In a landscape teeming with one-hit wonders, where many artists barely survive a couple of years in the public eye before vanishing, Miley Cyrus has managed to remain relevant for almost two decades. It's hardly surprising, given her name has been part of the collective imagination from her beginnings as a Disney star, through her period of media rebellion, right up to this current, more introspective and creatively daring phase. On Something Beautiful, her new album, Miley Cyrus isn’t trying to replicate the resounding success of Flowers, nor is she attempting to jump on the viral bandwagon with algorithmic precision.
Reportedly inspired by Pink Floyd’s The Wall, her ninth studio album is, first and foremost, a work of personal and creative affirmation. Through a conceptual approach, an eclectic sonic palette, and an introspective narrative, Cyrus offers us her most ambitious proposal to date — a kind of pop opera about change, loss, and the beauty found in disorder.
From her early days as a teen idol in Hannah Montana, Miley has been a cultural chameleon. But more than just shedding skins, she’s learned to survive in an industry that rarely allows its women to reinvent themselves without paying a hefty price. From the provocative irreverence of Bangerz, through the rock of Plastic Hearts, to the introspective pop of Endless Summer Vacation, each step has been a rejection of the pre-established mould. Something Beautiful, more than being a rupture, is an integration of the chaos of the past, the reflection of the present, and a more sober look towards the future.
Structured like a pop opera, characterised by a prelude, interludes, and a dramatic close, the album attempts to tell a non-linear story of personal transformation. The first half of the record contains strong tracks like Prelude and the album's title track. What follows is a proper emotional and sonic rollercoaster.
We move from ethereal tracks with soft R&B foundations to moments of high emotional intensity sustained by winds, saxophones, and electronic strings. Songs like End of the World retrieve a more traditional pop sound with a simple but effective musical structure. It’s undoubtedly one of the album’s most accessible pieces.
In contrast, More to Lose stands out as one of the record's most accomplished songs. With lyrics exploring the emotional toll of a relationship on hold, it relies on an enveloping arrangement, crowned by a saxophone solo that elevates the song to its climax. On the other hand, Easy Lover or Golden Burning Sun introduce more organic instruments, combining country roots with classic rock structures.
Towards the middle of the album, the record shifts towards ‘80s synth-pop with tracks like Walk of Fame featuring Brittany Howard or Pretend You're God, where synthesizers take over Cyrus’s sound. Track eleven is, without a doubt, the most unexpected collaboration: Naomi Campbell joins the album on Every Girl You’ve Ever Loved. The choice of this fashion icon and symbol of female power reinforces the song's message, which explores the multiple facets of love and female identity.
The production is a showcase of indie and alternative talent: from Shawn Everett to Jonathan Rado, via Adam Granduciel and Brittany Howard. In this sense, Something Beautiful positions itself more as a global experience than a collection of hits. And that, whilst it might seem like a commercial risk, is a decision that solidifies Cyrus as an artist who no longer needs to prove anything with numbers.
The album is, ultimately, a work that breathes, that doubts, that stumbles, just like someone who has lived a lot and continues to search for meaning. Miley Cyrus doesn’t deliver a pop masterpiece here, but she does offer a mature declaration of intent. Beauty, it seems to tell us, isn't always in the polished, but in what survives the fire.