arguing with the internet. RAMONA’s “GAGA” is that kind of debut.

Loud, messy, a little sarcastic, and very aware of the fact that the online rumor mill is already spinning, so it might as well spin it faster.

RAMONA, more commonly known outside the project as Andrea Brillantes, arrives here less like a carefully polished pop launch and more like a pop experiment in controlled chaos. Before the single dropped, she quietly wiped her social media accounts, which is either a bold artistic move or the modern equivalent of dramatically leaving the room so everyone asks where you went. Either way, it worked. “GAGA” lands with the energy of someone who knows people are talking and has decided the funniest response is to talk louder.

Musically, the track leans into punchy alt-pop with crunchy guitars and chantable hooks. If you’re trying to triangulate the vibe. Imagine the pop-punk bite of Olivia Rodrigo colliding with the slightly rougher, roots-y pop textures of Lady Gaga’s Joanne era, but with vocals that land closer to the airy indie tone of Beach Bunny or Chloe Moriondo. The result is scrappy in a way that feels intentional: polished enough for pop radio, but loose enough to keep the attitude intact.

Lyrically, “GAGA” is basically a three-minute eye roll aimed at gossip culture. RAMONA flips the usual insults thrown at outspoken women: “pa-victim,” “malandi,” “toxic,” and repeats them until they stop sounding like accusations and start sounding like punchlines.

It’s less a rebuttal and more a sarcastic “sure, okay, whatever you say,” delivered over a wall of chirpy notes.

Production from Tim and Sam Marquez of One Click Straight keeps the whole thing moving with manic rhythm and crunchy textures that wouldn’t feel too out of place on a record by Ena Mori. It’s noisy, catchy, and just chaotic enough to work.

the narrative back into the crowd and seeing what happens next. (Ian Ureta)