[3] The venue began as a hall for ballroom dancing and orchestra groups, but later shifted its focus through various eras of popular music, including disco, grunge, and EDM.

While the Roseland Ballroom has seen performances from a both up-and-coming bands and established acts,[2] rumors have been circulating since 1996 about the venue's demise, after owner Albert Ginsberg filed plans to tear down its low-rise, three-story structure and replace it with a 59-story high-rise.

Gaga recalled that she fell in the mosh pit during the show and got her nose broken, making her parents forbid her from visiting Roseland again.

[9] Starting from arriving to the concert hall in a nude bodysuit and mask, embellished with red roses, the outfits worn on the stage included Gaga's characteristic attire from her previous live performances.

Another dress included shoulder spikes reminiscent of the singer's attire during her first studio album era, coupled with a hat made of black roses.

[12] The stage was created to embody the New York City fire escapes making it multi-leveled and comparable to the self-titled album cover by rock band Grateful Dead.

The Lower East Side of New York was represented by the replica of a F train carriage on the auxiliary platform of Roseland named as the "Artpop Zone", decked with neon lights and spelling out "176 Stanton Street", Gaga's old address.

A costume change ensued and Gaga performed "Monster" wearing a crimson leather body suit and roses atop her head.

Middle of the performance, she ran to the left of the stage to climb a ladder to the mezannine floors, where she sang the final chorus and "Sexxx Dreams" followed with energetic dance moves.

Gaga moved towards the F train stage on the right, and sang the piano ballads "Dope" and "You and I", interspersed with monologues about the venue, her beginnings as a singer in New York and addictions.

The third costume change took place with the performance of "Just Dance", where she wore yellow hot pants and metallic chest plates, while being accompanied by her full troupe of nine dancers.

The singer showed provocative dance moves while straddling her backup performers, and executed choreography similar to the song's music video.

[18] James Montgomery of MTV News praised the overall show, calling it "heavy on the hits, sublimely sexual, suitably sentimental—both for her glory days and the iconic venue she's closing with this seven-night stand—and ridiculous in all the right ways".

He noted that the abrupt ending of the show was compensated by Gaga's dancing and singing, which in turn helped counteract the negative press she had been receiving since the release of Artpop.

[19] Glenn Gamboa from Newsday called the show "fierce" and "brainy", saying that the singer "fired up" from the moment she took the stage, displaying an avant-garde artistic sensibility.

[20] Jon Caramanica of The New York Times called the show part of the "Supernova" phase of her career and explained, Gaga grounds this sort of spectacle with her voice.

She is still a fearsome singer when she chooses to be, which is to say rarely on records but often in concert ... What she gave the faithful was easy to digest: largely bulletproof pop, swinging back and forth between brooding, panting torch songs delivered at top volume and grand-scale 1980s-style digital rock with a nightclub twist.

[21]Adam Markovitz from Entertainment Weekly declared that if the "Roseland show is any indication, Gaga's not going anywhere anytime soon", in spite of the overall negative reception towards her campaigns for Artpop.

[23] Caryn Ganz from Rolling Stone observed that the compact space of Roseland did not allow for much choreography, but felt Gaga's performance was "magical", especially during "You and I".

Hughes concluded by saying that the simplest moments of the performances were the ones featuring toned down versions of her singles like "Born This Way" and "Poker Face", rather than the extravagant choreography during "Bad Romance" and "G.U.Y.

[25] Jordan Runtagh from VH1 applauded Gaga's camaraderie with her fans, also noting that "the abundance of movie cameras reminded us that this was a special moment, one that will go down in history.

Runtagh believed that the performances solidified Gaga as a respectable entertainer and would generate further interest for the upcoming ArtRave: The Artpop Ball tour.

Since Roseland was an admission only venue, costlier tickets were kept for the "Artpop Zone" since it had better views and seating arrangement, as well as a post-show meet and greet with Gaga.