Just Dance
When “Just Dance” was released in 2009, the world was introduced to Lady Gaga for the first time. With a video depicting a wild, provocative party and lyrics promising everything would be OK, she quickly became impossible to ignore. It marked the starting point of her career and, in hindsight, one of the defining songs of 2009’s “recession pop” — escapist and maximalist as the United States grappled with an economic crisis.
“Just Dance” captured youth, hedonism and pure enjoyment, and Gaga has since continued to set the tone in pop without pause. But at 12, I thought I understood music and predicted her downfall. I remember hearing the song in the car with my mother, when it was on constant rotation on Army Radio, and telling her: “Mom, listen carefully. In a year, no one will know who Lady Gaga is. She’ll be a one-hit wonder and disappear.” I did not realize she was not a passing trend, but a force of nature that would reshape the global music scene. I have happily eaten my words ever since. — Shira Naot
Paparazzi
You do not truly become a pop star until you have something to say about life as a pop star. Sounds like a chicken-and-egg question? Lady Gaga can play both roles — and be the entire coop if needed. That is exactly what this hit from her debut album, “The Fame,” set out to explain in its playful, sly and addictive way, much like the chase for likes: it was never a question of if Gaga would become an icon sustaining paparazzi for decades, only when. And the answer came very quickly: now. — Einav Schiff
Bad Romance
Say Lady Gaga, and you say “Bad Romance.” Released on the reissue of her debut album, the song perfectly defined her artistic line: strange, frightening, ridiculous, shocking and irresistibly addictive — and you will love it. The combination of a driving beat, metallic synths, a French middle section (why not?) and nonsensical syllables that lodge in your brain made “Bad Romance” not only one of Gaga’s best songs, but one of the best songs of the century. Try arguing with that. — Omer Tessel
Born This Way
From a cynical perspective, “Born This Way” is a bit kitschy. A bombastic empowerment anthem celebrating sexual, gender and ethnic diversity with a direct, almost childlike message does not exactly fit the definition of high art. But that is precisely its magic. The title track of her second album, written during a tour and recorded between European cities, is in many ways her magnum opus: radical self-acceptance, a bridge between God and the LGBTQ+ community and powerful, joyful dance pop.
The song defined Gaga, its era (2011) and an entire generation of fans who followed her. It played everywhere, “Glee” was television’s biggest show and people posted #bornthisway on Facebook. At the time, few foresaw the darker side of social media or the resurgence of global extremism targeting the very community that found joy in the song. It has since become a staple of LGBTQ+ communities worldwide, with countless covers and tributes, and many fans will say it changed their lives and gave them hope. Some songs capture a moment in the global mood — you can hear the wings of history in them. Cynicism aside, this is one of them. — Shira Naot
Judas
The runaway success of her debut album and the formation of a loyal fan base — the “Little Monsters” — pushed Gaga to go even harder, like a bulldozer in heels. “Judas” is a perfect distillation of that approach: a dense pop hammer, like an over-the-top hotel breakfast, flirting with religious imagery and paired with an extravagant, excessive video. Gaga wails about loving a toxic yet irresistible man, casting Norman Reedus of “The Walking Dead” as the archetype. The vocal shift between the pounding verses and softer chorus releases such a rush of endorphins it feels like salvation is just around the corner. — Einav Schiff
Scheiße
When you think of Gaga, you think drama, glamor and power. But she is also one of pop’s funniest performers, capable of turning herself into the joke and viewing her larger-than-life persona with sharp self-awareness. You could see it on her latest tour, when she surprised fans each night by weaving in a chorus from “The Dead Dance” and turning its camp into a comedic highlight.
“Scheiße” — her pseudo-German track written after visiting Berlin — is another such moment. The song made its way to a Thierry Mugler fashion show, in a classic Gaga fusion of high and low: invented German alongside couture, a light chorus against heavy, techno-influenced verses. Its iconic status has endured, helped by a memorable performance in which she brought a fan onstage to dance the choreography flawlessly alongside her troupe. An iconic moment, an iconic song, an iconic artist. — Shira Naot
Applause
From the moment she burst onto the scene, it was clear Lady Gaga understood the world she was entering — and how to bend its rules. After “Born This Way,” she returned somewhat to the familiar territory of her debut, but in true Gaga fashion, with something fresh to say. “Applause” is not just about craving attention, but a tribute to fans who gave their all during her tours. The result is a frenetic, infectious anthem of clapping that, even if it did not top certain charts, deserves its own spotlight. — Omer Tessel
Perfect Illusion
Expectations were high for an album featuring collaborators like Mark Ronson and Kevin Parker of Tame Impala, but “Joanne” is unlikely to be remembered as a peak in Gaga’s career. Unlike “Artpop,” it has not gained cult status among fans, and many seem content to forget it. Still, “Perfect Illusion” stands out as a bright moment — an attempt to channel Michael Jackson’s “Beat It” for the 21st century. Even a perfect illusion counts for something. — Einav Schiff
Your Song
What is a cover of one of the most beloved songs in history doing in a list celebrating one of pop’s most original artists? Mainly, it highlights Gaga’s vocal ability and her interpretive skill with material she did not write.
Her version of “Your Song,” originally written by Elton John and Bernie Taupin in their 1970s heyday, appeared on a 2018 tribute album. While many contributors — including Ed Sheeran, Coldplay and Pink — delivered predictable, overly polished takes, Gaga stood out. Her rendition begins modestly with piano, strings and even a fleeting harp. Then, around the 2:20 mark, something shifts: she begins to improvise, moving up and down her vocal range with control and emotion, delivering perhaps the finest cover of the song since the “Moulin Rouge!” soundtrack version. — Amir Schwartz
Shallow
At a certain point, Lady Gaga decided to become a movie star. Many people make similar declarations in their youth — she actually did it. And not only with her standout performance in “A Star Is Born,” but by emerging from the project, directed by Bradley Cooper, with one of the biggest hits of her career. “Shallow” earned her an Academy Award for best original song — and an equally important prize: an all-time karaoke staple. — Einav Schiff
Rain On Me
In an era of overlapping crises, it is easy to forget the moment when the world came to a standstill during the coronavirus pandemic. Fortunately, a few months into it, in May 2020, Gaga teamed up with Ariana Grande for “Rain On Me,” a global mood-lifter. Both artists, familiar with public personal struggles — especially Grande — turned tears into dance beats and pain into an empowering anthem. It reminds listeners that even in the storm, clearer skies are ahead. — Omer Tessel
Garden of Eden
It is no coincidence that Gaga signed with Interscope Records, a label known since the 1990s for blending metal, alternative rock, gangsta rap and pop. Gaga can inhabit all those spaces, but it took years until “Mayhem,” where she fully embraced her fandom of Nine Inch Nails.
On “Garden of Eden,” she immerses herself in metallic sounds, industrial textures and a dungeon-club atmosphere. If Adam and Eve were expelled from Eden for succumbing to temptation, Gaga suggests the way back is through surrender to it. With a chorus more tempting than the serpent itself, even God might find it hard to resist. — Einav Schiff
Killah
The opening ceremony of the Paris Olympics in summer 2024, which ran nearly four hours, required nearly as long to recover from — partly because of Gaga’s performance along the Seine. At times, her stage presence veered into the bizarre; with Gaga, even when she is not the main focus, she will try to steal it.
In that sense, her latest album, “Mayhem,” offered a kind of correction — not by redefining pop, but by placing her firmly within it. While not a groundbreaking masterpiece, it includes strong tracks, led by the playful “Killah.” Featuring French Jewish DJ and producer Gesaffelstein (Mike Levy), the song channels the swaggering groove of mid-1980s Prince and makes you want to get up and dance. — Amir Schwartz
Zombieboy
Listeners who played “Mayhem” in order discovered that as soon as “Killah” ends, another treat begins. “Zombieboy” is a well-crafted chaos: it opens with a call to the dance floor and blends classic European electro in the spirit of Giorgio Moroder with early Madonna, topped off with flamboyant guitar flourishes from the same era.
Beyond the sheer fun it delivers, the track highlights Gaga’s uniqueness in today’s crowded pop landscape: an artist who not only focuses on herself, but skillfully situates her present moment by engaging with those who came before her. — Amir Schwartz