Lady Gaga built Joanne around a simple idea: she wanted to make a rock record. The 14-track album, released in 2016, trades glossy pop production for a stripped-down sound rooted in folk, rock and country. It is a deliberate pivot away from the spectacle that defined her earlier work, and for the most part, it works.
The record is named after her late aunt, Joanne Germanotta, who died from cancer while Gaga was still a teenager. That personal weight hangs over the whole project, giving the songs a gravity that pure pop rarely touches. Gaga recorded the album with her collaborators Mark Ronson, BloodPop, and Mark Hoppus, and the result is a collection that sounds less like a pop star trying on a new hat and more like an artist finally working through what she actually feels.
Opening With A-YO
The album starts with “Diamond Heart,” a track that sets the tone immediately. It is a gentle, acoustic-led song that introduces the rock-folk hybrid Gaga is reaching for, with her vocals sitting front and center over a warm, organic arrangement. It is not a statement track, but it does its job of easing listeners into the new sound.
“A-YO” follows, and it is the best argument for the record’s direction. Built around a simple guitar riff and a chorus that repeats its title, it is a loose, playful song that shows Gaga can write a hook without leaning on the big, anthemic structures of her past work. It is one of the tracks critics singled out for good reason.
“Joanne” arrives next, and it is the emotional core of the record. The song is a direct tribute to her aunt, and Gaga’s vocal performance carries the weight of that loss. It is a slow, reflective piece that benefits from the stripped-down approach, letting her lyrics land without the need for a chorus-sized payoff.
The Middle Stretch
“John Wayne” is a rocker, and it is one of the more straightforwardly fun tracks on the album. It has a swagger that fits the country-rock template, even if it does not reach the heights of the singles. “Dancin’ in Circles” follows, and it is another standout — a driving track with a propulsive rhythm that critics flagged as one of the record’s highlights.
“Perfect Illusion” is the lead single, and it is the closest the album comes to a radio hit. It has a big chorus and a production polish that nods back to her pop past, but it never feels out of place. It is a strong track, though it is more polished than the rest of the record.
“Million Reasons” is the other track critics flagged, and it is easy to hear why. It is a piano ballad with a melody that sticks, and Gaga’s vocal performance is some of her best work on the album. It is a slow-burning song that builds to a cathartic release, and it stands as one of the record’s most effective moments.
“Sinner’s Prayer” and “Come to Mama” are the weaker links in the middle stretch. They are not bad songs, but they do not add much to the overall narrative. “Sinner’s Prayer” is a gospel-tinged track that feels like a detour, and “Come to Mama” is a bluesy number that is pleasant but forgettable.
“Joanne is about as far from left field as one could expect from Gaga, though considering the hints she’s been dropping, it’s no surprise that she wandered towards folk and rock territory instead.”
The Back Half
“Hey Girl” is a mid-tempo rocker that leans into the country influence, and it is one of the more enjoyable tracks on the album. It is not a highlight, but it keeps the momentum going.
“Angel Down” is a political statement, and it is the most pointed track on the record. It deals with police violence and social injustice, and Gaga’s delivery is urgent and committed. It is a song that demands attention, and it earns it.
“Grigio Girls” is another standout. It is a moody, atmospheric track that shows off Gaga’s range as a vocalist, and it is one of the most inventive moments on the album. Critics singled it out, and it is easy to see why.
“Just Another Day” closes the standard tracklist with a quiet, reflective closer. It is a solid, if unremarkable, way to end the main album.
The final track, “Angel Down (Work Tape),” is a bonus version that offers a rawer, unfinished take on the previous track. It is a curiosity for completists, but it does not add much beyond the main recording.
Verdict
Joanne is not a perfect album, but it is a brave one. Gaga took a risk by moving away from the pop machine that made her famous, and the record is better for it. The best tracks — “A-YO,” “Dancin’ in Circles,” “Million Reasons,” “Grigio Girls” — are as good as anything she has ever released, and they justify the shift entirely.
The lesser tracks are not failures, but they are filler. “Sinner’s Prayer” and “Come to Mama” are pleasant enough, but they do not move the needle. The album’s ambition is its strength, even when it stumbles.
| Track | Role on the album |
|---|---|
| A-YO | Standout opener |
| Dancin’ in Circles | Mid-album highlight |
| Million Reasons | Emotional peak |
| Grigio Girls | Inventive closer |
| Angel Down | Political statement |
The record runs 47 minutes, and it moves quickly enough that the weaker stretches do not drag. It is a bold, rootsy pivot, and it mostly lands.
6.7 out of 10.
- Diamond Heart3:30
- A‐YO3:28
- Joanne3:17
- John Wayne2:54
- Dancin’ in Circles3:27
- Perfect Illusion3:02
- Million Reasons3:25
- Sinner’s Prayer3:43
- Come to Mama4:15
- Hey Girl4:15
- Angel Down3:49
- Grigio Girls3:00
- Just Another Day2:58
- Angel Down (work tape)2:20
