Miley Cyrus - Something Beautiful Review
With Something Beautiful, Miley Cyrus has finally delivered the most cohesive and confident album of her career.
For over a decade, Miley Cyrus has seemed on the verge of making a truly iconic record. She’s been easy to dismiss in the past, whether because of her Hannah Montana pop beginnings, her chaotic public image, or simply put, “why they put the dick in the pussy”. But behind all that noise has always been an artist with a sharp ear, a powerful and unique voice, and a fun curiosity in music.
On her latest album Something Beautiful, everything finally clicks for Cyrus. The album opens with a strong run of singles —“Prelude”, “Something Beautiful”, “End of the World” and “More to Lose” — each one hinting at something rich and textured. The rest of the album lives up to that promise. While the record pulls from multiple styles, it never feels disjointed. That genre fluidity has always been part of Cyrus’ DNA. What’s new is the clarity and consistency.
The title track “Something Beautiful” captures the album’s emotional centre. It opens with a delicate, almost 50s Hollywood atmosphere before erupting into a lush, explosive wall of sound. The production is full of subtle touches, from the sax in the verses to the ferocity of the outro. Cyrus sings, “I'm like a pearl” over a beat that gradually overwhelms her, and the effect is stunning. There’s a tension in the lyrics, a craving for something lasting and beautiful that often feels just out of reach. That push and pull between softness and violence runs through the whole album.
Lyrically, the album revolves around healing, heartbreak, self-worth, and the search for love in all its forms. Cyrus doesn’t claim to have answers. Instead, she lays out the process with honesty and flair. There’s a sense that she’s still working through it all, which makes the moments of peace or clarity hit harder.
That vulnerability is especially powerful given how long she’s been in the spotlight. Cyrus was pushed into fame so young that her continued success is almost miraculous. What’s more impressive is how much she has grown. Her voice has never sounded better. It remains unmistakable, but it’s now more controlled, more expressive, and better supported by the production around it.
This isn’t Cyrus’ first time exploring experimental pop. Her 2015 project Miley Cyrus & Her Dead Petz, made with The Flaming Lips, was initially panned but has aged into a cult favourite. That album was chaotic and sprawling, more a declaration of freedom than a fully realised piece of work. It felt like an artist throwing paint at the wall just to see what stuck. By contrast, Something Beautiful takes that same spirit of exploration and gives it shape. The result is tighter, bolder, and more mature.
“More to Lose” is one of the album’s most moving tracks. It’s a sparse ballad built on piano, strings, and restraint. The melody lingers long after the song ends. The sax returns here too, subtly treated with effects that give it a slightly ghostly feel. The production, handled by Shawn Everett, is outstanding. Cyrus doesn’t need to shout to be heard, and this track proves how effective her quieter moments can be.
Even the interludes, often throwaways on other albums, feel purposeful here. They create breathing room and help transition from one sound to another. “Interlude One” flows directly into “Easy Lover,” a bouncy pop track with a strong bassline and lush strings. It’s about the tug-of-war of a situationship, where leaving feels impossible and pleasure keeps pulling you back. It’s light but smart.
“Golden Burning Sun” leans into a Fleetwood Mac-inspired sound and reflects on youth and surrender. Musically, it’s pleasant, with echoes of themes and melodies from earlier tracks. Lyrically, it’s less sharp. The chorus in particular feels a little underwritten compared to the stronger moments on the album, though the verses land with more emotional weight.
“Walk of Fame,” featuring Brittany Howard, is a shot of adrenaline. Howard’s vocals tear through the intro with raw force, and the synth-heavy production brings to mind Underworld’s “Born Slippy” with a disco twist. It’s a groovy track with unexpected layers, including some distinctly British-sounding vocal phrasing from Howard in the bridge and ending. The lyrics explore legacy, longing, and fame’s duality. The ever-rising key changes at the end give it a euphoric, almost endless quality.
“Every Girl You’ve Ever Loved” is another standout. Naomi Campbell’s cameo in the breakdown is surprisingly effective, set against haunted strings and eerie vocal harmonies. The Soulwax sample that closes the song is a thrilling tease. It hints at a full-on dance breakdown that never quite arrives, which only makes you want to replay it.
“Reborn” carries on the energy with a dirty bassline straight out of the early 2000s. Think Kylie Minogue’s Fever filtered through a modern pop lens. The chorus is huge, with Cyrus in full pop star mode. There’s also a satisfying lyrical link to the final track. The production here is thick, sparkling, and euphoric.
That closing track, “Give Me Love,” is simple but moving. The arrangement is delicate, full of flutes and acoustic guitar. The lyrics are basic, but they feel earned by everything that came before. The verse melody is lovely, and Cyrus delivers it with warmth and honesty. It ends suddenly, almost mid-thought, but perhaps that’s the point. The search for love and meaning rarely ends in a neat conclusion.
The most impressive thing about Something Beautiful is how complete it feels. Cyrus has made albums with great songs before, but this is the first one where everything feels part of a bigger picture. The vision is clear. The risks are measured and worthwhile. The strongest moments are truly breathtaking. This album shows a tremendous amount of growth and feels like something she’s been building toward for years. Cyrus sounds more grounded, more confident, and more in control than ever. Something Beautiful is ambitious, heartfelt, and full of surprises. Let’s hope she keeps going in this direction.
