What I’ve realized about Sin City is that it’s never more than a degree or two from the core of the Zeitgeist, and, increasingly, its contributions feel fuller. Less flashy. Less flimsy. For example: Just a few months ago, HBO’s phenomenal series Hacks demonstrated to the world that a clever and heartfelt Vegas story is more than tellable. And now, with the return of the “Jazz & Piano” portion of Lady Gaga’s Las Vegas residency after a long pandemic break, the smartness behind Sin City showbiz has never been more evident. “Jazz & Piano” is entertaining, engaging, educational (thanks in part to black and white filmic interludes featuring Gaga speaking about the history of jazz and her influences in it), and astutely conceived for power and provocation without being overbearing. Plus, it wholly demonstrates the extraordinary performing prowess and big heart—both for music and grown-up little monsters—of its star.
Following the late-September release of her second album with Tony Bennett (titled Love for Sale, and featuring the two of them crooning Cole Porter songs), “Jazz & Piano” simmers with both a topical and timely charge (Gaga references Bennett often during the set) and a clear passion for the genre, although new renditions of her pop hits—songs like “Poker Face” and “Born This Way”—are layered in as well. As is the musician's wont, her performance’s appeal is further boosted by knockout costumes, some of which were designed by Topo Studio, an atelier run by Gaga’s sister, Natali Germanotta, and her business partner Anida Qerimaj. The show’s styling was overseen by Sandra Amador and Tom Eerebout.
“Our first look makes its appearance during ‘Bang, Bang,’ ” Germanotta tells Vogue. It’s a dusty rose-hued, feathery, and sparkly dress, complemented by an allover ostrich-feather coat. “The second is an avant-garde pink ensemble with a cape coat worn over a form-fitted black velvet bodice with a matching pink skirt.” These fits are, incidentally, the looks that Gaga seems most comfortable in—hybridizations of 1920’s flappers, 1930’s Deco debutantes, 1950’s burlesque dancers, and Liza Minnelli–esque cabaret vibes.
“We designed using elements from the Jazz Age, mixed with cabaret and vintage Vegas,” says Germanotta. “I like to close my eyes after combing through reference images, and imagine my sister singing. I try to think about what jazz means to her and the way she moves through space on stage. [Collaborating] never feels like work. It feels really unrestrained and free, from start to finish.”
Amador and Eerebout also layered in outfits by Adrian Manceras and Armani Privé, the Italian label’s couture branch. “Styling for Gaga’s stage is very different [than for red carpet or editorial],” says Amador. “We have quite a large space to fill, and we need to make sure everyone in the theater gets a full view of the fashion.” Adds Eerebout, “Billie Holiday and Eartha Kitt were specific references, they always looked fabulous. Sarah Vaughan and Dinah Washington were also big inspirations. More, here, is essentially more!”
In “Jazz & Piano,” more is indeed more—brassy horns, bawdy cheek, and belting vocals all included. But more, in this case, never comes across as excessive or even indulgent; Gaga is above all else a seasoned and master performer, working the crowd with song, stories and funny one-liners. “If you brought your kids here tonight,” she remarked at one point, “you’re a fucking idiot.” (In the end, the show is PG-13 at most—there’s nothing too salacious.)
Yet the ultimate takeaway from “Jazz & Piano,” which runs through Halloween this time around (with future dates to be announced), is that it’s enlightening. Most people know and love Gaga for her anthemic pop, but to see her in this context, in a more classicist vein, is even more of a treat. It made me want to listen to more jazz. It made me want to listen to more Gaga. And it made me want to go back to Las Vegas.
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