Jane Stevenson from Toronto Sun gave the コンサート four out of five stars and 発言しました 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 表示する 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 発言しました 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 書く for The Guardian 発言しました "While The Monster Ball has nothing on the great operas または 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 表示する saying "[Gaga] only has two albums under her ベルト (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, ファン could justifiably walk away thinking Lady Gaga is crazy, brilliant または both."
Jeremy Adams from Rolling Stone reviewed the performance at Wang Center in Boston and 発言しました 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." Chris Johnson from Daily Mail complimented the costumes worn in the tour. Aidin Vaziri of San Francisco Chronicle 発言しました that "During her 90-minute performance - not so much a live コンサート as a meticulously choreographed spectacle - Lady Gaga also evoked Kanye West with the futuristic set, Britney Spears in her heavy-lidded stage movements, Courtney 愛 with her interminable between-song monologues highlighted によって four-letter squelches and - who else? - マドンナ for, oh, just about everything else."
Jim Harrington from San Jose Mercury News felt that the 表示する would have been better technically if around thirty 分 were lessened from it. However, he compared Gaga's vocal abilities and performance with that of マドンナ and complimented her "undeniable 星, つ星 power and pure attitude. She doesn't concern herself with what あなた think of her R-rated maneuvers, または basically anything else, and she'll tell あなた that straight to your face." James Montogomery from MTV reviewed the コンサート at San Diego and 発言しました that "[Gaga] powered through and turned the San Diego Sports Arena into a raucous, delightfully raw discotheque."
Joe Brown from Las Vegas Sun 発言しました 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. Ann Powers from Los Angeles Times コメントしました that the tour was "an invigoratingly ambitious show, executed with vigor によって its 星, つ星 and her expressive dancers."