Miley Cyrus - Something Beautiful

“Sickening, once-in-a-lifetime pop opera,” “The Wall with a better wardrobe” — we’ve heard it all while waiting for Miley Cyrus’s new studio album. All signs pointed to this being the album of her career. And now that it’s finally here, the only question left is: did it actually become THE album?

There’s little I can add to the album’s opening trio — “Prelude”, “Something Beautiful”, and “End of the World” — which I already reviewed separately. They remain a stunning introduction. “Something Beautiful” itself easily stands as one of the brightest highlights in Cyrus’s entire discography. Add to that “More To Lose”, her last pre-album release — a big, Whitney Houston-inspired ballad — and it becomes clear: Cyrus still shines brightest when she’s being cinematic, emotional, and vocally on-point. Think “Angels Like You” — a song that took its time to be appreciated, but eventually got the praise it deserved.

“Interlude 1”, with a subtle country flair, leads us straight into what feels like a full-fledged song of its own — “Easy Lover”. Catchy, poppy, radio-ready — this synth-pop track is pure charisma. It hits the same nerve as “End Of The World” and begs to be played loud, in a crowd, with people screaming the words back.

“Interlude 2” immediately shifts the vibe into something more psychedelic, and brings us to “Golden Burning Sun” — a track fans might remember as a long-lost demo from the Endless Summer Vacation era. And don’t get me wrong — this new version is… fine. But the demo, even in its raw state, had more charm and impact. The current arrangement gives it a chanson-ish vibe that somewhat mutes its original spark.

“Walk of Fame” introduces the album’s only vocal collaborator — Brittany Howard. And what a joy it is to hear her ad-libs alongside Miley. The track dives headfirst into Euro-dance territory — and even gives off a little Eurovision energy. Nobody in the U.S. is really doing this kind of sound right now: pure ‘80s gay-club bangers. Does it need the full 6 minutes? Maybe not. The outro oddly recalls “Losing My Religion” by R.E.M., but despite that, this is a clear highlight of the second half.

“Pretend You’re God” brings in classic ‘80s rock energy with a big, cinematic ending. Then there’s “Every Girl You’ve Ever Loved”, a ballroom banger with a great chorus and what feels like a pretty clear interpolation of Madonna’s “Vogue” near the end. The only issue? The completely unnecessary appearance by Naomi Campbell. The girl can serve fashion at this disco, but why give her a microphone?

But that thought vanishes quickly once “Reborn” starts playing — another standout from the second half. Hearing Miley like this, with this kind of production and delivery, feels incredibly fresh and so well-suited to her. If she ever were to do a full rebirth, she’d probably head straight into a Donna Summer era — and she’d fit right in.

The album closes on “Give Me Love” — a soft track that doesn’t quite leave a lasting impression, but wraps things up with grace. It gently echoes the mood of “Golden G String” and how Plastic Hearts came to an end — not in theme, but in overall vibe.

So, can we call Something Beautiful the best conceptual album of Miley’s career? Absolutely. Let’s be real — that was obvious already back when the singles dropped. The way Cyrus has changed her relationship with her music — and, more importantly, with herself as an artist — is something truly beautiful to watch. Especially for someone like me, who’s been following her since 2010 and genuinely grew up with her. She’s just a couple of years ahead of me, and in many ways, she’s always been a kind of spoiler for my own next chapter.

But is this THE Miley Cyrus album? Here’s the twist — I wouldn’t say that. To me, Something Beautiful is the final stage of a transformation that started back on Endless Summer Vacation. If that album was the cocoon, then this one is the moment Miley finally emerges from it. This is her butterfly era. Something Beautiful is cinematic, grandiose, glamorous, sometimes dystopian, and not perfect at every turn — but perfect enough to shine as a complete work. She’s no longer trying to prove anything, no longer chasing trends or over-explaining herself. Just an artist doing what she wants, exactly the way she wants it. No loud declarations, no messy reinventions, no need to fit into someone else’s frame. Something Beautiful doesn’t feel like the finish line — it feels like the real starting point. And for someone who’s already seemingly done it all, that’s one hell of a place to begin.

And hey — even if things go off-script from here, having Something Beautiful as your back-up “THE album”? That’s not bad at all.

8.0/10