Album Review: Harlequin by Lady Gaga
Not a soundtrack or an ultra-pop album, ‘Harlequin’ is a companion album to ‘Joker: Folie à Deux.’ At the center of this lawless and maniacal chaos, there is peace.
With Harlequin, Lady Gaga offers a unique reinterpretation of classic songs from the Great American Songbook, presented through the lens of her character in Todd Phillips’ film Joker: Folie à deux, where she stars alongside Joaquin Phoenix.
Unlike her anticipated ultra-pop album LG7, expected in February, or the forthcoming soundtrack for Joker: Folie à deux, Harlequin emerges as an ironic “LG6.5.” Produced primarily with Ben Rice, the album is connected to the film yet possesses its own distinct identity and arrangements, blending shared songs with exclusive tracks.
The mood of Harlequin is imbued with anarchic energy and manic chaos, centered around an unexpected sense of peace. Revisiting vintage repertoire with orchestral arrangements and abundant wind instruments, the album reinterprets these pieces in a pop-rock and unabashedly theatrical style. Recorded at Rick Rubin’s Malibu studios—where legends like Bob Dylan once roamed—it harks back to an old-school sound reminiscent of Joanne and A Star Is Born.
Exploring Lady Gaga’s multifaceted identity and her character, Harleen Quinzel, the album reshapes old songs in diverse styles, reflecting the complexity of the persona she portrays. The tempo remains high, matching the elevated mood throughout.
Harlequin begins with “Good Morning,” a song from the 1930s popularized by Singin’ in the Rain. Gaga infuses it with new lyrics co-written with her boyfriend, Michael Polansky, who also serves as co-executive producer. “Get Happy” by Harold Arlen and Ted Koehler transforms from gospel tones to the vivacity of a wild party. The gospel undertones pervade the album, subtly invoking a yearning for salvation evident in the funk of “Oh, When the Saints” and the boldness of “Gonna Build a Mountain.”
In Harold Arlen’s “World on a String,” Gaga sings, “How lucky I am, can’t you see I’m in love?” It’s as if both she and her character, Lee, express these sentiments. She embodies the “million-dollar chick” in “If My Friends Could See Me Now,” demanding attention. As a consummate entertainer, she knows that “everything that happens in life can happen in a show; you can make them laugh, you can make them cry.” She is a woman who believes in building mountains of faith; she encompasses many facets.
Although her rendition of Charlie Chaplin’s “Smile” might seem an overused choice, Gaga redeems it by launching into a spectacular version of Anthony Newley’s “The Joker” from the musical The Roar of the Greasepaint – The Smell of the Crowd (distinct from the Steve Miller song “The Joker” featured in The Simpsons). While Sammy Davis Jr. also popularized it, Gaga’s performance channels the grandeur of a James Bond theme, reminiscent of Shirley Bassey’s interpretations, bolstered by Tim Stewart’s powerful guitars. The song’s exaggerated delivery brings to life lyrics like “There’s always a joker in the band, there’s always a lone clown, the poor fool who falls, and everyone laughs when he lands on the ground.” In “That’s Entertainment,” the imagery of a clown with his pants down ties the themes together; it all becomes cohesive.
Prior to the final track—a cover of “That’s Life” familiar from Frank Sinatra’s rendition at the end of the first Joker film—comes the second of two original pieces. The first, “Folie à deux,” is an orchestral fantasy in waltz time featuring an ethereal choir. The second, “Happy Mistake,” written and produced with BloodPop, captures the essence of Gaga’s career. It portrays the interrupted girls she has embodied—troubled souls with internal fractures—celebrating the discomfort that fortune has brought her, a comedy performed through the lens of tragedy. Gaga understands that life is a stage and brings that world to her performance.
In Harlequin, Lady Gaga returns to the Great American Songbook but without the mature allure of legendary artists. Instead, she approaches it with the innocence and wonder of a slightly bewildered and often euphoric girl, showcasing her magnificent vocal presence and distinctly pop rhythm. Gone are the long evening gowns and cocktails, the languid serenades at the piano, the old-world charm. These are songs to belt out late at night, with smudged makeup and the weary look of an endearing madwoman—depicted vividly on the album cover where she showers wearing a life jacket.
Revitalized yet respectfully treated, these classics serve as small lifelines—a center of peace and joy amid chaos. Though often viewed as outdated artifacts, they prove valuable today through their musical intelligence and nuanced lyrics, representing a world that is simultaneously tragic and comic. The songbook Gaga has selected encompasses everything: unbridled joy and melancholy, passion and prayer, love and violence, the romantic and the absurd. Ultimately, as the song reminds us, that’s life.
Solid (★★★½☆)
Favorite Track(s): “Oh, When the Saints,” “That’s Entertainment,” “Happy Mistake”