Miley Cyrus has spent years moving between pop star and performance artist, and on SHE IS MILEY CYRUS, she picks the latter. This is a record built around reinvention, not comfort, and it wants you to watch it fall apart. The songs are messy, self-referential, and often unclear about who they are talking to. That is the point. Cyrus is not trying to make a radio album here. She is trying to make a statement, and she succeeds at that, even when the songs underneath don’t fully land.
The record opens with “Sagitarius,” a short instrumental that sets a mood rather than a melody. It is a palate cleanser before the real work starts, and it does not overstay its welcome. Then comes “Mother’s Daughter,” the closest the album gets to a straight pop single. The song is a tribute to Cyrus’s own mother, and it carries a warmth that the rest of the record rarely finds. It is the most accessible track here, and it earns that distinction.
Opening With Sagitarius
“Sagitarius” is a short instrumental that sets a mood rather than a melody. It is a palate cleanser before the real work starts, and it does not overstay its welcome. Then comes “Mother’s Daughter,” the closest the album gets to a straight pop single. The song is a tribute to Cyrus’s own mother, and it carries a warmth that the rest of the record rarely finds. It is the most accessible track here, and it earns that distinction.
Track By Track
“Slide Away” follows, and it is a slow-burning track about disconnection. The production is sparse, almost skeletal, and Cyrus’s vocal delivery is unhurried. It works better as a mood piece than as a song with a chorus, but it fits the album’s overall tone.
“Party Up The Street” shifts gears entirely. It is a dance track, built for a club, and it sounds like Cyrus having fun in real time. The energy is infectious, and it is one of the few moments where the record feels alive rather than studied. “American Dream” continues that streak, a track that leans into nostalgia and hooks without losing the album’s experimental edge.
“Naked” is a shorter, sharper track. It is less about storytelling and more about atmosphere, and it does not overstay its welcome. “Golden G String” slows things down again, with Cyrus singing about confidence and control. It is one of the more cohesive tracks on the record, and it shows what happens when she commits to a mood rather than a concept.
“Mary Jane” is a track about cannabis and freedom, and it is one of the more straightforward songs here. The lyrics are clear, the rhythm is steady, and it does not try to be anything other than what it is. “Victoria’s Secret” is a track about desire and performance, and it is one of the more explicit tracks on the record. The title is literal, and the lyrics do not pull any punches.
“Cattitude (Demo)” is a rougher version of a track that appears elsewhere, and it is included here as a curiosity rather than a finished product. It is not essential listening, but it does show how Cyrus works through ideas before they become polished. “Bad Karma” is a track about guilt and consequences, and it is one of the more emotionally direct songs here. It does not hide behind metaphor, and that directness is refreshing.
“Never Be Me (Demo 1.8)” is another demo, and it is the longest track on the record. It runs nearly four and a half minutes, and it gives Cyrus room to stretch her voice. It is a solid track, but it feels more like a sketch than a finished piece. The final track, “Coldblooded,” closes the record with a sense of finality. It is a strong closer, and it ends the album on a high note.
The Songs Worth Hearing
Critics singled out several tracks as highlights, and they are worth seeking out for anyone curious about what the record achieves at its best. These four tracks are the clearest examples of what Cyrus can do when she trusts her instincts.
- “End of the World” — a track about loss and acceptance that shows Cyrus at her most reflective.
- “Prelude” — a brief, atmospheric piece that sets the tone for the album.
- “More to Lose” — a track about vulnerability that is one of the most honest songs on the record.
- “Easy Lover” — a smooth, seductive track that is one of the most listenable moments on the album.
The Critical Reception
The reviews were mixed, and the record’s reputation has settled into a pattern of praise for its ambition and skepticism about its execution. Pitchfork described the album as nonsensical, while The i Paper noted that weird and experimental choices created a distance from her listeners.
| Publication | Reaction |
|---|---|
| Pitchfork | “nonsensical lyrics” |
| The i Paper | “weird and experimental choices created a distance from her listeners” |
The record’s biggest strength is also its biggest weakness. Cyrus is unafraid to be weird, but that weirdness can push listeners away rather than draw them in. The i Paper’s assessment of the album’s weird and experimental choices creating a distance from her listeners is accurate, and it explains why the record has struggled to find a broad audience despite its ambition.
The Verdict
SHE IS MILEY CYRUS is a bold record that does not always land. Its ambition is real, and its willingness to take risks is admirable. But the songwriting is uneven, and the lack of cohesion is noticeable. The demos and the rougher tracks are interesting as sketches, but they do not hold up as finished pieces. The album’s best moments are among Cyrus’s best work, but the weaker tracks drag the record down.
Cyrus is clearly trying to say something here, and she is saying it with confidence. Whether the message gets through is another matter. The record is a statement, and it is a successful one, even if the statement is not always easy to follow.
- Sagitarius2:51
- Mother’s Daughter3:39
- Slide Away3:54
- Party Up The Street3:57
- American Dream3:57
- Naked2:44
- Golden G String4:17
- Mary Jane3:35
- Victoria's Secret4:38
- Cattitude (Demo)2:50
- Bad Karma3:23
- Never Be Me (Demo 1.8)4:28
- Coldblooded3:42
