A play-by-play of the Monster Ball concert would seem excessive, that is if Gaga’s persona wasn’t so excessive in itself. Every song was a production, with costume changes, stage-setups, and choreography to boot. In fact there was so much theatricality involved that the entire concert had to be spliced with video-intermissions of Gaga’s vaguely occult symbolism (which itself was spliced with scenes of her vomiting glitter and the like.) The whole production was an assault on the senses, pummeling eardrums with fervid synths and overblown bass, each costume a bigger eyesore than the last, her multicultural, sexually-androgynous dancers oozing sex with every step. To be blunt: it was all very Gaga.

But at what point does ambition supersede artistry? Gaga has long been the very essence of ‘style over substance.’ Hearing her fumbly explanations of her songs’ meanings is like listening to a 5 year old reveal why they like scribbling rainbows with crayons. Neither can explain their inherent need to actualize something pretty. They’re simply the product of their own aesthetic and aspirations. Stefani Joanne Angelina Germanotta won’t go down in history as a great musician, but Gaga will forever be heralded as an icon.

photo credit: hprocksoff

For Gaga’s Monster Ball Tour, a loose take on The Wizard of Oz done Gaga-style (How do we get to the ball? “Why, simply follow the Glitter Way!”), we were treated to a four act play described by mama herself as “the first-ever ‘pop electro opera,'” Scenes of the story took place on the grimy streets of the city, to the dank of the subway, and a Tim Burtonesque forest, all sojourns on the way to an actual “Monster Ball” event. The whole thing was very Madonna’s 1990 “Blonde Ambition Tour”, replete with Catholic imagery and Jean-Paul Gaultier costumes; An obvious comparison but with what came first, Gaga strives to make bigger and better.

photo credit: jasminefoxedme

As far as entrances go, Gaga’s silhouetted performance of “Dance in the Dark” over a Tron-like grid was really quite dull. Had I not been sitting in full view of her band (and Gaga as she did her pre-show stretches), I’d have thought that the number was pre-recorded. Finally the curtain pulled back revealing the purple wizard at work, and things were underway. Against a backdrop of neon graffiti depicting a manner of death and cosmetic sins, and a rusty Rolls that doubled as a piano, Gaga shed her Purple Rain meets Klaus Nomi garb for a more from-fitting leotard for a very Sharks vs. Jets performance of unreleased track “Glitter and Grease.” The lady went into full choreography mode for “Just Dance” and i have to say her dancing has really tightened up over the past year. Whereas videos for “Bad Romance” and “Telephone” offered excellent choreography performed by a lusterless Gaga, live she hits every pose like a woman possessed: her Pikachu-yellow hair flying with every jolt. I don’t hold the same enthusiasm for the ‘”story” aspect of the show, I must say. Insert some vague, clunky dialogue about needing to head to a “Monster Ball” via the “Glitter Way” and apparently you’ve got yourself a plot. Gaga’s first declamation for equality and inclusion prior to her performance of “Vanity” and “The Fame” was short and sweet with the proclamation that “I created the Monster Ball so that my fans could have a place to be who you want to be regardless of who you are, where you come from, or how much money you have in your pockets.” Gaga loves and accepts all.

photo credit: blakeanyear

After her performance of “The Fame” in which Gaga looked more superhero than avant-garde with her red cape and shoulder pads, she retreated into the darkness as the first intermission and set-change began. Gone was the alleyway of the city streets, as the lights came up to reveal a subway car recalling the “Love Game” video. Donning a cellophane dress and exaggerated Daughter’s of Charity cornet that would make Sally Field proud, Gaga wielded her disco stick scepter seemingly commanding her dancers to break into double-time as the song took a dangerously fast turn its Space Cowboy remix. Prior to the events of the night’s concert Gaga issued a tweet claiming the concert as BYOC or Bring Your Own Cowboy. To this effect she brought out her male dancers wearing what I hope were jockstraps stuffed with decorative autumn squashes to back her up for “Boys Boys Boys,” an arguable underrated song from The Fame. “Money Honey’s” costume could only be described with one word; “Trinity.” bearing a midnight patent leather duster and a keytar reminiscent of Superman’s Fortress of Solitude, Gaga rose above the stage on a platform as she performed the song with her gaggle of minions spiraling below her. In a true bit of fan-service (not fanservice) Gaga explained, with cellphone in hand, that she was to call one lucky fan in attendance for a private meet and greet. Our winner, a one Mariana, was beside herself with disbelief as she hyperventilated her way through a conversation with Gaga broadcasting over the PA before being cut-off by an incoming call… by Beyoncé. And … cue “Telephone.” Honey B herself wasn’t in the building, as her part was prerecorded to the live song but Gaga and her leather-clad dancers more than made up for Bey’s absence with their whip-sharp moves and choreography.

photo credit: jenbabbby

When finally a grand piano was lugged onstage was Houston treated to it’s finest Gaga moment: Gaga as a performer in the truest sense of the word. “Speechless” for the majority was performed acoustically with Gaga bare-voiced behind the ivories albeit a flaming one. It was all very effective, how well she projected her voice and how powerful and dynamic it can be, had it not been for the constant interruptions of personal anecdotes of her “rags to riches” story and how the song was dedicated to drunk assholes, particularly her dad. Seeing the rare sympathetic side of Gaga is a treat as she usually goes to ridiculous ends to portray herself as some stylistic sex-robot, but after a while her accounts became long-winded and cumbersome, almost completely detracting from the moving emotion of her performance. Quickly gaining focus, Gaga performed a new song, the Meat Loaf-esque “You and I” from her upcoming album which she is writing on the road. The song ended with a jazz-interlude with Gaga stomping on the keys with those crazy stilettos of hers. For “So Happy I could Die” was what was possibly the most complex costume, a glittery chandelier descended from the ceiling, encapsulating Gaga for the most extravagant reveal of the show. Gaga was unveiled in a shimmering Ice Queen meets Glinda the Good Witch ball gown. Both the headdress and dress itself had articulate, moving parts that would fan out, peacock-style revealing more parts to the dress, a living-dress if you will. The best part: when Gaga threw her arms up to unleash a set of fairy wings. It was all very regal and elegant, how i imagine Gaga would dress had she her own kingdom of monsters.

photo credit: ohsnap

At this point the production came back into story-telling mode as after another brief interlude, the stage was revealed to be a dark and angular forest straight out of the mind of Tim Burton, the most befitting setting for “Monster”. Gaga rose from the ground in the first of a three-part costume, this bearing a strong resemblance to a mop draped over a cat scratch-post. The bulky costume didn’t last long as she slipped out of it into a revealing Kraven the Hunter getup. With her black feather-clad dancers flanking her, the performance more than brought to mind Michael Jackson’s “Thriller.” One last costume change into black leather lingerie as Gaga kicked into “Teeth” an otherwise completely unnecessary addition to The Fame Monster, but here served as a creative dance number where for some reason or another (do you really need one with Gaga?) she started to bleed. Playing with the blood she spelled ‘Texas’ on her arm as she addressed Jesus (yes, Jesus) and thanked him for her success but criticizing him for his exclusion of the gay community into his kingdom. It was a strange moment, to say the least. We get it Gaga: you’re about equality. On “Alejandro” things got overly-sexual as the dancing got more provocative. Mirroring the video, the Catholic imagery really came into play here as Gaga was baptized under an angel adorned fountain spewing red wine (blood?). “Poker Face” was a lesser event but filled with more impressive choreography and a bedazzled Gaga cracking a whip at her dancers. One last intermission announcing the “Manifesto of Little Monsters” amidst scenes of Gaga in various forms of bondage and we were in the final act of the play.

photo credit: err_lilyy

There couldn’t be mention of “Monster Ball” without an actual monster, could there? In this case the monster terrorizing Gaga and her troupe of dancers was a 15ft tall … angler fish. You read that right, yes. This particular angler fish while sounding a bit absurd was an impressive bit of technology. It lit up in those neat angler fish spots, it moved smoothly and had tentacles operated by her dancers. It was actually pretty intimidating until Gaga pleaded that you help her defeat it by “taking its picture!” Maybe Bigfoot, or Nessie would be scared away by the threat of photographers but as a segway into “Paparazzi” this was just plain silly reasoning. I also wasn’t sure why her costume choice for this segment was “Tinkerbell,” but the surprise here was when, after being rolled around in its tentacles, Gaga rose to her feet strapped with that patented Gaga weapon: fire spitting tits and kitty. Yes, Gaga was sparkin’ up a storm with her privates to a deafening applause. “We’ve finally made it to the Monster Ball” Gaga declared as the curtain closed for their final number.

photo credit: jasminefoxedme

The curtain lifted for its final reveal: Gaga standing within her gyroscope adorned in angular broken mirror shards. As “Bad Romance” started, Gaga left the confines of the futuristic device for a full-on bare-bones dance number with her troupe to the memorable choreography of the video, and it was exactly that: the “Bad Romance” video come to life. Everything was on point, from the dancing, to Gaga’s singing, the song sounding more bombastic than it does on record: a fitting closer to one of the most elaborate stage shows Houston will ever see. Gaga as an artist is constantly pushing the envelope of entertainment, borrowing heavily from those that came before her and appropriating that aesthetic to her own eccentric tastes, leaving hoards of followers, excuse me, “monsters” in her wake.

setlist:

dance in the dark
glitter and grease
just dance
beautiful, dirty, rich
vanity
the fame
love game
boys boys boys
money honey
telephone
speechless
you and i
so happy i could die
monster
teeth
alejandro
poker face
paparazzi
bad romance

– sunbear