Every artist has their breaking point. Eventually, they will tire of whatever expectation an audience has of them. Once that layer is removed, they are free to create with a truth to their vision. Few artists have countered what an audience wants with what they need, and this is what Miley Cyrus finally does on Something Beautiful. Gone are the pop-adjacent hits of her preceding works, and in comes a fashionable but genuine switch to art rock. Few would have predicted such a magnificent change from Cyrus, but Something Beautiful is exactly that. An album where most of its surprises come from the transition Cyrus makes from pop star to dependable rock titan. But shock can only carry a listener so far. What is left when the dust settles is an engaging and often exciting piece of work from Cyrus who, rather wisely, puts her vocal range ahead of anything else.
Stripped-back songs like the title offering are crucial examples of this. A sparse instrumental which gives Cyrus and the lyrics some space to breathe, to reflect. It’s a crucial aspect of any great release, provided by a pop star or not. Too many topping the charts use drama and social controversies to peddle their record, yet fear its longer-term effects, and remove potential dissonance from the album they are promoting. Cowardice like that just will not stand. Cyrus has no problem featuring moments which could see her dedicated fans turn their back on her. Artistic risk conquers all, and it is such a thrill to hear it work as brilliantly as it does here. Deep and wailing guitar fixtures would be a bombastic gesture in the hands of others in the popular sphere, but Cyrus makes sure to muse on obsessions, love, and the promise of self-reflection with a candidness unexpected in the genre. It’s a brilliant pairing, though.
End of the World undoes the darker aesthetic somewhat, with the lighter acoustic flourish a somewhat typical moment from Cyrus. Still, the lyrics are decent enough to carry that deflating moment to its loved-up end. References to Sgt. Pepper’s Lonely Hearts Club Band are made more as a flick of the artistic wrist, a nice nod with little meaning behind it, and they are welcome additions to Something Beautiful. You cannot have just the darker tones; there must be a contrast which makes a listener appreciate the artistic risk. Cyrus understands that and brings it about well here. More to Lose highlights the magnificent vocal range Cyrus has, and it’s one she protects by not performing as much as other pop stars. It’s a refreshing direction to take. There is an unpredictable cycle to her work which keeps it, especially Something Beautiful, freed of expectation.
Cyrus is keen to surf through art-rock, electro-pop and catchy riffs here. Easy Lover into Interlude 2 is a magnificent showcase of this daring tone. Something Beautiful is, without question, the best example of Cyrus’ range as an artist. Brittany Howard makes for an excellent feature on the upbeat but still striking Walk of Fame while Naomi Campbell is a surprise addition to Every Girl You’ve Ever Loved. Crucial to both appearances is that they too stand in defiance of the expected pop music route. Something Beautiful is a magnificent piece of work, where the confidence showcased by Cyrus is backed by very impressive material. Not given enough credit in the past for being an experimental artist, but that is because Something Beautiful is the first time she has experimented with her sound. Long may it continue, if it means strong releases like this are the norm.
