Miley Cyrus made a deliberate choice with Bangerz. She wanted to be provocative, loud, and unapologetic. She wanted to sound like she was having fun in the moment, even if the record spends half its runtime talking about the mess that comes after. The album is a collection of club-ready pop songs built around sex, drugs, and the consequences of both. It is not subtle, and it does not pretend to be.
The record runs 16 tracks and 61 minutes, and it opens with a clear statement of intent. Cyrus is not here to apologize for anything. She is here to celebrate the thrill, even when the hangover is inevitable.
Opening With ‘Adore You’
The album starts with “Adore You,” a slow-burning track that sets the tone before the record fully commits to its thesis. It is a patient introduction, and it works. By the time the album reaches “We Can’t Stop,” the thesis is out in the open. That track is the centerpiece, and it earns every second of its 3:51 runtime. It is the song critics pointed to first, and it remains the strongest argument for the record’s intentions.
“SMS (Bangerz)” follows at 2:49. It is a shorter, sharper burst of energy that does not overstay its welcome. “4×4” keeps the momentum going at 3:12. Neither is a standout, but neither drags either.
“My Darlin” is the longest track on the front half of the record at 4:03, and it leans into the album’s darker, more seductive side. It is a solid entry, but it does not demand attention the way the songs around it do.
‘Wrecking Ball’ As The Turning Point
“Wrecking Ball” is the song everyone knows. At 3:41, it is a ballad dressed up as a dance track, and it works better than almost anything else on the album. It is the emotional peak of the record, and it is the one song that could stand outside the project and still make sense on its own. The chorus is the centerpiece of the whole album.
“Love Money Party” follows at 3:40, and it is the kind of track that sounds bigger in concept than it delivers in execution. It is competent, but it does not leave much of an impression. “#GETITRIGHT” runs 4:25 and feels like a filler track. It is not bad, but it is not essential either.
“Drive” is a slight step up at 4:15. It has a stronger hook than the tracks around it, and it gives the album a moment of clarity after the middle stretch gets a bit messy. “FU” is a blunt title, and the track delivers on that promise. It is a straightforward pop song about anger, and it does not try to be anything more than that.
“Do My Thang” is the shortest track on the back half of the record at 3:45, and it is a minor highlight. It is a small win after the record’s middle stretch drags a bit. “Maybe You’re Right” is a slower, more reflective track at 3:33, and it is a welcome change of pace after the album’s louder sections.
The Back Half Closes With ‘Someone Else’
“Someone Else” is the longest track on the album at 4:48, and it is one of the best songs here. It is a strong, melodic cut that shows Cyrus can write something more than a hook about indulgence. “Rooting for My Baby” is a solid, mid-tempo track at 3:20. It does not break new ground, but it holds the album together.
“On My Own” is a quiet, reflective closer at 3:52. It is a different kind of song than anything else on the record, and it gives the album a sense of resolution. “Hands in the Air” ends things at 3:22, and it is a fitting final note. It is not a grand finale, but it does not need to be.
What The Record Gets Right
The production across the album is consistently strong. The beats are tight, the hooks are memorable, and the overall sound is cohesive. Cyrus is clearly taking risks, and most of the time those risks pay off. The songs that commit to the thesis — the ones that lean into the album’s central idea of living in the moment and suffering the consequences later — are the ones that work best.
The record is at its best when it stops trying to be clever and just lets the music breathe. The songs that get out of their own way are the ones that stick.
Where It Falls Short
Not everything lands. Some of the middle tracks feel like they are repeating ideas the album has already covered. “#GETITRIGHT” and “Love Money Party” in particular do not add much beyond what the record has already established. They are not bad songs, but they are not necessary ones either.
The album also leans heavily on its image, and some of the provocations feel more performative than genuine. The thesis is a good one, but the record does not always live up to it. There are moments where the songs sound like they are trying to prove something rather than saying it.
The Verdict
Bangerz is a mixed bag. It has a clear thesis, strong production, and a handful of great songs. It also has a few filler tracks and a tendency to repeat itself. The record is not a masterpiece, but it is not a failure either. It is a confident, sometimes messy attempt at reinvention that mostly succeeds.
| Track | Length |
|---|---|
| Adore You | 4:39 |
| We Can’t Stop | 3:51 |
| SMS (Bangerz) | 2:49 |
| 4×4 | 3:12 |
| My Darlin | 4:03 |
| Wrecking Ball | 3:41 |
| Love Money Party | 3:40 |
| #GETITRIGHT | 4:25 |
| Drive | 4:15 |
| FU | 3:51 |
| Do My Thang | 3:45 |
| Maybe You’re Right | 3:33 |
| Someone Else | 4:48 |
| Rooting for My Baby | 3:20 |
| On My Own | 3:52 |
| Hands in the Air | 3:22 |
Key Facts
– 16 tracks, 61 minutes
– Metacritic: 61/100
– Longest track: “Someone Else” (4:48)
– Shortest track: “Do My Thang” (3:45)
Bangerz is a record that knows what it wants to be and mostly delivers on that promise. It is not subtle, and it is not trying to be. The highs are high, and the lows are low, but the highs are frequent enough to justify the listen. It is a confident, sometimes messy attempt at reinvention that mostly succeeds.
- Adore You4:39
- We Can’t Stop3:51
- SMS (Bangerz)2:49
- 4x43:12
- My Darlin4:03
- Wrecking Ball3:41
- Love Money Party3:40
- #GETITRIGHT4:25
- Drive4:15
- FU3:51
- Do My Thang3:45
- Maybe You’re Right3:33
- Someone Else4:48
- Rooting for My Baby3:20
- On My Own3:52
- Hands in the Air3:22
