Lady Gaga

Hoetzel’s music videos have made her a queer icon. And unlike other artists who have protested having queer branding thrust upon them, she is not afraid to embrace this design.

When not playing up the crowd, Reich bodied the resonances of Gaga’s lower timbers — the roars in “Shallow” (here, the sounds of labor) and the heartache of “Million Reasons,” which cleverly soundtracked the inner monologue of Reich’s reservations about her baby.

Brimming with irrepressible passion, Rina Sawayama is stage-ready on Hold the Girl. 

It’s magnificent, it’s breathtaking, it’s seductively corseted in ribbon and lace — it’s “Moulin Rouge!” at the Orpheum Theatre.

Charli XCX's capturing of the “main pop girl” aesthetic is not an imitation — it is an oracular impulse.

The mise en scène of Dunbar’s latest EP is a tempest of whirling sound both delirious and passionate.

Well worth the two-year wait, the future of the Sawayama enterprise is even brighter than it was in 2020.

Beyond Electra’s energetic set list, choreography and drama abounded aplenty.

Sawayama handed down a searing, dynamic performance, rife with spurts of energy and the occasional moment of wistful melancholy.

The result is a film that feels its runtime, fastidiously tuning its performances to awards bait while simultaneously understanding its absolute ludicrousness.