting into.  Objectively I think the first half of the movie was a lot stronger than the second half. I have some minor quibbles, like… it's weird to me that they pushed Ally to be a Gaga/Katy Perry/Rhianna-esque pop star when she was touring the country with a country rock star and singing country rock songs. It was a bit jarring to go from The Shallow to Why Did You Do That – maybe it's my lack of understanding of the music industry, but someone like Adele, for example, doesn't need backing dancers and choreography.

But then I suppose it needed to be that way to illustrate that she's going in one direction and he's in another, and he thinks less of her for it.  I don't mind the pop songs, but I think they're the weakest on the album.  And maybe they're meant to be that way, I'm not sure.

I mean, I'm more forgiving because I love pop music, but it just felt weird to me that that was the direction they pushed her in.  But then is that the point?  The music industry is a fucking shitty thing?

And speaking of that, her manager was the fucking villain of this whole thing.  I hated him from pretty much the first second he was on screen – he's just vile.  And when he was talking to Jackson at the end and blaming him for everything and saying that he was holding her back – like, fuck off, dude.  She is married to him.  She is in love with him.  Doesn't her personal life come before her professional life?

And shouldn't she get a fucking say about whether she wants to do a tour or not?  Maybe she wants to stay home with him.  He's in recovery.  To just say "oh we all know you'll relapse," like, come on.  You're not even giving him a chance.

IT MADE ME SO ANGRY.

She loved Jackson despite his flaws, and the manager made him think that ending his life was preferable to her having her husband alive and with her.  That's the fucking WORST.

I just felt bad for them both, ultimately.

In saying that, I think this ending was better than the ending of the 1970s version, because… you don't get the impression that John Norman set out to kill himself.  He was drinking and driving and crashed his car, so he kind of did, but it could've been a genuine accident. In this one, it's tragic because Jackson made a choice, and it was heartbreaking.

Jesus Christ, the fucking shot of the dog sitting outside the garage door?  WHY DON'T YOU JUST STAB ME IN THE FUCKING HEART, MOVIE?

Seriously, if I had been alone, there would've been sobbing.  Guaranteed. I had to hold it in.

Anyway, these are my most miniscule of complaints.  Ultimately, I loved it.  I will watch it at home by myself and cry all the way through it.  I thought Gaga was spectacular.  I thought B-Coops was fantastic as well – acting, directing and contributing to the music and script, like that is dedication.  He did an amazing job and I hope he's recognised for it at the Oscars.

There seriously better be no Gary Oldman "oh well he hasn't won Best Actor yet and he's in this dingy World War 2 movie that nobody cares about but he did a good job so here's an Oscar" sneak attack like this year, grrr.  I still think Chalamet should've won.  Just saying.

I loved this movie.

[ladvsgaga]

Unfortunately, Lady Gaga is suferring from severe pain that has materially impacted her ability to perform live. As a result, Live Nation and Lady Gaga are announcing the cancellation o the final 10 dates of the European leg of her Joanne World Tour. Last night, with strong support from her medical team, Lady Gaga made me tough decision to immediately come off the road. She is extremely sorry and deeply saddened that she cannot perform for her European fans, who have waited so patiently. She is in the care of expert medical professionals who are working closely with her so she can continue to perform for her fans for years to come. Ticket Holders may obtain a refund beginning Tuesday, 6 February at point for purchase.

 GAGA words: I’m so devastated I don’t know how to describe it. All I know is that if I don’t do this, I am not standing by the words or meaning of my music. My medical team is supporting the decision for me to recover at home. We’re canceling the last 10 shows of my Joanne World Tour. I love this show more than anything, and I love you, but this is beyond my control. London, Manchester, Zurich, Koln, Stockholm, Copenhagen, Paris, Berlin, and Rio - I promise I will be back in your city. For now, I need to put myself and my well-being first.I love you, forever. XX Gaga

[just-a-holy-fool-judas]

Lady Gaga - Dancin In Circles Joanne World Tour - Genting Arena, Birmingham 01/02/2018 ((the last JWT date))

[lipsyncforyourlife]

Logo’s Emmy® Award-Winning “RuPaul’s Drag Race” Lands Lady Gaga For Unforgettable Season Premiere

COME THROUGH, MOTHER MONSTER

  Logo’s Emmy® Award-Winning “RuPaul’s Drag Race” Lands Lady Gaga For Unforgettable Season Premiere

  Snatch The Moment This March

  Link to All-New Promo Featuring Lady Gaga: http://www.logotv.com/video-clips/xca5d1

  NEW YORK, NY – February 7, 2017 – Fresh off a stunning Super Bowl halftime show performance, Lady Gaga is set to appear on the season premiere of Logo’s Emmy® Award-winning competition series, “RuPaul’s Drag Race.” Logo today announced that the new season will kick off with “Mother Monster” and RuPaul this March.

  The season nine premiere event features a shocking opening that will go down as one of the most jaw-dropping moments in “Drag Race” history. Additionally, the premiere event will unveil a court of cut-throat Queens each competing to snatch the crown and strut away with a $100,000 cash prize and the coveted title of “America’s Next Drag Superstar.” Along the way, they’ll face an unpredictable competition and deliver watercooler moments as these talented ladies of drag join the fabulous 100 Queens who fought for the crown before them.

  For a sneak peek at Lady Gaga’s appearance on the new season of “RuPaul’s Drag Race,” visit http://www.logotv.com/video-clips/xca5d1.

The 13 previously announced Queens include:  Aja (Brooklyn, NY), Alexis Michelle (New York, NY), Charlie Hides (London, UK), Eureka O’Hara (Johnson City, TN), Farrah Moan (Las Vegas, Nevada), Jaymes Mansfield (Madison, Wisconsin), Kimora Blac (Las Vegas, Nevada), Nina Bo’nina Brown (Atlanta, Georgia), Peppermint (New York, New York), Sasha Velour (Brooklyn, New York), Shea Coulee (Chicago, IL), Trinity Taylor (Orlando, FL) and Valentina (Los Angeles, CA).

  “RuPaul’s Drag Race” season nine is produced by World of Wonder Productions with Fenton Bailey, Randy Barbato, Tom Campbell, Steven Corfe, Mandy Salangsang and RuPaul Charles serving as Executive Producers. Tim Palazzola serves as Executive Producer for Logo.

  After an epic Super Bowl halftime show performance that still has the world talking, Lady Gaga announced the Joanne World Tour set to begin this summer. For dates and tickets, go to http://www.ladygaga.com.

  For photos of the cast, go to http://press.logotv.com/.

  To embed a video featuring Lady Gaga, use the code below:

<div style=”width: 520px; background-color: #000;”><div style=”padding: 4px;”><iframe src=”http://media.mtvnservices.com/embed/mgid:arc:video:logotv.com:0ed1d3c9-b4dc-4655-a016-b85b9b545bed” width=”512″ height=”288″ style=”border: 0;” allowfullscreen></iframe>

    Go to http://www.logotv.com/video-playlists/hjrabf to “Meet the Queens” and watch an exclusive introduction to this season’s “RuPaul’s Drag Race” cast.

  For up-to-date “RuPaul’s Drag Race” news and exclusives, join the “RuPaul’s Drag Race” Facebook page or follow #DragRace conversation on Twitter at @RuPaulsDragRace. Follow along with live gifs from the show on Tumblr and additional content on the show’s Instagram page.

[gaga-chronicles]

(1/18/2018 - Milan)

Lady Gaga, slowly walking the stage, sets a hypothetical scene: imagine you meet a stranger or go on a date, and you bare your soul to them. You tell them your darkest secrets and let them in. Knowing all of this, they still reject you. Then you must say, she finishes, “I was born this way.” And, as you’d imagine, she then steps heart-first into the triumphant throbbing of “Born This Way” during which a dancer wraps Gaga into a white tulle floor-length skirt that looks suspiciously like a visual nod to a wedding dress.

This sounds close enough to a vampish and actorly display from 2012-era Gaga, but things have changed. Last year's Netflix doc Gaga: Five Foot Two was always going to colour this imaginary anecdote of rejection and numerous moments in the tour. The film showed the severe physical pain Gaga endured while making Joanne – the very same illness, in fact, which led to her European tour (including this Milan gig) being rescheduled last September. Many people were jarred by the Gaga, the person, displayed in that making of her fifth studio album. They didn’t expect the impact a uniquely demanding schedule would have on someone they’d naively perceived to be bulletproof. In the film, she can appear exhausted, irritable to the point of cross, in physical pain, and surrounded by people at all times but essentially, pervasively, lonely. A human being. “I sold 10 million and lost Matt. I sold 30 million and lost Luke. I did a movie and lose Taylor. It's like a turnover. This is the third time I’ve had my heart broken like this,” she says, sadly and plainly. What Gaga wants nearly as much as her career and fans, is a partner, a family. The physical and emotional strains of stardom are evidently sacrifices for brilliance.

If Joanne is Gaga being quote unquote authentic, if it represents a clear down-to-earth break from previous albums, then the first of her subsequent live shows in Milan intriguingly reveals the ongoing tussle between ‘art project Gaga’ and ‘vulnerable Gaga.’ This gig feels like the moment she emerges from the intimacy of people’s iPads and TVs and back to her well-established position of blinding live performer – but now she’s pulling at the contours of artifice versus “realness” more than ever.

As the show opens, half a set list before her heartfelt “Born This Way”, Gaga appears onstage alone in a simple sparkly cowgirl outfit with the Joanne hat on, singing “Diamond Heart” into a vintage mic. Mimicking the Joanne track listing, she swoops into “A-YO” next, this time joined by other guitarists who accompany her as the camera swings into her face at dodgy angles like an 80s glam rock video. Imagine The Fame Monster Gaga doing classic ‘guitar music’. This is high production make-believe in a dive bar; stripped-back Gaga. But it’s not all ‘someone accompany me on that guitar for a second.’ Longtime appreciators get to enjoy “Telephone” and “Poker Face”, or revel in how Gaga sashays about and rides a man like a horse on “Alejandro.” A ginormous PVC dress she wears at one point, which looks like an oily dessert, is the sort of thing she’s famous for. And frankly few others in recent pop have ramped up glamorous camp ridiculousness better. There’s a reason your mum would’ve known who Gaga was if you’d just described one of her outfits circa 2010.

Watching these sections of the show, their drama is rendered all the more impressive when you remember the full extent of the hard work and physical pain poured into them. That, after all, became a major trope in Gaga: Five Feet Two. As the film did then, this gig exemplifies how performers in general and women in those roles especially are supposed to dazzle and beguile, but we’re never meant to see them sweat. This is just as true if they are also one of the most famous solo artists in the world.

Gaga explores showing a crack in that public veneer, with a series of short videos that play between stage set-ups. In one, she’s laughing and drinking bubbles in a well-lit dressing room – call it a Moulin Rouge moment. Suddenly it morphs into something Black Swan-like, chants of “Gaga” and the cries of a crowd sending her spotlit face into contortions. In another video, she writhes between two looming white walls that appear to be closing in and ready to squash her. These could realistically be a metaphor for anything. But all I could think was: is this the suffocating fight between two Gagas – the one everyone wants and the one she feels she is? And more than that, is this a sort of aggressive turmoil she feels is a part of this album’s story, now that so many fans would have presumably seen her struggle in last year’s documentary?

Two highlights of the show come from the Joanne album. She retells the touching story of her belated aunt who died from lupus – a disease she herself tested borderline positive for – before performing the album’s title track simply, seated and accompanied by two guitarists. The song hits as hard as it did when she played it off her phone to family members in a particularly intimate scene fromFive Foot Two. Her approach to staging the show’s closing track, “Million Reasons”, becomes the second highlight. Who else would perform this otherwise straight-forward ballad while wearing a sparkling cowgirl hat on a holographic crystal grand piano with lasers firing down onto the keys as she plays?

There’ll no doubt be some who prefer the sex and flamboyance of older Gaga material. But that hasn’t disappeared entirely and her show is still, as it’s always been, utterly conducted for the fans. Her Little Monsters are named and spoken to throughout. They aren’t seeing a different Gaga, rather the same singing, dancing, spectacular star they’ve followed from the start. It’s only her live performance that’s in mid-evolution.

None of this should be a surprise. Even early interviews depicted this same multifaceted pop star. In a 2011 Guardian profile, friend and performer Lady Starlight says of Gaga: “She just throws herself into her work. She’s very focused on ‘What am I doing next?’ That’s the way; just the tunnel vision.” That profile later depicts her in all her “contradictory glory” as business woman and “needy neurotic”. In a Vogue interview from a similar time, she spent the entirety of the previous day self-soothing in bed by rubbing her foot, something she does when she’s feeling lonely. In a back and forth with Stephen Fry for theFinancial Times she says, “…people are imperfect in a perfect way. I always find it’s so interesting to have conversations about my work because in the past ten minutes you’ve pointed out to me that some people find me to be artificial while others find me to be quite real with the world. Isn’t that interesting?”

It is interesting that many people had forgotten that dichotomy, or supposed one: confident, shock-pop, ‘artificial as if coated with glossy lacquer’ performer, and sensitive, real, longing-to-be-loved human. As Gaga took a slight backseat in pop culture consciousness over the last few years, the flamboyance, meat, feathers and YouTube videos of her fabulous diva moments became the caricature that remained. Joanne and Five Foot Two reinstated that. These shows are the stepping stone towards a new and textured Gaga, one who will no doubt continue to evolve during her Vegas run. Fantasy and reality were always supposed to co-exist with Gaga – now she wants you to see them gel.

[thisismrbrendanjay]

'Someday, you won't be able to order coffee without hearing me': how Stefani became Lady Gaga

She was once dancing in her underwear in 'crunchy' clubs; now she's a superstar. Brendan Jay Sullivan recalls his year with an unknown Gaga

ByNick Levine

29 May 2020 • 4:11pm

A 19-year-old Gaga with Brendan Jay Sullivan in New York, 2006 CREDIT: Brendan Jay Sullivan

When Brendan Jay Sullivan first met Stefani Joanne Angelina Germanotta on New York’s Lower East Side in 2006, he was struck by her unabashed ambition: this “shy, quiet girl with dark hair” told him that she wanted to be “the biggest pop star in the world”. On tiny stages across New York City, she went by the name of Lady Gaga.

Sullivan, who became Gaga’s DJ back when she was a 20-year-old wannabe working as a go-go dancer in Manhattan, recalls spotting the singer’s “great vision” when he met her at a bar where her then-boyfriend was working. In his book Rivington Was Ours: Lady Gaga, the Lower East Side, and the Prime of Our Lives, Sullivan describes the boyfriend, whom he refers to using the pseudonym “Guy”, as “inattentive and possessive” – and says Gaga even gave her "thick, dark, raven-haired Italian mane" a botched blonde dye job to impress him.

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Though Gaga didn’t mention “Guy” by name, she said in 2010 – two years after bombastic hits such as Just Dance and Poker Face made her a superstar – that she once had a boyfriend who told her she’d never succeed. Her riposte? "I said to him, 'Someday, when we're not together, you won't be able to order a cup of coffee at the f---ing deli without hearing or seeing me." 

It's safe to say Gaga, who has sold 27 million albums to date and today claims her sixth UK number one single with Rain on Me from her just-released album Chromatica, has found her words more than vindicated.

“People loved watching her because she was so fearless,” continues Sullivan, who says he bonded with the star straight away when Sullivan recognised that her stage name was a reference to the Queen song Radio Gaga. They soon became a musical “team” – he’d play records at Lower East Side night spots, and she’d dance to them. “And then afterwards, we’d talk about music and everything for hours.”

At this point, Sullivan says Gaga had already made a deal with her father Joseph Germanotta, an Italian-American internet entrepreneur who worked hard to send his daughter to Convent of the Sacred Heart, New York City’s oldest private school for girls, and then to the prestigious Tisch School of the Arts at New York University.

A little known Lady Gaga performs at a bar in 2006

 “Gaga and her dad were both Springsteen fans, so they had the language of music to understand each other,” Sullivan says. “She said to him: ‘I love you, but I’ve gotta leave home to do this. I want to become a pop star and I’m willing to do anything to make it happen.’” According to Sullivan, Gaga’s father gave her a year to prove a career in music could be viable – then found her a cheap apartment on Manhattan’s Lower East Side. Gaga’s family home was only a few miles away on the refined Upper West Side, but the move to one of New York’s most creative neighbourhoods was clearly symbolic as well as practical.

Gaga’s new apartment may have been cheap for Manhattan – around $1,100 a month, Sullivan recalls – but she wasn’t living in squalor. "It was a very slim, efficient space but it wasn't tiny,” Sullivan says. “And the kitchen was bigger than you would expect in a one-person Manhattan apartment – that's the Italian girl in her, I think.

"Our other friends would just have a couple of take-out containers in the fridge, but Gaga's place wasn't like that. After a full night out, she'd roll out hamburger meat into meatballs and bake them, then cook spaghetti on the stove in carefully seasoned water. This wasn't like some college kid's version of spaghetti and meatballs – she’d make it all properly."

Gaga’s apartment also had “a little production space” where she could record songs she was writing on her two guitars. Though their nightclub act originally had Gaga dancing to records Sullivan would play from the DJ booth, she really found her groove when she started to sing as well. “My biggest contribution was saying to her: ‘You’re a great go-go dancer, you’re a great singer, so why don’t you sing when you dance? So she started coming on around midnight and singing three songs there and then – and it just clicked straight away,” he recalls.

Unstoppable: Lady Gaga on her Born This Way tour CREDIT: Alamy 

At this point, Sullivan concedes that Gaga didn’t yet look like a pop star. "She'd already been an extra on The Sopranos – and [Jamie-Lynn Sigler's character] Meadow Soprano was kind of the icon of what a cool Italian girl should look like. So Gaga looked a lot like Meadow Soprano. And you know, she'd just dropped out of New York University and looked a lot like a college kid, too – kind of sweet and innocent."

Still, there was no denying the singer’s stage presence and chutzpah. "Someone from the club would introduce her and really try to hype her up,” Sullivan recalls. “'Like: ‘You're gonna be hearing a lot more from this lady, but remember you saw her here first.' Then Gaga would blow them all away – every single time."

Though Gaga was clearly a natural performer, Sullivan says her early stage act wasn’t loved by everyone. “Someone like Lana Del Rey, she used to, like, innocently hate Gaga,” he recalls. “Lana came out of the Williamsburg scene in Brooklyn; Gaga came out of the Lower East Side scene [in Manhattan]. Obviously Gaga was getting more attention and playing bigger clubs and Lana just didn’t like her.”

CLICK TO WATCH GAGA ON THE SOPRANOS

https://www.youtube.com/watch?v=QrainCFg9BU

Others criticised Gaga for her choice of stage attire. “When you come out in your underwear and tell everyone: ‘I’m gonna be this huge pop star but tonight I’m playing this crunchy club’, some people are going to say: ‘Who does she think she is?’ But that criticism is the price of glory, you know?”

Gaga’s star was rising fast, but Sullivan says she hit a major stumbling block when she was dropped by her first record label, Island Def Jam. "She had a record deal – she was making it, and she already had some of the songs that went onto her first album [2008's The Fame]," Sullivan recalls. "But at the time, those label guys were so frazzled from the music industry collapsing due to illegal downloads that they weren't looking for a totally new artist like Gaga who had the vision to save them."

At this point, Sullivan says Gaga's business-savvy father came to her rescue by "taking over her affairs" and helping to extricate her from the deal relatively painlessly. When her demo tape found its way to Jimmy Iovine, co-founder of Interscope Records, who duly signed her, she became "unstoppable". 

Lady Gaga and her Rain On Me collaborator Ariana Grande 

In his book, Sullivan writes that Gaga “had an innate social intelligence that made her approachable to everyone”. This intelligence helped her to communicate with a powerful figure like Iovine, who’d made his name working with legends including John Lennon and Bruce Springsteen.“Though he's one of the most successful producers in the world, he’s still just a Brooklyn Italian Boy at heart who likes the simple things in life like good food and good chat,” Sullivan says. “So he and Gaga just really hit it off.” 

Sullivan’s last hurrah with Gaga was appearing in the music video for her debut single Just Dance. Since then, he’s continued to watch her career closely and says he’s touched by the charity work she does for “young people who feel like outsiders” with her Born This Way Foundation. He also loves Gaga’s new duet with Ariana Grande, Rain on Me, because it represents the positive impact she’s had on other female artists.

Lady Gaga performing in 2008 CREDIT: AP

At 26, Grande is eight years younger than Gaga and grew up watching her navigate the industry on her own terms. “I remember playing one of Gaga’s songs for another DJ and him saying to me: ‘What is this bullshit 16-year-old girl’s music?’ And I remember saying back: ‘If 16-year-old girls had someone like Gaga to look up to do, you’d never get a date.”

He also suggests that collaborating with Grande hints at a nurturing role Gaga’s always wanted. “I remember her saying to me: ‘When I’m the biggest pop star in the world, everyone’s gonna trust me and I’m going to start my own label and be the grandmother of pop,'” he recalls. “But think of an Italian grandmother, you know, making meatballs like Gaga did in her apartment on the Lower East Side. ‘Do you need food in your belly? What do you need to succeed?’ I think that’s what she meant by being the grandmother of pop.”

[ladyxgaga]

EUROPEAN LEG OF LADY GAGA'S JOANNE WORLD TOUR TO BE RESCHEDULED

Monday, September 18, 2017 - For Immediate Release.

Live N­­ation confirmed today the European leg of Lady Gaga Joanne World Tour Concert has unfortunately been postponed until early 2018. The six-week European leg of the tour was scheduled to begin on September 21 in Barcelona, Spain and conclude on October 28 in Koln, Germany.

Lady Gaga is suffering from severe physical pain that has impacted her ability to perform. She remains under the care of expert medical professionals who recommended the postponement earlier today. Lady Gaga is devastated that she has to wait to perform for her European fans. She plans to spend the next seven weeks proactively working with her doctors to heal from this and past traumas that still affect her daily life, and result in severe physical pain in her body. She wants to give her fans the best version of the show she built for them when the tour resumes.

Lady Gaga sends her love to all her fans across Europe and thanks them for their support and understanding. As the tour is currently working on rescheduling the European dates, fans should hold onto their existing tickets pending the announcement of additional information once it is available. The second North American leg of the tour is scheduled to continue as planned. Live Nation and Lady Gaga apologize sincerely for the inconvenience.

- LadyGaga.com

[itsjoaoramos]

Get well soon Gaga

Lady Gaga just cancelled the last 10 dates of her "Joanne World Tour" on Europe! Fibromyalgia left her with strong pain, which made her finish the tour in this way!

I just can't think in what is she feeling now! Hope you get well with no rush! Just take your time! We want to see you healthy and stronger than ever! LOVE YOU MY QUEEN! 💖

[joannesworldtour]

The Deadheads of the 20th century have given way to “Little Monsters,” a fan community that gets to shine on every date of Lady Gaga’s “Joanne World Tour.”

The roadshow visited Bankers Life Fieldhouse Sunday, when Gaga found three personal moments inside a sensory-overload thrill ride to spotlight the importance of her “Monster” following.

“Edge of Glory,” a power ballad from 2011’s “Born this Way” album, carried added significance after Gaga dedicated the song to two fans in attendance: Emma Carroll, a cerebral palsy patient from Wisconsin who once helped diagnose Gaga’s chronic pain issues, and Danielle, who drives four hours daily to take Carroll to and from college

Near the concert’s conclusion, Gaga picked up a letter a fan tossed onstage.

Calling it a “Monstergram,” Gaga read the lengthy message from front-row concertgoer Dana, who wrote about a network of close friends she found because of Gaga’s music and its themes of acceptance and empowerment.

The title track of 2016's "Joanne" album supplied the show's third personal moment. Composed as a tribute to an aunt Gaga never knew, the song required only acoustic guitar and Gaga's voice to captivate an arena filled with fired-up fans. Joanne Germanotta died at age 19 in 1974, and Gaga told the crowd a primary purpose of the "Joanne" project was to help "heal one part of her father."

Being honest and vulnerable are major components of Gaga's appeal. Eight years into her career, she oversees a fandom that sees itself as a family or tribe in the tradition of the Grateful Dead's near-mythical Deadheads.

But if recent Netflix film "Gaga: Five Foot Two" served as all one knew about Gaga, you might wonder if it's all worth the hassle. A documentary of physical pain, music-industry pressure and soul-sucking obligations, "Five Foot Two" doesn't reflect the payoff she and her fans enjoyed Sunday in Indianapolis.

Basically the story of "Joanne's" release and preparations for Gaga's Super Bowl halftime performance, "Five Foot Two" fails to touch on the Midwest as an inspiration for the album.

Gaga, however, pushed this narrative in concert. "I made this album for this part of the country," she said, and Gaga talked more than once about the album's signature pink wide-brimmed hat as something she "borrowed" from Middle America.

Sonically, we can look to the folk-country structure of "Joanne's" title track and the throbbing '80s metal of "John Wayne" as things that play well in the heartland.

But I'm not sure Indiana’s Gaga fans want to come to her show and be told they’re the ones who turned her “normal"?

This would be a minor distraction in a production that brought together exciting music and knockout visuals.

Three large "pods" above the arena's floor served multiple purposes. In addition to lighting the show, the pods housed video screens that transformed into footbridges that descended to help Gaga and her company of dancers travel to three satellite stages.

At the very least, any material that's light and strong enough to fold from video screen to walking path should be celebrated as a concert innovation.

Gaga's show reached full power when the pods released their bridges for "Applause," a song accented by flower-power visuals reminiscent of TV's  “Rowan & Martin's Laugh-In.”

This wasn't the only instance Gaga reached back to pop-culture cues of yesteryear.

She resembled Jane Fonda's "Barbarella" during a rendition of  "Just Dance," wearing  space-age gear and go-go boots. Once that outfit's militaristic shoulder coverings were removed, Gaga shifted to denim-clad starlet suggestive of Catherine Bach's Daisy Duke on "The Dukes of Hazzard."

Earlier in the show, Gaga wore a fringe-heavy black leather bodysuit that seemed to split the difference between Ann-Margret on a variety show and Tina Turner in “Mad Max: Beyond Thunderdome.” Once the fringes came off, Gaga resembled Cher in her memorable "If I Could Turn Back Time” video.

Perhaps these pop-culture callbacks factor into Gaga’s thoughts on “Joanne” and what we enjoy in the Midwest?

She’ll always have “Bad Romance,” 2009’s jolt of energy and attitude unlike anything that came before or arrived since.

For Sunday’s rendition of “Bad Romance,” Gaga’s wardrobe resembled a Stanley Kubrick trifecta: a feather mask reminiscent of the masquerade ball in “Eyes Wide Shut”; puffy shirt sleeves suggestive of Kubrick’s 18th-century homage “Barry Lyndon”; and sturdy white battle gear similar to what Alex’s gang wears in “A Clockwork Orange.”