Miley Cyrus’ ‘Something Beautiful’: Ranking All the Tracks in the Album

Although Something Beautiful features high-energy glam rock and sultry pop melodies, “More to Lose” shines as the album’s only heart-wrenching ballad — and as anyone knows, Cyrus’ ballads are always on point. Echoing “The Climb” or “Angels Like You,” her vocal talent and poignant songwriting meld for this poignant piece about a relationship’s conclusion. “I knew someday you’d do what I couldn’t do,” she sings. However, it’s the pre-chorus that lingers, with her expressing frustration: “You’re looking like a movie star in a worn-out coat, so I throw away my pride. It happens all the time.” This relatable line reveals that even a superstar can be vulnerable to love’s complexities. Yet, as she conveys, how beautiful it is to have loved, even if it ends.

Those who have kept up with Cyrus know she penned “End of the World” for her mom, Tish. It’s also a track that evolved while she tested out songs at intimate gatherings at Chateau Marmont. Now, it stands as a vibrant anthem inviting everyone to join in on the chorus of “oh ooh, oh ooh.” For a song suggesting it’s not the end of the world, Cyrus successfully provides a delightful distraction — and even if just for four minutes, the sentiment remains timeless.

Categorized as sultry pop, “Easy Lover” would perfectly fit the ambiance of a dimly-lit jazz club. Even with the brief “Aggro” interlude in between, it feels connected to “More to Lose,” yet is more rooted in the acceptance of a breakup rather than sadness. As she admits on “More to Lose,” Cyrus anticipated her partner’s actions. In “Easy Lover,” she declares, “Tie me to horses and I still wouldn’t leave ya.” With repeated listens, the song’s title gains dual significance: while describing someone hard to love, it also reflects her capacity for love despite challenges. The underlying question becomes: Does she love too easily? Once again, the album’s prevailing theme emerges: Could this vulnerability also be beautiful?

“Every Girl You’ve Ever Loved” could be likened to a distant relative of “Midnight Sky,” showcasing Miley’s powerful vocals. However, it transforms from rough rock edges into a sparkling disco groove. Featuring spoken-word contributions from the iconic Naomi Campbell, who encourages Miley (“She has the perfect scent. She speaks the perfect French,” she affirms), their collaboration adds a unique dimension. Towards the song’s end, Campbell repeatedly instructs, “pose,” as the upbeat production builds into an ideal soundtrack for a captivating vogue moment.

Initially, following the captivating prelude, one might assume Miley will gently lead listeners into her realm with this jazzy, soulful tune. Yet, just before the two-minute mark, the atmosphere shifts dramatically, as her vocals seem to echo from a depth, embodying both a fall and glitch. This might perfectly represent her feelings during the album’s creation, capturing the chaotic journey that led her here. Throughout the project, one recurrent theme shines through: there’s beauty in everything — even amidst chaos.

This nearly five-minute track stands out as the album’s most bittersweet, with Miley repeatedly questioning: “Can I have you if I never let you down?” Yet, as the song unfolds — particularly after the “Phat Smack” interlude, which jolts the listener — it provokes another query: Who is she seeking to please? “Surrender,” she later states, “and I’ll never let you down.” Here, it appears she’s addressing herself; relinquishing the urge to meet others’ expectations. In this acceptance, she ensures she won’t disappoint herself. “You’re the only one under the golden burning sun,” she affirms.

“Give Me Love” carries a light, liberating essence – suggesting everything falls into place following the rebirth Miley sings about in “Reborn.” Or, as she states here, “once you get past the gray.” Halfway through the song, her vocals harmonize to create what could be likened to a choir of angels, immersing listeners in the very essence she seeks: love. While Miley mentioned at her recent listening event that beauty is subjective, this concluding track highlights one universally acknowledged truth: the reciprocal flow of love is truly beautiful.

A vibrant, synth-fueled disco-pop anthem, “Walk of Fame” brilliantly encapsulates Miley’s metaphorical departure from anything that doesn’t benefit her. As for her destination? It’s irrelevant; she asserts, “every time I walk, it’s a walk of fame.” This track — which features Brittany Howard, whose presence perfectly complements the funky electric bridge — acts as a manifesto for progression. If it wasn’t evident before, Something Beautiful celebrates this transformative journey.

A continuation of “Every Girl,” “Reborn” presents a mesmerizing, trance-like essence essential for the ego’s dissolution. While Miley advocates for rebirth, she implores, “give me all your love!” spotlighting the enduring struggle with ego. Should it take all the love to transcend, it sounds like a fair trade. By song’s end, in one of the rare instances outside of the title track where Miley utters “beautiful,” she passionately exclaims, “you’re so beautiful,” as if addressing her newly liberated self. At the fan event, she remarked: “What’s deemed beautiful should be individual. It’s about packaging these experiences with beautiful ribbons and bows.”

Echoing Miley’s collaborations with The Flaming Lips and drawing inspiration from Pink Floyd’s The Wall (mainly its film version), “Pretend You’re God” serves as a slow-burning, psychedelic inquiry: “Do you still love me?” Miley pleads, desperately craving clarity. “I gotta know. Never mind, just keep it silent if you don’t…I gotta know,” she sings, fluctuating between desiring the truth and contemplating if it’s better left unspoken. As the track progresses, the stress of uncertainty escalates, resulting in increasingly conflicting thoughts. By the conclusion, no definitive answer emerges, perhaps signifying the essence of the song; “Pretend You’re God” could be an exploration of faith and religion and the quest for answers unattainable from others.

This predominantly spoken-word prelude transitions from a sparkling introduction to a hauntingly evocative entry point. Miley captivates listeners with an ideal balance of intrigue, suspense, and utmost trust. “Like walking alone through a lucid dream,” she slowly articulates, as the music swells. “The beauty one encounters alone is a prayer meant to be shared,” she later expresses, emphasizing the project’s overarching theme. It’s a journey each listener must undertake independently — forming their own interpretations, discovering individual beauty within specific songs or scenes — yet one Miley had to experience solo to reach this juncture. Now, she shares that prayer.

Starting as a creeping interlude, “Aggro” rapidly escalates to the sensation of a late-night chase scene. Its placement between “More to Lose” and “Easy Lover” is intentional — following contemplations of a breakup, the ensuing chaos can mirror a frenetic mind striving to escape its own thoughts — and for someone like Cyrus, the external thoughts of many as well.

“Phat Smack” delivers a message without uttering a word: “that’s enough of that.” Marking a pivotal transition in the album, it represents a shift toward grander sounds, bolder themes, and ultimately, a relieving breath punctuating an era of meaningful personal development. Truly, what could be more beautiful than that?