If Lady Gaga’s 2025 Coachella set hinted at madness, her July 22 “Mayhem Ball” tour stop at Chase Center fully embraced that chaos — twisting it into ritual, revelation and joy. In San Francisco, a city that has long adored her, Gaga delivered a performance that was cinematic, intimate and bathed in symbolism. Split into four acts and packed with deep cuts, unexpected moments and one showstopping finale, the show was simply unforgettable.

The arena was briefly thrown into darkness. “Act I: Of Velvet and Vice” opened in crimson. Gaga’s towering red veil — part dress and part cage — hoisted the singer above the stage, the eerie toll of “Bloody Mary” welcoming us into her gothic kingdom. It felt like a mass for the wicked: sacred in scale, profane in detail. “Abacadabra” burst on next, and aggressive choreography from her dancers summoned sky-high energy.

The set quickly pivoted into “Judas,” signaling early on that this would be a show of reimagining, one that restaged past and present songs side-by-side with new meanings. Then came “Garden of Eden.” In black leather and a green-lit cyberpunk jungle, Gaga shredded on an electric guitar, eyes gleaming as she snarled through the chorus like a rock priestess. And just when the act seemed to teeter toward chaos, “Poker Face” dropped, bringing her dancers alongside her in full formation. It was the first moment of total communion, the closing chapter of an opening act that set the show’s tone: aggressive, decadent and utterly alive.

“Act II: And She Fell Into a Gothic Dream” shifted dramatically in tone. Gaga returned in a destroyed wedding dress — veil dragging behind her for what seemed like miles, silver armor glinting at her and crutches beneath her arms. “Paparazzi” became a ghost story: of fame, pain and spectacle. As she limped forward, the crowd held its breath. But by “LoveGame,” the veil lifted… literally. She ditched the crutches, revealing silver sequin boots that caught the light from every corner of the arena. “Alejandro” closed the act, Gaga framed in a golden hue, leading the crowd in a slow, waving rhythm that felt almost prayerful.

Then “Act III: The Beautiful Nightmare That Knows Her Name” unleashed the monsters. Here, Gaga’s visuals leaned into horror, the dancers transforming into rave ghouls, the star herself donning spiked silhouettes and moving like she was half-doll, half-zombie. “Zombieboy” pulsed with horror-pop tension, but it was “Lovedrug” and “Applause” that reminded me that Gaga has always known exactly what she’s doing. The numbers illustrated how she turns showmanship into self-awareness, and surface into substance.

Then came “Just Dance,” which turned the arena into a euphoric nightclub. Everyone knew the words. Everyone danced. This act was less about precision and more about release and gritty, unhinged joy.

“Act IV: Every Chessboard Has Two Queens” was where everything snapped into focus. Opening with an extended intro to “Born This Way,” Gaga marched in a black military-style jacket reminiscent of Michael Jackson’s stage armor. Every movement, every vocal, every dancer — all were flawless in their timing, cohesion and sheer visual impact. And in San Francisco, where LGBTQ+ stories are woven into the very fabric of the city, the song hit especially hard, its significance amplified. Words from Gaga weren’t necessary. I could feel it in the audience.

Then came my favorite part of the night: the act’s emotional center, a three-song arc that unraveled on a literal chessboard, with Gaga cloaked in black and her red-dressed counterpart (another queen) moving opposite her. During “Million Reasons,” Gaga approached the red queen slowly, their hands meeting as if bridging timelines or selves. It was a beautifully staged metaphor — the pair were rivals, mirrors, maybe even past and future versions of herself. “Shallow” followed, with Gaga rowing a glowing boat beside her red queen as the audience belted along. Then she returned to center stage, shared a few heartfelt words about the late Tony Bennett (her musical collaborator) and commented that San Francisco has always been one of her most beloved cities. 

“Die With a Smile,” played solo at the piano, was warm and unguarded. “Vanish Into You” took Gaga off the stage entirely. She walked among the crowd, offering high fives, eye contact, proximity. After all the grandeur, this quiet venture felt like an embrace.

Then came the moment that seemed like the finale: “Bad Romance.” Full fire, full choreography, full spectacle. The stage erupted in pyrotechnics and light, Gaga performing at the center. When the lights went black, many in the audience began to head for the exits.

But the show wasn’t over.

Just as the room began to exhale, the screen lit up one more time, depicting Gaga, backstage in a makeup room as she started “winding down.” Her voice cracked slightly as she began “How Bad Do U Want Me?,” and when she stepped back onstage, surrounded by her crew in a leather jacket, it became clear this last number was a tribute. Hours earlier, news had broken that Black Sabbath’s great Ozzy Osbourne had passed. Gaga’s final bow, surrounded by dancers, set to the unmistakable sound of Osbourne’s “Crazy Train,” was equal parts celebration and elegy. 

“We miss you, Ozzy,” she said into the mic, before waving her final goodbyes.

“Mayhem Ball” redefined the standard for a pop tour. It was strange, gorgeous, disjointed, heartfelt. It was Gaga through and through. And as the final lights dimmed, the message rang loud and clear: you can’t predict what Gaga will do next — but you’ll always want her to do it.