Lady Gaga Net Worth 2026: The $300M Mayhem Ball Fortune

Last updated: November 11, 2026  ·  By Nathan Cole

Lady Gaga’s net worth in 2026 is an estimated $300 million. That is the figure Celebrity Net Worth lists as of September 2026, and Parade prints the same number in its 2026 profile. She is 40 years old — she turned 40 on March 28, 2026 — and she is coming off the biggest year of her career since the fame first arrived. The Mayhem Ball, her eighth headlining world tour, grossed $418.4 million from 1.95 million tickets sold, according to Pollstar, and pushed her lifetime tour earnings past $1 billion. Forbes put her 2025 earnings at $52 million before tax, ranking her 15th among the highest-paid musicians of the year. She holds 16 Grammy Awards, an Oscar, and a beauty brand, Haus Labs, with annual revenues estimated above $140 million.

The $300 million figure is not the only number in circulation, and this article does not pretend it is. Net Worth Radar, in a modelled estimate dated October 26, 2026, puts her at $390 million, with a likely range of $322 million to $477 million. A few outlets print $320 million. One analysis that gives Haus Labs a large valuation reaches $500–600 million, and the highest figure anywhere is $900 million. The honest band is $300–390 million, with $300 million as the anchor because it is the number the two most-cited trackers agree on. The $900 million figure rests on a Haus Labs valuation nobody has confirmed, and this article discounts it.

What follows is the full picture: the New York childhood as Stefani Germanotta, the 2008 breakthrough with The Fame, the peak pop years, the Oscar for A Star Is Born, the Mayhem album and tour that reset the clock at 39 and 40, the beauty business, the real estate, the engagement to Michael Polansky, and the comparison with the rest of pop’s richest. Where the reporting disagrees — above all on the total, where outlets range from $300 million to $900 million — this article names the disagreement, dates each figure, and gives the range instead of picking one number and hiding the rest.

What Is Lady Gaga’s Net Worth in 2026?

Lady Gaga’s net worth in 2026 is an estimated $300 million. Celebrity Net Worth, the tracker most outlets cite, lists $300 million as of September 2026. Parade, in its 2026 profile, prints $300 million. The UK Journal, in September 2026, put it at about $300 million (roughly £245 million) and noted that Parade lands on $300 million too, “so the big trackers agree”. Hindustan Times, reporting in September 2026, said the same: Celebrity Net Worth lists $300 million, Parade estimates $300 million, and Forbes lists her among its highest-paid musicians with $52 million in 2025 earnings. When the trackers agree, the anchor is set.

The band around the anchor runs to $390 million. Net Worth Radar, in an estimate dated October 26, 2026, modelled her fortune at $390 million with a likely range of $322 million to $477 million. The model is transparent about its inputs: a $320 million base from early 2024, the Mayhem Ball grosses from Pollstar, Forbes’ $52 million 2025 earnings figure as a cross-check, and a conservative value for Haus Labs because the brand’s revenue and her ownership stake are private. A modelled estimate is not a bank statement, and the Radar says so itself. But the model is built from reported numbers, and its range overlaps the consensus at the bottom end. This article treats $300 million as the anchor and $300–390 million as the honest band.

Two higher figures circulate, and both need a warning label. A 2026 Plisio analysis puts her at $500–600 million, with her Haus Labs stake alone potentially worth $200–500 million. The highest figure anywhere, $900 million, gives the brand an even larger value. Neither number is confirmed by any public filing, because Haus Labs is a private company and its revenue and her ownership share are not disclosed. The reported revenue figure — over $140 million a year — is an estimate, not a filing. A brand doing $140 million in revenue is not automatically worth $500 million. This article names the higher figures and discounts them, because the gap between $300 million and $900 million is the gap between what is documented and what is guessed.

Early Life: Stefani Germanotta in New York

Stefani Joanne Angelina Germanotta was born on March 28, 1986, in Manhattan, New York City, to Joseph Germanotta, an internet entrepreneur, and Cynthia Germanotta, a telecommunications executive. She grew up on the Upper West Side, in a Catholic Italian-American household, and started playing piano at four. By 11 she was writing songs. By 13 she was performing at open-mic nights. At 17 she was admitted early to the Tisch School of the Arts at New York University, one of only 20 students accepted into the musical theatre programme that year, and she left after two years to chase the music full-time.

The Lower East Side club scene was the education that mattered. In her late teens and early twenties she played tiny rooms under the name Lady Gaga — taken from Queen’s “Radio Ga Ga” — in outfits she made herself, building a live act that mixed piano ballads with electronic dance music and a stage persona that was part performance art and part pop star. The venues were small and the pay was smaller. The act was the point: a classically trained pianist who could write a hook, play it live, and hold a room while dressed like no one else in it. The clubs taught her the skill that later filled stadiums — the ability to make a large room feel like a small one.

The break came in 2007, when she signed with Interscope Records through Streamline Records and began writing songs for other artists, including the Pussycat Dolls, Britney Spears and New Kids on the Block. The songwriting paid the rent and taught her the machinery of pop. A year later, the machinery turned on her: The Fame arrived in August 2008, and the girl who had been writing hooks for other people was suddenly singing her own. She was 22. The fortune that followed took 18 years to build, and it started in those clubs, with a piano and a name borrowed from Queen.

The Fame: How Just Dance and Poker Face Built the First Fortune

The Fame, released in August 2008, did not explode on arrival. It climbed. “Just Dance”, featuring Colby O’Donis, reached No. 1 on the Billboard Hot 100 in January 2009, five months after the album came out. “Poker Face” followed it to No. 1 in April 2009 and stayed there. The album sold steadily for years, and the two singles became the sound of 2009: electronic, theatrical, and impossible to avoid. Lady Gaga’s first Grammy came in 2010, Best Dance Recording for “Poker Face”, and the money started to follow the fame.

The first fortune was a touring fortune. The Fame Ball Tour in 2009 played theatres. The Monster Ball Tour, which ran from 2009 to 2011, played arenas and grossed a reported $227.4 million across 203 shows, making it one of the highest-grossing debut tours in history. The arithmetic of a tour like that is simple and brutal: the artist keeps a share of the ticket price after the venue, the promoter and the production costs take theirs, and the share on a $227 million gross is large. The Monster Ball was the first time Lady Gaga’s money matched her fame, and it set the pattern for everything after: the tours would always be the largest single source of income.

The Fame Monster, the eight-track follow-up released in November 2009, added “Bad Romance” and “Telephone” with Beyoncé to the catalogue, and the catalogue became the second income stream. Streaming was still young in 2009, and the royalties from a song like “Poker Face” — hundreds of millions of plays a year, every year, for a decade and a half — compound the way interest compounds. A single hit does not make a fortune. A catalogue of hits, played forever, does. By the time Born This Way arrived in 2011, Lady Gaga had the two things a pop fortune needs: a touring machine and a catalogue that paid while she slept.

Born This Way to ARTPOP: The Peak Pop Years

Born This Way, released in May 2011, sold 1.1 million copies in its first week in the United States — a number that belonged to a different era of the music business, and one that has not been matched by many artists since. The title track became an anthem, and the album’s tour, the Born This Way Ball, grossed a reported $181 million before a hip injury forced its cancellation in early 2013. The injury mattered: it was the first time the machine stopped, and it taught her the lesson that a touring fortune depends on a body that can tour. She came back with ARTPOP in 2013, an album that sold well and disappointed the critics, and the years after it were the first time the career looked like it might be cooling.

It did not cool. It widened. Cheek to Cheek, the 2014 standards album with Tony Bennett, reached No. 1 on the Billboard 200 and won a Grammy for Best Traditional Pop Vocal Album. It introduced her to an audience that had never bought a Lady Gaga record: jazz listeners, older buyers, and the Bennett crowd. Joanne, released in 2016, was a country-leaning turn that produced “Million Reasons” and a second wave of critical respect. The Super Bowl LI halftime show in February 2017, watched by more than 117 million people, was the most-watched musical performance of her career to that point, and it reset her public image from pop provocateur to American entertainer.

American Horror Story: Hotel, in 2015 and 2016, gave her a Golden Globe for Best Actress in a Limited Series — her first major acting award, and the first sign that the career was going to be wider than music. The peak pop years, from 2011 to 2017, built the base of the fortune: the albums, the tours, the catalogue, and the first acting credits. The money from those years is the money the $300 million figure is built on. The years after 2017 built the rest.

A Star Is Born: The Oscar and the Acting Payday

A Star Is Born, released in October 2018, changed the shape of Lady Gaga’s career and her fortune. She played Ally, a singer discovered by Bradley Cooper’s Jackson Maine, and the film grossed $436 million worldwide. “Shallow”, the duet at its centre, won the Academy Award for Best Original Song in February 2019, and she was nominated for Best Actress the same night. The salary for the role was reported by Forbes, via Parade, at $5–10 million — a large acting payday, but a small number next to what the film did for her earning power. After A Star Is Born, she was not a pop star who acted. She was an actress who sang.

House of Gucci, released in 2021, proved it was not a one-off. She played Patrizia Reggiani, the ex-wife of Maurizio Gucci, in Ridley Scott’s film, and the movie grossed $153 million worldwide. The performance earned her nominations at the BAFTAs, the Golden Globes and the Screen Actors Guild Awards. The pay for a leading role in a Ridley Scott film is not public, and this article does not invent a figure for it, but the pattern is plain: the acting fees became a real income stream, and the films kept the name in front of audiences that did not buy concert tickets.

Joker: Folie à Deux, released in October 2024, was the exception that tests the rule. She played Harleen “Lee” Quinzel opposite Joaquin Phoenix, and the film grossed about $207 million worldwide — far below the first Joker’s $1.07 billion, and a commercial disappointment by any measure. The companion album, Harlequin, released in September 2024, was a jazz-standards record that showed her range but did not sell like a pop album. The film’s failure did not damage the fortune. It did something more useful: it showed that the acting career, like the music career, has peaks and troughs, and that the money comes from the peaks. The troughs cost a fee. The peaks pay for years.

The Mayhem Ball: The 8 Million Tour

The Mayhem Ball is the largest single money-maker of Lady Gaga’s career. Pollstar puts the tour at $418.4 million from 1.95 million tickets sold across 92 concerts, counting the stadium shows in Mexico City and Singapore. The tour began on July 16, 2025, in Las Vegas, and ran through North America, Europe, Oceania and Asia, with a second North American leg added in September 2025 for February through April 2026. It is her eighth headlining world tour, and it is the one that pushed her lifetime tour earnings past $1 billion, according to Pollstar in October 2025.

The scale is hard to grasp without a comparison. The Chromatica Ball, her previous tour in 2022, grossed a reported $112.4 million across 20 stadium shows. The Mayhem Ball grossed nearly four times that. The Monster Ball, the tour that made her rich in 2009–2011, grossed a reported $227.4 million. The Mayhem Ball nearly doubled it. The growth is not an accident. Ticket prices rose, the venues got bigger, and the demand — after the Mayhem album, after the Grammys, after the Copacabana concert — was the highest of her career.

The Copacabana concert, in May 2025, deserves its own line. Lady Gaga played a free concert on Copacabana Beach in Rio de Janeiro that drew 2.1 million people, making it the most-attended free concert by a female artist in history, according to Wikipedia’s reporting of the event. A free concert does not pay the artist directly. It pays in the currency that matters more: the footage, the headlines, and the demand it creates for the paid shows that follow. The Mayhem Ball’s second leg, announced four months later, sold out on that demand. The tour ends on April 13, 2026, in New York. By then it will have run for nine months, and the $418.4 million will be the number the whole career is measured against.

Mayhem: The Album That Reset the Clock

Mayhem, released on March 7, 2025, is the album that reset Lady Gaga’s career at 38 and carried it into her forties. It debuted at No. 1 on the Billboard 200 — her seventh consecutive No. 1 solo album — and it is, by the tour announcement’s own measure, her highest-rated release on Metacritic. The singles tell the story: “Disease” in October 2024, “Abracadabra” in February 2025, and “Die With a Smile”, the duet with Bruno Mars, which had arrived in August 2024 as a standalone single and was later folded into the album. Bruno Mars’ net worth is covered on this site — the duet paired two artists whose fortunes were built the same way, on touring and catalogue, and the song became the biggest hit of either one’s recent career.

“Die With a Smile” is the single that explains the album’s economics. It spent five weeks at No. 1 on the Billboard Hot 100 and 18 weeks at No. 1 on the Billboard Global 200, and it broke Spotify records as the fastest song to pass 1 billion streams (96 days) and 2 billion streams (200 days). It won the Grammy for Best Pop Duo/Group Performance at the 67th Grammy Awards in February 2025 — Lady Gaga’s 14th Grammy — and it became her sixth US No. 1 hit. A song that streams at that speed pays for years. The royalties from “Die With a Smile” alone are a meaningful slice of the $300 million, and they will keep paying long after the Mayhem Ball ends.

The Grammys kept coming. At the 68th Grammy Awards on February 1, 2026, “Abracadabra” won Best Dance Pop Recording and Mayhem won Best Pop Vocal Album — her 15th and 16th Grammy wins, from 45 nominations in total, according to grammy.com. She was also nominated for Song of the Year for “Abracadabra” and Album of the Year for Mayhem. Sixteen Grammys puts her among the most-awarded women in Grammy history, and the 2026 wins matter for the fortune in a practical way: a Grammy-winning album sells longer, streams longer, and commands higher fees than a Grammy-losing one. The Mayhem era is the reason the $300 million figure is rising, not falling, at 40.

Haus Labs: The Beauty Business

Haus Labs is the part of Lady Gaga’s fortune that causes the most argument, and the argument is the reason the estimates spread from $300 million to $900 million. She launched the cosmetics brand in September 2019, exclusively on Amazon, as a vegan and clean-beauty line built around colour cosmetics — lipsticks, liners, and the kind of bold shades her stage looks were known for. The launch was modest. The relaunch was not: in June 2022, Haus Labs arrived at Sephora, the largest beauty retailer in the United States, with a reformulated line and a new positioning as a clean, high-performance brand.

The revenue is estimated, not filed. Reporting puts Haus Labs’ annual revenues above $140 million, and the brand has grown steadily since the Sephora relaunch. What nobody outside the company knows is how much of it Lady Gaga owns, and what the company is worth. A cosmetics brand doing $140 million in revenue can be worth anywhere from $200 million to $900 million, depending on its growth rate, its margins, and how much of it the founder owns. That uncertainty is the whole story of the $300–900 million spread. The $300 million figure gives Haus Labs little value. The $900 million figure gives it a large one. The $390 million modelled figure from Net Worth Radar gives it a conservative one.

This article gives it the conservative treatment, for a simple reason: the revenue figure is an estimate, the ownership share is private, and no buyer has ever paid a public price for the company. Until one does, the brand’s value is a guess, and a fortune built on a guess is not a fortune. Haus Labs is real, it sells, and it adds to the total. But the $300 million anchor does not depend on it being worth hundreds of millions. The anchor depends on the touring, the catalogue, and the acting — the parts of the fortune that are documented. Haus Labs is the upside. If it is ever sold, the number will move. Until then, it stays in the range, not in the headline.

Where the 0 Million Sits: The Breakdown

A net worth is not a pile of cash. It is a list of assets, and the table below lays out the pieces of Lady Gaga’s $300 million as the reporting supports them. The figures are estimates, and the table says so, because the exact split is private. What is public is the direction: touring is the largest piece, the catalogue is the steadiest, Haus Labs is the most uncertain, and the acting and real estate fill out the rest.

The touring line deserves a closer look, because it is where the money actually arrives. A $418.4 million gross does not mean $418.4 million in Lady Gaga’s bank account. The venue takes a share. The promoter takes a share. The production — the stage, the crew, the transport, the insurance — takes a large share. The artist’s take on a stadium tour is usually estimated at a third to a half of the gross, and the tax bill takes a share of that. The Mayhem Ball’s $418.4 million probably put something in the range of $100–150 million into her accounts over nine months, before tax. That is the single largest payday of her career, and it is the reason the $300 million figure, which was flat for years, is now moving up.

The catalogue line is the opposite: small payments, forever. A song like “Poker Face” earns every time it is streamed, played on the radio, licensed to a film, or covered by another artist. The payments are small individually and large in aggregate, and they do not stop. The residency line is the most efficient of all: up to $1 million a night, in one venue, with no travel and no touring production. The acting line is the most irregular: a $5–10 million fee for a film, then nothing until the next one. The fortune is the sum of all five, and the sum is $300 million because the pieces add up to it, not because any single piece is large enough to carry the total alone.

Why Estimates Disagree: 0M vs 0M vs 0M

The spread in Lady Gaga’s published net worth — $300 million at the bottom, $900 million at the top — is one of the widest for any major pop star, and it exists for a single reason: Haus Labs. Every other part of the fortune is documented. The tours have Pollstar grosses. The earnings have Forbes lists. The acting fees have reported salaries. The catalogue has streaming counts. Only the beauty brand is a black box, and the black box is where the disagreement lives.

The reader who wants a single number should take $300 million. It is the number the most-cited trackers agree on, it is the number Parade prints, and it is the number that does not depend on guessing the value of a private company. The reader who wants the honest picture should hold the band: $300–390 million, with the top end coming from a transparent model that counts the Mayhem Ball and gives Haus Labs a modest value. The $500–900 million figures are not wrong in the sense of being invented. They are unproven in the sense that no public transaction supports them. A fortune is what someone would pay for the assets. Until someone pays for Haus Labs, its value is a debate, not a fact.

There is also a simpler reason the $300 million figure has stayed flat for years while the career kept growing: spending. A pop star at Lady Gaga’s level spends at a scale that is hard to imagine — the stage productions, the costumes, the staff, the homes, the travel, and the taxes on $52 million a year of income. Forbes’ $52 million earnings figure is pretax. The tax bill on it is large. The tour grosses are gross, not net. The $300 million is what is left after the earning, the spending and the taxing, and the fact that it has held steady while the grosses grew is not a sign of stagnation. It is a sign that the money is being spent as fast as it is made, and that the Mayhem era is the first time in years the earning has clearly outpaced the spending.

Real Estate and the Way She Lives

Lady Gaga’s best-known property is the Malibu home she bought in 2014 for $22.5 million: a six-acre estate above Zuma Beach, with a main house, a guest house, a pool, a bowling alley and a stable. It is the house she has lived in longest, and it is the one that appears most often in the reporting. The price, $22.5 million, is public because the sale was recorded. The current value is not public, and this article does not estimate it. Malibu property has appreciated sharply since 2014, and the estate is likely worth considerably more than she paid. How much more is a guess, and the guess does not belong in the net-worth total.

She has owned other properties — a Hollywood Hills home bought earlier in her career, and apartments in New York — but the Malibu estate is the centre of the portfolio, and the portfolio is a modest slice of the fortune. A $22.5 million house, even doubled in value, is a small fraction of $300 million. The real estate matters to the story for a different reason: it shows where the money goes. A pop star who tours for nine months a year needs a place to come home to, and the Malibu estate is that place. The bowling alley and the stable are the details that make the fortune visible. The house is not an investment. It is a home, and the fortune pays for it the way a fortune pays for a home.

The lifestyle around the house is quieter than the stage act suggests. She is known for long working days, for rehearsing until the show is right, and for a private life that stays private. The engagement to Michael Polansky, announced in July 2024, is the most public part of her personal life in years, and even that was announced quietly, at the Paris Olympics, without a press release. The fortune is loud. The life is not.

Personal Life: Michael Polansky and the Engagement

Lady Gaga is engaged to Michael Polansky, a tech entrepreneur and investor who serves as executive director of the Parker Foundation, the philanthropic organisation founded by Sean Parker. They were first linked in 2019, and the engagement was confirmed in July 2024, when she introduced him as her fiancé at the Paris Olympics. The ring is an oval diamond, reported by Parade, citing Elle, to be worth about $1 million, set in white and rose gold by Sofia Jewelry. The valuation is an estimate, not a confirmed figure from the jeweller, and this article presents it as reported.

Polansky is not a celebrity. He is a businessman, and his presence in her life is visible in the work: he co-wrote songs on Mayhem, including material that reflects the relationship, and he has been credited as a creative partner on the album. The collaboration is the point. The previous engagements — to actor Taylor Kinney, which ended in 2016, and to talent agent Christian Carino, which ended in 2019 — were with men from her own world. Polansky comes from outside it, and the relationship has coincided with the most productive period of her career since the early 2010s: an album, a world tour, a Grammy haul, and a fortune that is rising again.

She has no children, and she has spoken publicly about wanting a family. The engagement is the personal news of the Mayhem era, and it is the part of the story that does not fit in a net-worth table. The fortune is $300 million. The fiancé is a tech investor who co-writes her songs. The two facts belong together because they describe the same life: a 40-year-old pop star, at the top of her profession, building a second act with a partner who works beside her.

How She Compares: Pop’s Richest in 2026

Lady Gaga’s $300 million is a large fortune, and it is not the largest in pop. The table below puts her next to the peers this site covers, using the figures our own profiles publish, so the comparison is drawn from a single set of sources. The gap at the top is the story: the richest pop stars are now billionaires, and the distance between $300 million and $2 billion is the distance between a touring fortune and a catalogue fortune.

The comparison that matters most is the one at the top. Taylor Swift, at $2 billion, built her fortune the same way Lady Gaga built hers — touring and catalogue — and the difference is scale: Swift’s Eras Tour grossed over $2 billion, and her catalogue is larger. Jay-Z, at $2.8 billion, built his on ownership of liquor brands, and the difference is method: equity exits, not ticket sales. Lady Gaga sits between the two models. She tours like Swift and owns a brand like Jay-Z, but the tour is smaller and the brand is younger. The $300 million is the honest midpoint of those two models, and the Mayhem era is the first time the touring side has been large enough to close the gap.

The comparison with Ed Sheeran is the closest one. He sits at $400 million on this site’s profile, $100 million above her, built on the same foundation: relentless touring and a catalogue of hits. The comparison with Adele, at $230 million, runs the other way: a residency fortune, built on a small number of very expensive shows, against Lady Gaga’s touring fortune, built on a large number of shows at a lower price. The numbers are close because the models are close. The fortune is not a ranking. It is a record of how the money was made, and the table shows the record.

2026: Forty, the Mayhem Ball Finale and the Grammys

Lady Gaga turned 40 on March 28, 2026, and the birthday arrived in the middle of the busiest stretch of her career. The Mayhem Ball’s second North American leg, announced in September 2025, ran from February 14 to April 13, 2026, with dates in Glendale, Saint Paul, Fort Worth, Atlanta, Austin, Washington DC and Boston, ending in New York. The Saint Paul dates, April 9 and 10, 2026, were her seventh and eighth performances at the Grand Casino Arena. The tour’s final gross, $418.4 million from 1.95 million tickets, was already reported by Pollstar before the last shows, and the finale in New York closed a nine-month run that began in Las Vegas in July 2025.

The 68th Grammy Awards, held on February 1, 2026, in Los Angeles, added two more wins to the count: Best Dance Pop Recording for “Abracadabra” and Best Pop Vocal Album for Mayhem, taking her to 16 Grammy wins from 45 nominations. She was also nominated for Song of the Year and Album of the Year. The wins came six days before the tour’s second leg began, and they set the tone for the spring: a 40-year-old artist, with a No. 1 album, a sold-out tour, and two new Grammys, working at the peak of her powers.

The year before had set the stage. At the MTV Video Music Awards in September 2025, she performed her new single “The Dead Dance” from Madison Square Garden and took home four awards, including Artist of the Year and Best Collaboration for “Die With a Smile”. The song came from Wednesday season 2, in which she played Rosaline Rotwood, and the performance was the kind of television moment that keeps a pop star in the headlines between tours. The 2026 story is the payoff of that moment: the album, the tour, the Grammys, and the fortune, all arriving in the same year, at 40.

What Is Next for Lady Gaga?

The Mayhem Ball ends on April 13, 2026, and the question after it is the one every touring artist faces: what next, and how soon? The honest answer is that nothing has been announced. No new album has been confirmed. No new tour has been dated. No new film role has been named. The reporting that exists points in several directions at once: the Grammy buzz around Mayhem, the Wednesday role and “The Dead Dance”, the Haus Labs growth, and the engagement to Michael Polansky. Any of them could be the next chapter. None of them has been chosen yet, at least not in public.

The fortune gives her the freedom to choose slowly. At $300 million, with a catalogue that pays every year and a brand that grows every year, she does not need to tour to eat. The Mayhem Ball was a choice, not a necessity, and the next move will be one too. A new album would follow the Mayhem pattern: a record, a tour, a Grammy cycle. A new film would follow the A Star Is Born pattern: a role, a soundtrack, an awards season. A wedding would follow the engagement. The most likely next chapter is the one the reporting already hints at: more music with Polansky, more Haus Labs, and a slower pace, at 40, with the money already made and the career already secure.

Frequently Asked Questions

Sources & Reporting

This article was researched on 11 November 2026 from live reporting and dated listings: Celebrity Net Worth for the $300 million net-worth figure as of September 2026; Parade for the $300 million figure in its 2026 profile, the $5–10 million A Star Is Born salary, the $1 million per night Las Vegas residency figure, the $52 million 2025 earnings figure, and the ~$1 million engagement ring valuation; Forbes for the $52 million pretax 2025 earnings (No. 15 among musicians), the October 2020 $150 million figure treated here as stale, and the A Star Is Born salary and residency figures reported via Parade; Net Worth Radar (October 26, 2026) for the modelled $390 million estimate and the $322–477 million likely range; Pollstar for the Mayhem Ball gross of $418.4 million from 1.95 million tickets and for career tour grosses past $1 billion; grammy.com for the 16 wins and 45 nominations and the 68th Grammy Awards results; Simple Wikipedia for the Mayhem album chart run and the Mayhem Ball tour dates (July 16, 2025 – April 13, 2026, 83 shows); the Grand Casino Arena announcement (September 9, 2025) for the second North American leg, the Mayhem chart run and the “Die With a Smile” streaming records; SeatGeek for the Mayhem album facts and the 14-Grammy count before the 68th Grammys; Hindustan Times (September 12, 2026) for the $300 million consensus and the $52 million earnings; the UK Journal (September 9, 2026) for the $300 million figure and the Forbes 2020 comparison; African Business Review and Scintillating Stars (January 2026) for the $320 million tracker figures; iVoox and Castbox for the Copacabana Beach 2.1 million attendance and the Plisio Haus Labs $200–500 million stake analysis; and Billboard reporting for the Chromatica Ball $112.4 million gross, the Monster Ball $227.4 million gross and the Born This Way Ball $181 million gross. Where sources disagreed — above all the $300 million versus $390 million versus $900 million net-worth figures — the article names the disagreement and dates each figure. Where the public record is silent — the exact value of Haus Labs, Lady Gaga’s ownership share, the terms of her private deals — the article says so. Corrections are welcome via the About page.