She isn't the dance-party alien who invaded the industry with her 2008 debut "The Fame," or the multifaceted goddess who sought to remake pop music in her image with her 2011 opus "Born This Way," or even the savvy chanteuse who covered jazz standards with the inimitable Tony Bennett on her 2014 throwback "Cheek To Cheek." Gone are the outfits and the gimmicks, not that she ever needed them given her talent. Instead, this new album is a reminder that Gaga is a mere mortal, blessed with powerful gifts that she's ready to share. In a year when female pop stars got deeply personal through their music -- notably Gwen Stefani or Beyoncé examining their identities amid marital strife -- Gaga may be the latest to embrace such a trend, but she keeps it fresh and focused on her many strengths as an artist.
First and foremost, Gaga has always been fearless when it comes to exploring new sounds. By adding the introspective backdrop that influences much of this album, she finds a new ingredient in the secret of her success. Most of the tracks on "Joanne" are only around three minutes each, removing the trappings of indulgent or repetitive production values and prioritizing the impact of the songs. Opener "Diamond Heart" and lead single "Perfect Illusion" are perhaps the most reminiscent of Gaga as we've known her, bending and blending retro rock with digital effects and soaring vocals. "A-Yo" and "John Wayne" are fun, saucy romps into country-music territory that wouldn't have been out of place in the heyday of Shania Twain's crossover.
It isn't a nonstop party, though. The album takes time to breathe and flourish in the spaces between its more raucous moments. Songs like "Million Reasons," "Grigio Girls," and the title track are heartfelt, vulnerable evidence of how Gaga can modulate her powerhouse vocals to wrap comfortably around any style or tempo. Here more than ever, she tells lyrical stories that pay honest tribute to formative life experiences.
Accompanying her on the journey are a host of stellar collaborators who help her push the boundaries of genre even further than her previous work. Fellow musical chameleon Beck served as a producer on "Dancin' In Circles," a sultry ode to... ahem, alone time. Indie crooner Father John Misty co-wrote the folky, thought-provoking "Sinner's Prayer," while Florence Welch -- the voice behind Florence + The Machine -- joins Gaga on the R&B-tinged duet "Hey Girl." It's not the Ryan Gosling meme set to music (though that would be delightful), but rather an earnest call for female empowerment through camaraderie and mutual support.
Gaga's sense of duty to her listeners and the world at large continues in "Come To Mama," a vintage, horn-driven ballad that questions the future of our society if we keep tearing each other down just for being different. Its poignant and inclusive simplicity echoes her previous equality anthem "Born This Way," reframing its message for the times that we (yes, still) live in. She really drives those points home on "Angel Down," a searing political wake-up call about gun violence that unapologetically asks where our leaders and our individual courage to do the right thing have gone. The song proves to be even more potent as its raw, stripped-down work tape version closes the album, showing that Gaga isn't afraid to conclude with an urgent, realistic plea as opposed to a grandiose, celebratory sendoff.
While they famously don't care for the comparisons, Gaga is just as adept at evolution and reinvention as Madonna, with both making progressive statements accessible through their innovative music. This latest album is a mid-career highlight for Gaga, on par with Madonna's underrated 2003 collection "American Life" given their shared mix of energy and emotion. "Joanne" provides another satisfying pastiche that effortlessly convinces us of Gaga's aptitude for tackling challenges. She'll gladly sing the hell out of anything, as long as we can keep up with her ambition.
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