There was by no means uniform agreement here at the magazine that we should do this review. The thing is we put our attention into reviewing independent artists who often lack an avenue for getting reviews out there. We, by no means, review all we are sent, probably only about 20%, but we are a small team. Miley Cyrus, of course, has no problem in getting her music heard through the noise; she never has had. Her Disney links were always going to get her immediate attention, and performing naked for “Wrecking Ball” only capped that. My co-editor, Benny, felt that Miley (much as he likes her music) was being reviewed in every publication out there; her new album is an “event”—he felt that in this case she definitely doesn’t need a review from us and it makes no difference at all. We would be better off paying attention to those artists for whom our reviews matter a lot.
I agree with that to an extent, but I couldn’t resist a rare foray into the review side of things for this album, as her November 2020 album, “Plastic Hearts,” is one of my favorites from the moment it kicks into “What the Fuck Do I Know.” For me, she is the ultimate chameleon as a performer, moving effortlessly between genres with that fine voice of hers.
As official information, Miley has fronted campaigns for Gucci and Dolce & Gabbana as well as countless magazine covers globally, including British Vogue. She co-hosted “Miley’s New Year’s Eve Party” with godmother Dolly Parton, drawing millions of viewers and expanded her multimedia presence by starring in a popular Black Mirror episode. Miley has expressed a desire to act again, saying the role must be either an extension of herself or a character “with a personality that can conquer [her] own.” Through her Happy Hippie Foundation, Miley has raised millions for homeless youth, especially those identifying as LGBTQ+. In 2024, she launched the Miley Cyrus Foundation, supporting mothers in all their diversity. Miley’s continuous impact on music and culture will resonate for years to come.
So, we never got sent the press release for this one and “Flowers,” at the time of writing, has 2,548,559,295 listens and it’s rising by the moment – but let’s have a listen and see if she still cuts the mustard. I approach this as a fan, and I couldn’t resist doing the review.
The review:
The album runs to 13 songs and is just over 52 minutes.
“Prelude” opens the album – like following an image from a train—and follows the visual concept of the album. A sci-fi-style musical score is then the vehicle for spoken vocals, providing the message for the album concept.
“Something Beautiful” is one of the big tracks from the album and it switches from these gentle ballad-style vocals to a bigger sound that feels like it belongs as a background to the Terminator! I’m not fully convinced by the album yet.
“End of the World” changes direction again. We have a very airwave-friendly pop sound and we are partying in the USA again! You don’t need to be in Malibu to enjoy this for what it is, party pop.
“More to Lose” is a ballad, a bluesy ballad that showcases the power in those vocals that draw you in every time. I liked it.
“Interlude 1” provides another instrumental soundtrack that begins as if it is part of “Day of the Triffids.” I know Miley is trying to create a visual soundtrack here; I’m not sure we need this interlude, however.
“Easy Lover” is more like it, a heavy, funky pop. It is well constructed and has a decent bite to it. “Keep on dancing in the” ashes”—absolutely. There is always that one that can never be given up! The background harmonies work well, but the whole song oozes confidence and struts its way through the headphones.
“Interlude 2.” After the high point of “Easy Lover,” Miley decided we needed another sci-fi-influenced instrumental soundtrack. Hmm…
“Golden Burning Sun” is nice (and sometimes nice as a word works fine!). Like the title it is dreamy and full of summer sun and holidays. It is a song of love, surrendering to the moment and enjoying the time we have together.
“Walk of Fame” (featuring Brittany Howard) takes us back to the dance floor with a feel of The Communards. This is keyboard pop, a jaunty beat and a pop drum sound that works hard to keep up the energy.
“Pretend You’re God” is a song where Miley is firmly in her lane. The song is a pop ballad and it slips unpretentiously into this album.
“Every Girl You’ve Ever Loved” (Featuring Naomi Campbell) takes us on the dance floor to a fast beat. The video alongside this works well, and Miley is really working hard on this album to connect the visual with the music, so we have a concept of a visual soundtrack. This one is good; it will no doubt see those streaming numbers climb up and up.
“Reborn” opens in an almost gothic style, haunting and drawing on darkness and light. It’s interesting experimenting under that dance beat.
“Give Me Love” closes the album. We have those golden apples hanging in trees and heaven awaits beyond. It closes the album with a gentle sway and with plenty of love.
So, does Something Beautiful cut the mustard? In truth, it slices through it with a diamond-studded machete—though not always cleanly. Miley Cyrus continues her reign as pop’s fearless shapeshifter, sometimes veering into cinematic overindulgence (yes, those interludes…), but just as often reminding us why her voice and vision have endured far beyond the Disney dust. With shimmering highs like “Easy Lover” and the glowing embers of “Golden Burning Sun,” this is an album that’s less a collection of songs and more a visual-sonic journey—occasionally meandering, often captivating. Like it or not, Miley isn’t just part of the conversation—she is the conversation of the moment. And yes, she absolutely warrants the review.
Standout Tracks: “Easy Lover,” “Golden Burning Sun,” and “Give Me Love.”
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Released May 30, 2025.
Available on all platforms and can be streamed from here.
By Mark C. Chambers