The video was noted for its contrasting portrayal of Gaga doing feminine work, as compared to her previous endeavours.

After signing a number of artists, he worked with then-unknown Gaga on her debut album, The Fame, producing and writing four songs with her, including the title track.

"[10] Writer James E. Perone mentioned in his book The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations that with the lyrics, Gaga maintained a focus on transitory relationships.

Although the lyrics explain to her former lover that she has found someone new and does not mean to hurt him with the news, the continuous repetition of the phrase "nothing else I can say" solidifies the transient nature of the relationship portrayed.

[5] Sal Cinquemani of Slant Magazine said that "the breezy island vibe and soft demeanor of 'Eh, Eh (Nothing Else I Can Say)' is hard to buy when sandwiched between songs like 'Poker Face' and 'Beautiful, Dirty, Rich.

'"[13] In another article analyzing Gaga's music video releases, Oscar Moralde from Slant Magazine noted that "Eh, Eh" as a track "is an intriguing case: rather than the tech-assisted sexy-androgynous dance pop that dominates a good chunk of The Fame, it and its sister tracks 'Brown Eyes' and 'Again Again' are evidence of a stripped-down, simpler, sincere Gaga.

[18] Christina Martin from The Meridian Star felt that the song, along with "Summerboy" from The Fame, is breezy and upbeat in nature.

On March 5, 2009, a Pet Shop Boys remix—named as "Random Soul Synthetic Mix"—became available for free download on Gaga's Australian website.

[28] The song was certified gold on May 24, 2009, by the Recording Industry Association of New Zealand (RIANZ), for shipment of 7,500 copies.

And I wanted to create beautiful, stunning '50s futuristic fashion imagery that would burn holes in everyone's brains.

She wanted a yellow based wardrobe believing the color to become a big hit in the fashion world in 2009.

[39] The video starts out showing Little Italy, an icon of the Madonna and Child, and then Gaga riding a Vespa.

[14] He explained: "What's striking about it is how much it feels like Lady Gaga is playacting: the video has a nostalgic, dreamlike tone.

Set in a stylized pastel 1950s Little Italy, the video plays heavily with stereotypical and historical shorthand as it displays moustached chefs, macho men in wife beaters, cute Vespas, and spaghetti and meatballs."

He noted that with all of these activities, Gaga created an essential fashion dollhouse, by playing feminine characters.

[14] But Gaga addressed the viewer directly in the video while singing the song, which led Moralde to deduce that "She's not in the moment, but is instead playing a feminized role in a dreamlike space; this quality is accentuated by the bright and blown-out color palette, and the numerous shots of Gaga in bed or sleeping.

"[41] In The Oxford Handbook of Sound and Image in Digital Media, author Carol Vernallis divided Gaga's persona into three categories.

Gaga was dressed in a white body plate leotard with black lightning shaped stripes and wore a hat made of toppled dominoes.

[46] Gaga sang the song in its actual form backed by vocals from DJ Space Cowboy who spun the music from a corner of the stage.

[44] As the song reached the chorus Gaga asked the crowd to join her while singing and wave their arms.

[50] She wore a giant human sized gyroscope around her, which was developed by the Haus of Gaga and was named "The Orbit".