Britney Spears and the Mystery of "I Wanna Know" – Is It a New Song or Just Another Forgotten Track?

 

Britney Spears fans were buzzing with excitement when rumors started circulating about a newly registered song called "I Wanna Know." Could this mean new music is on the way? Well, let’s break it all down and see what’s really going on—because, spoiler alert, things aren’t always what they seem.

"I Wanna Know" – An Unreleased Gem?

The track "I Wanna Know" has recently caught the attention of fans, sparking speculation about its origins and potential release. While the song is officially registered with Britney Spears as the performer and credits songwriters like Savan Kotecha, Kristian Lundin, Carl Falk, and Jake Schulze, the exact date of its registration isn't publicly available. This ambiguity has led to various theories among fans, but without official confirmation, the song's status remains a tantalizing mystery.

Why Do Artists Register Songs?

A lot of people assume that if a song is registered, it must mean it’s going to be released soon. But that’s not how it works. Registering a song is simply a legal step to protect ownership rights. When a track gets registered, it means that its composers and producers are ensuring they get credit and royalties if the song is ever used or released in the future. But this doesn’t mean it will be released.

In Britney’s case, there are tons of songs that have been registered and never made it to the public. Some well-known examples include:

• "Rebellion" – Registered in 2006, never officially released.

• "State of Grace" – A song from the In the Zone era that never saw the light of day.

• "911" – A track from Blackout sessions that leaked online but was never put out officially.

Basically, registering a song is just a standard industry practice and not necessarily a sign that something is dropping soon.

Is Britney Working on New Music?

If you’re hoping for a brand-new Britney album, don’t hold your breath. Britney herself has been very vocal about not wanting to return to the music industry in the traditional way. Earlier this year, she made it clear on Instagram that she’s not working on a new album and has no plans to go back to performing anytime soon.

However, she did say she has been writing songs for other artists, claiming she’s written over 20 tracks in the past couple of years. So while she may not be releasing music for herself, she’s still involved in the industry behind the scenes.

What’s Britney Up to Now?

While Britney isn’t planning a music comeback, she’s definitely been busy. Her memoir, The Woman in Me, was released in October 2023 and became an instant bestseller. It gave fans an unfiltered look into her life, including her struggles under the conservatorship and her journey to freedom.

As for music, her last official releases were "Hold Me Closer" (a 2022 collab with Elton John) and "Mind Your Business" (a 2023 track with Will.i.am). But Britney didn’t do any promo for them, making it clear that she’s not interested in the traditional pop star life anymore.

In addition to her musical projects, Britney is actively involved in developing a biopic based on her 2023 memoir, The Woman in Me. Directed by Jon M. Chu, known for films like Crazy Rich Asians and In the Heights, the biopic aims to authentically portray Britney's journey. Chu has expressed his admiration for Britney and emphasized her significant involvement in the project, stating, "I want to do her justice and tell her story right." 

The film is still in the early stages, with no script or cast confirmed. However, fans are already speculating about who might play the pop icon, with names like Sabrina Carpenter and Sydney Sweeney being mentioned. Britney's active participation ensures that the biopic will reflect her perspective, offering fans an intimate look into her life and career.

So, Will "I Wanna Know" Ever Be Released?

Honestly? Probably not. The song has been sitting in the archives for years, and there’s no sign that Britney or her team have any plans to put it out. While unreleased Britney tracks have leaked in the past, it’s unlikely that "I Wanna Know" will see an official release unless something changes drastically.

Final Thoughts

It’s always exciting when there’s a hint of new Britney music, but in this case, the facts just don’t support the hype. "I Wanna Know" is an old registered song, not a new track, and Britney herself has made it clear that she’s stepping away from the music industry—at least for now.

So, while we can always hope for surprise releases (or leaks), it looks like "I Wanna Know" will remain another lost Britney song. Still, knowing that Britney is happy and doing things on her own terms? That’s the real win.

Last.fm Blocking “Fancy” by Artemas: Censorship or a Necessary Filter?

Some Last.fm users recently discovered that the song “Fancy” by Artemas isn’t showing up in their profiles—even though they’re listening to it on connected platforms. This has sparked talk of censorship on Last.fm, since the scrobbles (recorded plays) for this track seem to be getting blocked on purpose. Let’s dive into what Last.fm officially says about this issue, what the community is buzzing about, past cases of similar incidents, and even some tech workarounds to dodge this “censorship.”

The Official Story: Last.fm’s Spam Filter in Action

Last.fm has admitted in their support forums that some songs don’t get scrobbled because of an automatic spam filter. For “Fancy” by Artemas, it looks like the problem is tied to the title of the release—it includes the word “xvideos.” Users and moderators have explained that Last.fm “doesn’t want” certain terms in song metadata, likely to prevent spam or inappropriate content. In plain language, the system mistakenly flags “xvideos” as a red flag, even though it’s just part of the song’s artistic concept.

To fix this, Last.fm uses a whitelist process. That means if a legitimate song gets blocked, users can report it to support so the song can be manually approved. In a forum post, a user mentioned that Last.fm eventually added the problematic release to the whitelist, hinting that they’re working on letting the song’s plays show up normally. So, while Last.fm isn’t denying the block, they explain it as an automated anti-spam measure that can be corrected on a case-by-case basis.

What the Community Is Saying: Forum and Social Media Outrage

The response from the Last.fm community was immediate. Many Artemas fans expressed frustration that their listens to “Fancy” weren’t showing up in their profiles. “Why isn’t this song appearing in my scrobbles?” one confused user asked on the song’s page. As more people confirmed the issue, the mood shifted from confusion to anger. “It’s so annoying… I’m losing my scrobbles,” another fan complained, while someone else demanded, “OMG, someone fix this!” on social channels.

On Reddit and other online forums, the sentiment was the same. Users shared links to the relevant support threads and explained that the issue wasn’t a glitch in Spotify or the scrobbler, but a deliberate decision by Last.fm. On Twitter, some fans even tagged Last.fm asking for an explanation, comparing the situation to outright censorship. One user known as Paradise summed up the general disbelief: “This is the first song I’ve ever not been able to scrobble, WTF!” For many, the idea that Last.fm is essentially “censoring” a legitimate musical release just because of its title feels like a betrayal.

Similar Cases in the Past

Although the block on “Fancy” came as a shock, it’s not the first time Last.fm’s filter has caused issues. There’s a pattern here: songs with titles that include file extensions or generic names often trigger the filter. In the past, Last.fm didn’t scrobble songs labeled “Track 01” or “Unknown” (common when files aren’t properly tagged). There were also issues with tracks that had parts of their file names in the title, like the case of “SVANG.MP3” by Browsing Collection. A Reddit user even pointed out that several songs with names like “Track1” or ending in “.mp3” simply never got scrobbled.

Another odd case involved “Song 9” by Hobo Johnson, which also failed to scrobble for a while. The community later discovered that having a number in the title made the system think it was a placeholder or spam. After enough complaints, a moderator announced that the song was added to the whitelist, and it began scrobbling normally again. Similarly, the song “Hug.m4a” by Japanese band Hitsujibungaku was blocked at first because the “.m4a” looked like a file extension—but once fixed by Last.fm, it started scrobbling without issue. These examples show that Last.fm has been using these automatic filters for years, originally set up around 2015 when they revamped the site. While they claim it’s a preventive measure to avoid erroneous data or potential code injection through metadata, it’s clear that sometimes genuine music gets caught in the crossfire.

How to Bypass the “Censorship”: Tech Workarounds

Until Last.fm fixes the issue officially, users have come up with temporary workarounds so they don’t lose their scrobbles for “Fancy.” One popular tip is to use a manual scrobbler—a third-party tool that lets you edit the song’s metadata before it’s sent to Last.fm. For instance, using services like Open Scrobbler or other apps, you can simply remove the word “xvideos” from the album field when submitting the scrobble. One user even confirmed that by changing the album name to just “Fancy” (dropping “xvideos”), the song was successfully scrobbled.

Another technical fix, especially for those playing local files, is to edit the MP3’s ID3 tags. In other words, change the album name on the file itself (say, to “Fancy (single)”) before playing it, so that the scrobbler doesn’t see the banned term. If you’re streaming from platforms like Spotify, however, this isn’t an option—so the manual scrobbler route is your best bet.

Lastly, the community strongly suggests reporting the issue to Last.fm support to speed up the process. Many users have already shared the support thread link to demand that the song be whitelisted. The idea is that if enough people report the problem, the staff will be more likely to fix it quickly. While it might take a few days or even weeks, collective feedback has often led to such issues being resolved.

Personal Take: When Protection Turns into a Frustration

This whole “Fancy” episode really makes you question if Last.fm is striking the right balance between protecting their platform and giving users a smooth experience. On one hand, it makes sense that Last.fm wants to avoid spammy or garbage data in its records. An automated filter can help keep things clean, preventing thousands of fake plays from messing up the stats. But when that filter ends up blocking legit music—like a cool, experimental release by Artemas—it starts feeling more like censorship.

In my view, Last.fm should tweak these mechanisms so they don’t penalize genuine art and loyal listeners. Maybe smarter filters that can tell the difference between a suspicious file name and a creative title are in order, or at least a heads-up to users when their scrobbles are blocked. The anger and disappointment from the community—like the exasperated “don’t do this to me, why isn’t it scrobbling?!”—show that a lack of transparency only makes things worse. If Last.fm explained, “Hey, this song wasn’t scrobbled because it contains a term flagged by our filter,” users would at least understand what’s going on and know how to fix it.

At the end of the day, the “Fancy” debacle is a classic clash between automated security and user control. Sure, Last.fm has every right to keep its database clean, but that shouldn’t come at the expense of genuine music. For fans of Artemas, this isn’t just a minor glitch—it feels like a personal slight. And while community workarounds help in the short term, Last.fm ultimately needs to step up its game and communicate better with its users.

Conclusion:

The blocking of “Fancy” has been seen by many as a form of digital censorship, even if it’s driven by an overzealous spam filter. Last.fm explains it as an automated safety measure, one that can be fixed by adding songs to a whitelist. Online discussions show that fans are willing to help push for a fix, but they’re also deeply frustrated by the loss of their play counts. In the end, while many understand the need for filters, they also demand that Last.fm respects the art and the people who love it. With enough pressure, it’s likely that “Fancy” will soon scrobble normally, reminding us that technology should enhance our listening experience—not censor it.

Mayhem Unleashed: Lady Gaga's Bold Journey Through Chaos and Reinvention

Lady Gaga is back and bolder than ever with Mayhem, a fearless musical journey that blends a whirlwind of genres and emotions. This album is a heartfelt nod to her roots while boldly pushing the boundaries of pop, electronic, rock, and funk. With a raw, personal energy and collaborations with top producers like Andrew Watt, Cirkut, and Gesaffelstein, Mayhem is more than just a collection of songs—it’s an intimate exploration of chaos, healing, and self-discovery. In this article, we’ll dive deep into the album’s diverse influences, the intricate production process, and what each track reveals about Gaga’s artistic evolution, all while capturing the excitement and passion of both critics and fans alike.

Musical and Conceptual Influences:

Mayhem was born from a period of deep introspection for Gaga, who described it as “a transgressive journey through genres” influenced by her personal experiences. It is strongly inspired by 90s industrial music and electronic sounds while also paying homage to the icons that have marked Gaga’s career: from 90s alternative rock and grunge to Prince’s funk, the melodies of David Bowie, French synth-pop, and analog synthesizers. The artist explicitly mentioned influences as diverse as “90s alternative, electro-grunge, Prince and Bowie’s melodies, funky bass lines, French electronic music, and analog synthesizers” – reflecting the album’s sonic variety. Conceptually, Gaga explores her “inner demons” and personal chaos: each song represents a part of that inner turmoil but with a celebratory tone, aiming to connect—from the dance floor to intimate moments. Gaga even created an alter ego called “Mayhem,” which appears in the album’s aesthetic (for example, in the “Disease” video), symbolizing that chaotic force that ultimately transforms into catharsis and liberation. In her own words, the title Mayhem intends to “memorialize a part of me and life that is not always easy to accept” while also celebrating “the power of joy, dancing, crying, and the music” that emerges from chaos. All of this conceptual framework is encapsulated in an eclectic album that “jumps from one genre to another” and “doesn’t follow many rules—it’s pure chaos and a lot of fun,” as Gaga herself stated.

Production and Collaborators:

Mayhem is the result of an intense collaborative process. Lady Gaga is credited as composer and producer on every track, working closely with three central producers: Andrew Watt, Cirkut (Henry Walter), and the French producer Gesaffelstein. Michael Polansky—Gaga’s partner—served as executive producer and co-writer on several tracks, encouraging her “to go back to making pop music” fearlessly. The recording sessions (between 2022 and 2024) took place in legendary studios such as Shangri-La (Malibu) and Glenwood Place (Burbank), where Gaga had previously worked on Joanne and A Star Is Born. Unlike earlier albums with a more defined direction, here Gaga embraced a less conventional process: combining live instrumentation with digital programming and experimenting with analog equipment to create unique sounds. In total, she composed more than 50 songs and selected 14 for the standard edition, giving herself “the freedom to be chaotic with genres and decisions”. Notable collaborators include Bruno Mars, who contributes vocals and guitar on the duet “Die with a Smile,” producer D’Mile (providing bass and drums on that track), and songwriters like James Fauntleroy (who co-wrote “Zombieboy” and the Mars duet). Gesaffelstein’s influence is particularly evident on the more electronic and industrial cuts (he co-produced “Garden of Eden” and “Killah”), while drummer Chad Smith (from Red Hot Chili Peppers) appears on the energetic “Killah” adding organic percussion. This ensemble of producers and musicians gives the album a solid foundation where pop, rock, electronic, and funk converge. Gaga acted as the creative director of the project, ensuring cohesion within her “musical chaos” and maintaining total artistic control over the album’s vision.

Track-by-Track Analysis:

Mayhem contains 14 tracks on its standard edition, each with its own personality yet united by the thread of creative chaos and reinvention. Below is a track-by-track overview:

1. “Disease” – The opening track is an explosive electropop piece with dark undertones, infused with influences from industrial music, gothic rock, and even hints of punk. Built on a pounding four-on-the-floor beat with background grunge guitars, Gaga employs aggressive, almost guttural vocals in the chorus and plays with her falsetto in the bridge. The lyrics speak of the healing power of love, positioning Gaga as a nearly shamanistic figure who can “cure your disease” if you surrender to her. Critics noted echoes of her hits “Bad Romance” and “The Cure” in its catchy melody and commanding delivery. In fact, Clash compared the dense electronic production to that of Nine Inch Nails, highlighting Gaga’s industrial twist. “Disease” was the first single and marked a strong return to the experimental pop of her early work, earning praise for its intensity and danceable hook.

2. “Abracadabra” – This uptempo track plays with magical imagery. It is a dance-pop number with a dark new wave edge, interweaving elements of the classic post-punk “Spellbound” (1981) by Siouxsie and the Banshees. The result is a song with a gothic atmosphere yet incredibly catchy. Here, Gaga “retrieves her characteristic use of memorable phrases” – the chorus is immediate and enchanting, like a pop spell. Lyrically, she uses magical metaphors (“abracadabra”) to describe irresistible attraction, as if love were a conjuring trick. The production combines 80s-style synthesizers with electronic percussion, evoking the vibe of her early hits but with a mysterious twist. Released as the second single, “Abracadabra” was also well received by critics for its blend of nostalgia and freshness, reaching the global top 5.

3. “Garden of Eden” – An anthemic pop-rock stadium track. Co-produced by Gesaffelstein, it mixes a dark electronic base with powerful guitars to create an epic atmosphere. Several critics described it as “stadium-sized” – Pitchfork mentioned that it is reminiscent of “MANiCURE” (from ARTPOP) passed through the filter of a The Fame demo, highlighting its unleashed energy. Gaga’s vocals here are powerful and dramatic, with soaring choruses that recall her anthems from Born This Way. NME noted that its vocal hooks evoke “Poker Face”, thus connecting with the The Fame era. Lyrically, “Garden of Eden” plays with the metaphor of paradise and temptation: Gaga offers an ecstatic escape—the “Garden of Eden”—amid chaos, with an optimistic and liberating tone. It is one of the tracks that best represents the fusion of rock, 80s funk, and electronic elements characteristic of the album.

4. “Perfect Celebrity” – Here, Gaga delivers a biting satire on the fame and superficiality of pop culture. Musically, it is a dance-pop track with an industrial edge: its pounding rhythm and distorted bass lend it an aggressive feel that Clash described as “theatrical dark pop”. The song even carries a “Nine Inch Nails-esque” vibe according to Pitchfork, featuring squealing synthesizers and a rock-inflected groove. Lyrically, Gaga ironizes about what it means to be the “perfect celebrity,” listing fame clichés with acerbic humor (recalling the theme of The Fame). The Guardian praised the track for its exploration of stardom and memorable hooks, marking it as one of the highlights for its blend of pop catchiness and subversive critique. “Perfect Celebrity” feels like the Gaga of her early days (the one who sang “Paparazzi”), but imbued with the cynicism learned over years of stardom.

5. “Vanish Into You” – An electropop sensual track with hints of house. The song starts slowly and builds tension, incorporating atmospheric synthesizers and a hypnotic rhythmic pulse. Several critics noted that its emotional crescendo is reminiscent of the intensity in “Bad Romance”, especially during the climax where Gaga unleashes her voice over a wall of electronic sound. The theme revolves around the desire to completely lose oneself in another person – “vanishing into you” – expressing both vulnerability and devotion. The production blends elements of a balearic beat and club pop, achieving a balance between the dramatic and the danceable. Variety remarked that this track stands out for its tension and atmosphere, comparing it to the darker dance hits from Gaga’s repertoire.

6. “Killah” – One of the album’s most experimental moments. Gesaffelstein collaborates on this track, imbuing it with a raw electro-industrial sound. “Killah” even contains a sample from David Bowie (Pitchfork mentions it as a nod to Bowie), and according to Slant it has a “Bowie-esque” style in its groovy section. The song kicks off with a funky synthesized riff and a dark electro-funk base reminiscent of 80s Prince. Unexpectedly, halfway through, Gaga lets the instrumental take center stage and unleashes a rock scream that elevates the energy to the maximum. This frenzied scream—a “psycho-rock” moment—was celebrated by critics as an example of the freedom Mayhem embraces. The unconventional structure and blend of funk, rock, and electronic elements make “Killah” truly live up to its title. The lyrics flirt with the notion of being an “assassin” on the dance floor, with Gaga embodying a liberated femme fatale.

7. “Zombieboy” – A cheerful homage to the late model Rick Genest (known as “Zombie Boy,” who appeared in the “Born This Way” video). It is a retro disco-pop track: beneath its danceable shine lies a sincere tribute. With a glittering disco beat and a chant-like catchy chorus, Pitchfork described it as a “glamorous disco bop” and noted that Gaga even adopts a double dutch style (similar to a children’s rhyme) at one point, adding a playful touch. Despite its macabre title, “Zombieboy” radiates a festive energy and celebrates Genest’s unique individuality – with Gaga immortalizing him in lyrics that evoke dancing among ghosts and beautiful “monsters.” According to Slant Magazine, together with “LoveDrug,” it forms the most 80s synth-pop section of the album, full of nostalgic vibes. Essentially, it sees Gaga merging her love for eccentric pop art with an irresistible beat.

8. “LoveDrug” – Continues the disco-funk vein of the previous track. “LoveDrug” features a pronounced funky bass line, catchy riffs, and synthesizer arrangements reminiscent of 80s dance. The song compares love to a drug, with Gaga singing about how addictive and euphoric falling in love can be. The groove remains constant and vibrant—The Quietus noted that “LoveDrug” (along with “Zombieboy”) injects a vibrant energy into the album by chaining together two danceable bangers. Vocally, Gaga alternates between sensuality and abandon, almost “exorcising” emotions on the dance floor. The production by Watt/Cirkut shines here with nods to Chic or Daft Punk, yet it retains Gaga’s signature pop melodies. It’s easy to imagine this track filling clubs with its blend of retro nostalgia and modern flair.

9. “How Bad Do U Want Me” – In this track, Gaga tones down the revolutions to deliver a seductive midtempo with hints of rock-pop. The song explores vulnerability in the face of desire: Gaga asks just how badly she is wanted, exposing both insecurities and empowerment simultaneously. Many fans associated it with her A Star Is Born character, Ally Maine, due to its contemporary power ballad pop-rock vibe. It features subtle electric guitars, a moderately marked rhythm, and a passionate vocal delivery. Toward the end, Gaga adds powerful ad-libs that heighten the drama. Its structure and emotional intensity align it with 80s and 90s pop ballads, albeit with modern production. This is likely one of the most personal songs in terms of lyrics, addressing longing and self-affirmation in a relationship.

10. “Don’t Call Tonight” – A dance-pop empowerment track where Gaga sets clear boundaries. With an upbeat tempo and bright synthesizers, this track recalls the fun songs from The Fame Monster. The lyrics essentially tell someone “don’t call tonight,” hinting that Gaga prefers the dance floor—or solitude—over a fleeting toxic relationship. Its production incorporates elements of early 2000s electro-pop (4/4 beats and subtle vocal effects), lending it a retro Y2K touch. Melodically, the hook is simple yet memorable. Although not one of the most talked-about tracks by critics, “Don’t Call Tonight” serves as a light and danceable moment in the album’s second half, providing balance amidst the denser material.

11. “Shadow of a Man” – A track with a dark, emotive atmosphere, considered by several critics as the album’s high point. Consequence called it “the culmination of Mayhem and one of the best songs of her career”. It is a powerful ballad with electronic foundations: it begins with somber keyboard chords and gradually introduces a midtempo electronic beat. Here, Gaga delivers one of her most heartfelt vocal performances—her voice alternates between tenderness and raw, wrenching emotion within the same verse. The lyrics appear to address the shadow of a male figure from the past (perhaps a lost love or a part of herself): the phrase “I am the shadow of a man” suggests that Gaga is exploring themes of identity and dependency. Musically, it fuses 80s synth-rock with dramatic balladry. Mary Siroky (Consequence) highlighted how it balances “homage and originality,” channeling influences of pop, industrial, 80s funk, and 2000s dance into a controlled chaos. “Shadow of a Man” encapsulates that balance with equal parts melancholy and power, and for many, it stands as the hidden gem of the album.

12. “The Beast” – True to its title, “The Beast” is an intense track that directly confronts inner demons. It revisits an industrial rock sound: heavy beats, aggressive synthesizers, and arguably the most roaring guitar moment of the album. Gaga explained that from the first song to the last, our demons accompany us, and here that is evident. The song carries a somewhat cinematic terror vibe—it could easily score a climactic moment in a film. Gaga’s vocals transition from tense whispers to near-shredding outbursts, embodying the metaphorical “beast” she sings about. It is one of the most experimental tracks in terms of structure—perhaps less melodic but rich in atmosphere. Some listeners found it less accessible at first, yet it contributes significantly to the album’s narrative of chaos and redemption. “The Beast” represents accepting that dark side in order to move forward, a theme very much in line with the overall vision of Mayhem.

13. “Blade of Grass” – The penultimate track, “Blade of Grass,” contrasts with the previous aggression by offering a more reflective moment. It begins with a more organic instrumentation; soft keyboards and even hints of piano provide a breather. Here, Gaga and Watt experiment with ambient textures and analog synthesizer sounds, creating an ethereal atmosphere. The title suggests fragility and renewal—as if a blade of grass emerges after a storm—and indeed, the lyrics speak of hope and the small things that bring peace amid chaos. Midway, the song grows in arrangement, adding percussion and faint choirs, reaching an emotional yet contained climax. “Blade of Grass” serves almost as an introspective epilogue, preparing us for the grand finale with Bruno Mars. It is a track that showcases Gaga’s versatility in transitioning from the strident to the subtle while maintaining coherence.

14. “Die with a Smile” (feat. Bruno Mars) – The album closes with this duet featuring Bruno Mars, a pop track with retro soul and funk influences that pleasantly contrasts with the earlier darkness. Initially released as a promotional single, the song topped global charts (number 1) before being included on the album. It combines Bruno’s style—retro groove, funky electric guitar, and soulful vocals—with Gaga’s theatrical pop. Produced by D’Mile, the track has shades of 70s classic R&B: funky bass, subtle brass elements, and an upbeat rhythm that invites dancing. Ironically titled “Die with a Smile,” the lyrics describe a relationship so fulfilling that one could “die happy” after experiencing that love. Gaga and Mars alternate verses and blend their voices into a powerful, harmony-rich chorus. Critics highlighted it as the most optimistic song on the album, offering a ray of light. Many fans initially wondered how such a “melodious” track would fit into an album promoted with dark overtones, but upon listening, they appreciated that it provided balance and a hopeful closure to Mayhem. Its reception was excellent; for instance, PinkNews praised it as “highly acclaimed” within the release. “Die with a Smile” ends the album on a high note, fusing both worlds (Gaga and Bruno) into a grand pop number that celebrates love and the joy of living, encapsulating Gaga’s final message: amidst chaos, love and music prevail.

Critical Reception:

Mayhem was met with universal acclaim from critics. On Metacritic, it scored 85/100 (based on 12 reviews), the highest average rating of Gaga’s discography to date. Specialists praised the album as a return to her pop roots but with a fresh, experimental approach, highlighting its genre-blending, solid production, and the balance between accessibility and daring artistry. Media outlets such as Rolling Stone, The Guardian, and Variety concurred that Gaga managed to recapture the energy of her early work without sounding repetitive or overly nostalgic. Brittany Spanos (Rolling Stone) deemed it “the strongest pop release of the year,” commending how Gaga “blends the past without falling into cheap nostalgia” and affirming that at this stage, the artist feels “more authentic than ever, without personas or concepts overshadowing the songs”. In a similar vein, Alexis Petridis (The Guardian) awarded it 4 out of 5 stars, describing it as “a reaffirmation of Gaga’s core values” – emphasizing its mix of electronic, house, and disco with memorable hooks – and noted that the album “does not sound retro, but rather relevant,” comparing it to the freshness of The Fame in 2008. Several critics pointed out that Gaga sounds completely liberated and self-assured: “a triumphant return to the pop that made her famous” wrote Ed Potton of The Times, praising tracks like “Disease” and “Abracadabra” as danceable anthems that “cement Gaga’s prowess in crafting pop hits”. Adam White (The Independent) went further, awarding it 5 stars and stating that after a decade of exploring other genres, Gaga finally “appears committed and present in a way not seen in a long time.” He celebrated that Gaga is “unafraid of pop once again,” commenting that even though she had previously spoken of rediscovering herself, “this time it feels different, leaning into chaos and extravagance”. In Variety, Steven J. Horowitz described the album as “a return to pop roots and the dance floor,” noting that Gaga “revitalizes key elements from her early work without sounding nostalgic” and praising her renewed creative confidence. Variety also highlighted the tension reminiscent of “Bad Romance” in “Vanish Into You” and how Gaga manages to sound “authentic and free from expectations,” clearly enjoying herself with the music. Comparisons with previous albums were common, with many viewing Mayhem as a natural evolution of Gaga’s sound: Rolling Stone UK called it “a microcosm of the artist’s career,” recalling the maximalist aesthetic of The Fame and Born This Way, emphasizing that Gaga “delivers a vibrant album that reaffirms her place in the industry”. Similarly, Harper’s Bazaar noted that the album “encapsulates her past, present, and future,” representing the most comprehensive evolution of Gaga to date, with clear influences from Bowie, Prince, and Michael Jackson integrated into the sound. A recurring point in reviews was Gaga’s vocal performance: Pitchfork stressed that a good scream from Gaga “hits like an electric shock,” and in Mayhem we hear her roar, growl, and howl with revitalized energy – a refreshing change in a landscape dominated by whispery vocals. In summary, critics hailed Mayhem as one of Lady Gaga’s finest works—a daring album that combines the essence of her beginnings with her current artistic maturity.

Fan Reaction:

The response from the Little Monsters—as her fans are known—was enthusiastic and passionate from day one. On social media platforms like Twitter (X), the album quickly trended globally under the hashtag #MAYHEM. Many fans proclaimed that Gaga “returned with a vengeance” to pop and that the album exceeded their expectations. One fan celebrated that “every song on Mayhem lasts more than 3 minutes,” exclaiming that “REAL music IS BACK” (a nod to the trend of very short songs on TikTok). Several described the album as “skipless”—a term indicating that there isn’t a single filler track. Highlighted comments on X praised Gaga’s vision: “It sounds like an album from an artist who finally knows exactly what she wants to say and how to say it… zero insecurity or pretense; total visionary control,” one impressed fan noted. Another remarked, “Every song has a distinct vibe, a unique sound, and spectacular production. […] MAYHEM is truly something different, and it’s one of the best albums ever released. BRAVO!”. These reactions reflect the fanbase’s satisfaction with the album’s diversity and quality. In Reddit forums dedicated to Lady Gaga, some admirers admitted that they were initially surprised because Mayhem “was not what they expected,” but after several listens they concluded it was “exactly what they wanted and more.” “It feels like the Gaga of her early days, but much more mature and amplified. […] Definitely her best album for me,” one follower wrote, summarizing the sentiment of those who now consider Mayhem a new classic in her career. Fans also got excited over numerous details—from the tribute to Zombie Boy in “Zombieboy” to the powerful duet with Bruno Mars, along with sonic references to past eras of Gaga that were quickly spotted. It’s worth noting that before the release, there was abundant hype and speculation: for instance, some theorized on social media about a hidden collaboration with Taylor Swift on “How Bad Do U Want Me”—a rumor that turned out to be unfounded, yet it demonstrates the high level of anticipation surrounding the album. Overall, fan reception has been overwhelmingly positive. Phrases like “Gaga is stronger than ever,” “the old Gaga spirit is back,” or “this album saved my life” flooded Twitter and YouTube comments. For many Little Monsters, Mayhem not only met but exceeded high expectations, to the point where it is already considered one of Lady Gaga’s best works. The combination of nostalgic sounds with bold new artistry delighted the fanbase, with one fan declaring that “the Mother Monster has reclaimed the crown of pop.”

In my opinion, this album is incredibly interesting—definitely the first Lady Gaga record in over a decade that I've felt such anticipation for and truly enjoyed.

Tracks in Orbit: Week 202510

     

This week is one for the books, as the music scene is buzzing with new releases that span genres and moods. Adding even more excitement, Lady Gaga’s long-anticipated album Mayhem drops this week, setting the stage for a fresh wave of pop reinvention. Here’s our in-depth look at five must-listen tracks making waves right now:

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1. Lady Gaga – “Garden of Eden”

Lady Gaga continues to push boundaries with “Garden of Eden,” a track that feels both timeless and avant-garde. True to her reputation for blending bold imagery with catchy hooks, the song uses biblical and mythological references to explore themes of temptation, innocence, and rebellion. With its lush, danceable production and ethereal synth layers, “Garden of Eden” serves as a standout moment on Mayhem, encapsulating the album’s overall vision of transformative pop artistry.

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2. JENNIE feat. Dua Lipa – “Handlebars”

In a collaboration that’s turning heads, JENNIE teams up with Dua Lipa for “Handlebars.” This track marries JENNIE’s edgy, confident vibe with Dua Lipa’s signature smooth pop delivery. The result is an empowering anthem with punchy beats and an infectious chorus, urging listeners to take control and steer their own destiny. “Handlebars” is a vibrant fusion of styles that highlights both artists’ strengths, making it an instant favorite among fans of bold, modern pop.

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3. David Guetta & Sia – “Beautiful People”

David Guetta and Sia join forces once again to deliver “Beautiful People,” a soaring dance anthem that celebrates unity and diversity. With uplifting production and Sia’s unmistakable, powerful vocals, the track offers a message of hope and inclusivity. “Beautiful People” encourages us to embrace our differences and find beauty in every corner of life—a timely reminder in today’s ever-changing world.

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4. j-hope feat. Miguel – “Sweet Dreams”

South Korea’s j-hope teams up with R&B veteran Miguel on “Sweet Dreams,” a genre-blending track that feels both dreamy and energizing. The song fuses infectious hip-hop beats with smooth, soulful vocals, creating a sonic landscape where introspection meets celebration. “Sweet Dreams” captures the feeling of chasing one’s aspirations while finding comfort in the magic of music and love—a collaboration that perfectly balances energy and emotion.

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5. Rachel Chinouriri – “Can We Talk About Isaac?”

Rounding out this week’s must-listens is rising star Rachel Chinouriri with “Can We Talk About Isaac?” This soulful, indie-pop number invites listeners into a candid, narrative-driven conversation. The song’s introspective lyrics explore themes of identity, belonging, and transformation—using a personal story centered around a figure named Isaac to delve into deeper emotional truths. With its understated production and captivating vocal delivery, the track marks Chinouriri as a compelling new voice to watch.

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With Lady Gaga’s Mayhem launching alongside these new releases, the week promises to redefine your playlists and push the boundaries of pop music. Whether you’re drawn to the bold reinvention of familiar icons or the fresh energy of emerging talents, these tracks offer a diverse and exciting snapshot of what’s new in music right now.

Brat Brits Brat

The Brit Awards 2025 have truly marked a turning point in the music scene. Held at the iconic O2 Arena in London, the show boldly embraced originality by giving space to fresh voices and genres that hadn't had much visibility before. This night wasn’t just about commercial success—it celebrated genuine talent, musical diversity, and the power of using the stage to deliver meaningful messages.

Winners and Key Moments

The awards distribution spoke volumes about the new direction the industry is taking.

• Charli XCX was the undisputed queen of the night, grabbing five awards including Album of the Year and Artist of the Year. Her album Brat and the hit "Guess" featuring Billie Eilish proved that authentic, boundary-pushing talent is what really matters.
• Chappell Roan stole the show by winning both International Artist and International Song of the Year—beating out heavyweights like Taylor Swift and Beyoncé. This is a clear sign that fresh energy is breaking through.
• Ezra Collective was recognized as Group of the Year, showcasing that jazz and funk have a rightful place on such a massive stage.
• Other winners like Stormzy, Jade (formerly of Little Mix), Sam Fender, and RAYE rocked their respective categories, each standing firm in their unique style.
• Sabrina Carpenter made history by receiving the Global Success Award, becoming the first international artist to do so—a nod to the growing international flavor of these awards.

The night also paid a heartfelt tribute to Liam Payne, whose journey from rising star to icon was celebrated on stage with a montage of memorable moments, reminding us of the lasting impact he left on music and his fans.

Performances That Lit Up the Stage

The show was a wild roller coaster of emotions, thanks to performances that burst with energy and creativity:

Sabrina Carpenter: Unstoppable Energy

Sabrina Carpenter kicked off the night with an explosive performance that paid homage to British pop. Her show, packed with intense choreography and a daring stage setup, was a clear display of unbridled audacity. For me, the controversy over her performance is ridiculous; for a child, seeing someone spread their legs in a dance isn’t inherently sexual. If someone sees soft-porn in it, maybe they need to reconsider their perspective. In a world that demands authenticity, Sabrina fearlessly broke the mold.

Jade Thirlwall: Queen of the Show

Jade Thirlwall delivered what was undoubtedly the best performance of the night. Her theatrical and emotionally charged set—a mini pop opera with a gothic wedding vibe—showed that pop can be as visually stunning as it is moving. Every shift in scenery and every choreographed move solidified her status as one of the most intriguing artists of today.

Ezra Collective & Jorja Smith: A Vibrant Finale

Closing the night, Ezra Collective joined forces with Jorja Smith for a medley that radiated vibrant, infectious rhythms. Their fusion of jazz, funk, and soul wasn’t just a musical performance; it was a powerful statement that musical diversity is the future. The energy of the performance kept the crowd buzzing right until the very last note.

Speeches That Go Beyond Thanks

The acceptance speeches that night were about much more than gratitude—they were about making statements and inspiring change.

• Charli XCX expressed how essential it is to be authentic and never cave in to commercial pressures, sending a strong message to all the underdogs in the industry.

        

• Myles Smith took the opportunity to call out the challenges new talent faces and the lack of cultural support, urging everyone to invest more in music education and grassroots initiatives.

• Members of Ezra Collective highlighted the importance of supporting youth programs and using music as a tool for social transformation.

• Stormzy surprised everyone by congratulating his competitor Central Cee and questioning the popular voting system, showing a humility and constructive critique that resonated deeply.

These speeches turned the awards into a platform for reflection and change, reminding us that behind every glittering trophy, there's a call for progress.

Jack Whitehall's Sharp and Irreverent Humor

Jack Whitehall took on the hosting duties with his signature irreverence and razor-sharp wit. His opening monologue, full of jokes about British TV and playful jabs at several nominees, set the perfect tone for the night. Most of his quips hit the mark, keeping the energy light and fun. While his Diddy joke didn’t land as well as the others, it remains a minor blip in an otherwise stellar performance.

In Conclusion

The Brit Awards 2025 have shown that music is constantly evolving, and these awards aren’t just about celebrating commercial hits—they're about championing creativity, innovation, and authenticity. Charli XCX’s massive win and Chappell Roan’s breakthrough victories are clear indicators that the industry is embracing fresh talent and new sounds. The electrifying performances, heartfelt speeches, and a dose of irreverent humor have all combined to create a night that’s truly unforgettable.

This event didn’t just honor artists; it celebrated change, diversity, and the freedom to express oneself without fear. The Brit Awards 2025 proved that music is a universal language—one that evolves with every beat, always leaving room for what’s new, original, and downright authentic.