Jane Stevenson from Toronto Sun gave the show, concerto four out of five stars and said that "Lady Gaga came across as a confident, colourful, and campy performer. ... Gaga's success was evident with slick-looking videos, lights, elaborate costumes, dancers, and yes, a band, even if her stage was sometimes left dark as she left to make numerous changes."
T'Cha Dunlevy for The Gazette noted that the performance was lacking ("The elements are there but they haven't all been brought together"), adding that the show never reached its peak until the end, when Gaga performed the "real rendition" of "Poker Face" and "Bad Romance." "Better late than never," Dunlevy concluded.
Aedan Helmer from Jam! magazine said that "At first blush, it might seem the real driving force behind Gaga's meteoric rise to fame is her hand-picked cadre of costume and set designers – dubbed Haus of Gaga – who seemingly know no bounds when it comes to pushing the envelope of haute couture and the theatre of the absurd. [...] But what really sets Gaga apart from the middling masses of lip-synching Britney clones and Idol wannabes is her pure, unadulterated musical talent. [...] The Lady can sing."
Theatre critic Kelly Nestruck, while composição literária for The Guardian said "While The Monster Ball has nothing on the great operas or the golden age of musical theatre, Lady Gaga's "electro-pop opera" is at least twice as entertaining and infinitely fresher than any stage musical written over the last decade."
Lauren Carter from Boston Herald praised the show saying "[Gaga] only has two albums under her cinto, correia (maybe closer to one-and-a-half) but who cares? Every song feels like a hit, and Gaga-as-star is already taking on Madonna-like proportions. [...] After [the show] at the Wang Theater, fãs could justifiably walk away thinking Lady Gaga is crazy, brilliant or both."
Jeremy Adams from Rolling Stone reviewed the performance at Wang Center in Boston and said that "Throughout the evening, Gaga [..] aimed for a kind of pop theatricality that might potentially cement her burgeoning status as performance artist."
Sam Adams from The Philadelphia Inquirer felt that "Gaga seemed isolated on stage, and oddly tentative, as if not quite ready to assume stardom as her right rather than a privilege contingent on each passing instant... Her two-hour set was full of dead spots and long breaks for costume and scenery changes that sapped the show's momentum and disrupted its groove."[23] Chris Johnson from Daily Mail complimented the costumes worn in the tour.[18] Aidin Vaziri of San Francisco Chronicle said that "During her 90-minute performance - not so much a live show, concerto as a meticulously choreographed spectacle - Lady Gaga also evoked Kanye West with the futuristic set, Britney Spears in her heavy-lidded stage movements, Courtney amor with her interminable between-song monologues highlighted por four-letter squelches and - who else? - madonna for, oh, just about everything else."
Jim Harrington from San Jose Mercury News felt that the show would have been better technically if around thirty minutos were lessened from it. However, he compared Gaga's vocal abilities and performance with that of madonna and complimented her "undeniable estrela power and pure attitude. She doesn't concern herself with what you think of her R-rated maneuvers, or basically anything else, and she'll tell you that straight to your face." James Montogomery from mtv reviewed the show, concerto at San Diego and said that "[Gaga] powered through and turned the San Diego Sports Arena into a raucous, delightfully raw discotheque."
Joe Brown from Las Vegas Sun said that "Lady Gaga out-Cher-ed Cher, made Cirque du Soleil and Britney's 'Circus tour' look like county fair carnivals, and made New Year's Eve in Las Vegas anticlimactic.[19] Ann Powers from Los Angeles Times commented that the tour was "an invigoratingly ambitious show, executed with vigor por its estrela and her expressive dancers."
T'Cha Dunlevy for The Gazette noted that the performance was lacking ("The elements are there but they haven't all been brought together"), adding that the show never reached its peak until the end, when Gaga performed the "real rendition" of "Poker Face" and "Bad Romance." "Better late than never," Dunlevy concluded.
Aedan Helmer from Jam! magazine said that "At first blush, it might seem the real driving force behind Gaga's meteoric rise to fame is her hand-picked cadre of costume and set designers – dubbed Haus of Gaga – who seemingly know no bounds when it comes to pushing the envelope of haute couture and the theatre of the absurd. [...] But what really sets Gaga apart from the middling masses of lip-synching Britney clones and Idol wannabes is her pure, unadulterated musical talent. [...] The Lady can sing."
Theatre critic Kelly Nestruck, while composição literária for The Guardian said "While The Monster Ball has nothing on the great operas or the golden age of musical theatre, Lady Gaga's "electro-pop opera" is at least twice as entertaining and infinitely fresher than any stage musical written over the last decade."
Lauren Carter from Boston Herald praised the show saying "[Gaga] only has two albums under her cinto, correia (maybe closer to one-and-a-half) but who cares? Every song feels like a hit, and Gaga-as-star is already taking on Madonna-like proportions. [...] After [the show] at the Wang Theater, fãs could justifiably walk away thinking Lady Gaga is crazy, brilliant or both."
Jeremy Adams from Rolling Stone reviewed the performance at Wang Center in Boston and said that "Throughout the evening, Gaga [..] aimed for a kind of pop theatricality that might potentially cement her burgeoning status as performance artist."
Sam Adams from The Philadelphia Inquirer felt that "Gaga seemed isolated on stage, and oddly tentative, as if not quite ready to assume stardom as her right rather than a privilege contingent on each passing instant... Her two-hour set was full of dead spots and long breaks for costume and scenery changes that sapped the show's momentum and disrupted its groove."[23] Chris Johnson from Daily Mail complimented the costumes worn in the tour.[18] Aidin Vaziri of San Francisco Chronicle said that "During her 90-minute performance - not so much a live show, concerto as a meticulously choreographed spectacle - Lady Gaga also evoked Kanye West with the futuristic set, Britney Spears in her heavy-lidded stage movements, Courtney amor with her interminable between-song monologues highlighted por four-letter squelches and - who else? - madonna for, oh, just about everything else."
Jim Harrington from San Jose Mercury News felt that the show would have been better technically if around thirty minutos were lessened from it. However, he compared Gaga's vocal abilities and performance with that of madonna and complimented her "undeniable estrela power and pure attitude. She doesn't concern herself with what you think of her R-rated maneuvers, or basically anything else, and she'll tell you that straight to your face." James Montogomery from mtv reviewed the show, concerto at San Diego and said that "[Gaga] powered through and turned the San Diego Sports Arena into a raucous, delightfully raw discotheque."
Joe Brown from Las Vegas Sun said that "Lady Gaga out-Cher-ed Cher, made Cirque du Soleil and Britney's 'Circus tour' look like county fair carnivals, and made New Year's Eve in Las Vegas anticlimactic.[19] Ann Powers from Los Angeles Times commented that the tour was "an invigoratingly ambitious show, executed with vigor por its estrela and her expressive dancers."
I want your whisky mouth
All over my blonde south
Red wine and cheap perfume
And a filthy shout
Tonight bring all your friends
Because a group does it better
Why river with a pair
Let’s have a full house and leather
Ooh-ooh-ooh-who-who
Who-who-who ooh-who-who
Who who
Heavy Metal Lover
Ooh-ooh-ooh-who-who
Who-who-who ooh-who-who
Who who
Heavy Metal Lover
Dirty pónei, pônei I can’t wait to hose you down
You’ve got to earn your leather in this part of town
Dirty pearls and a patch for all the Rivington Rebels
Let’s raise hell in the streets drink cerveja and get into trouble
I could be your girl girl girl girl girl girl
But would you amor me if I ruled the world world world
Oooooo
Heavy Metal Lover
Whip me slap me, drunk funk
New York clubbers, bump drunk
Budlite, liquors, bar slam
Wash the night, with St. J-ameson
Like a baptism
Heavy metal apaixonados play
Because we were born this way
All over my blonde south
Red wine and cheap perfume
And a filthy shout
Tonight bring all your friends
Because a group does it better
Why river with a pair
Let’s have a full house and leather
Ooh-ooh-ooh-who-who
Who-who-who ooh-who-who
Who who
Heavy Metal Lover
Ooh-ooh-ooh-who-who
Who-who-who ooh-who-who
Who who
Heavy Metal Lover
Dirty pónei, pônei I can’t wait to hose you down
You’ve got to earn your leather in this part of town
Dirty pearls and a patch for all the Rivington Rebels
Let’s raise hell in the streets drink cerveja and get into trouble
I could be your girl girl girl girl girl girl
But would you amor me if I ruled the world world world
Oooooo
Heavy Metal Lover
Whip me slap me, drunk funk
New York clubbers, bump drunk
Budlite, liquors, bar slam
Wash the night, with St. J-ameson
Like a baptism
Heavy metal apaixonados play
Because we were born this way