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Something Beautiful provides a poignant insight into Miley Cyrus’s choice to retain her damaged voice.
Following a 2019 surgery, she opted against further procedures that could have eliminated a polyp in her throat and addressed fluid in her impacted vocal cords, known as Reinke’s edema. “My voice is incredibly unique because of it,” she recently shared. “But with this Reinke’s edema and the large polyp on my cords, I’m not ready to risk waking up after surgery and not sounding like myself.”
A singer’s voice serves as both the performer and the performance itself; the message and its medium. Cyrus’s reluctance to alter her distinct sound is completely rational. Initially, she celebrated the grit in her vocals on the ’80s-inspired Plastic Hearts (2020). The bold rock vibe suited her, yet even a brief tour in 2021-22 proved taxing.
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The 2023 album Endless Summer Vacation seemed to prepare her for a smoother touring experience. Cyrus adopted a purer vocal style, utilizing shorter phrases and promoting tracks like “Violet Chemistry,” which demanded less from her voice. Thus, her decision to cease touring completely was unexpected.
Her reasons—dealing with the polyp and edema, prioritizing her sobriety, and desiring to wake up in her own home—were easily understandable, yet if Cyrus wasn’t planning to tour, what was she preserving her voice for? Why endure pain and vocal strain simply to enhance ESV with some of the least demanding melodies of her career? As it turns out, she had Something Beautiful in mind.
This ninth studio effort is a comprehensive vocal exhibition, incorporating some poetics and conceptual elements that shed light on her mindset. While it’s not flawless, the vibrant imperfections are easily forgiven, especially as so many of her pop contemporaries return to their roots.
“Prelude” initiates the album with a spoken-word reflection on beauty and transitions linked to loss. The imagery possesses a literary grace, although some lines feel cumbersome (“Like when facing the sun through a window/ Your skin feels warmth/ But it can’t be in the world that its warmth has made alive”). Co-written with Model/Actriz’s Cole Haden, “Prelude” concludes with a compelling thought: “The beauty one finds alone/ Is a prayer that longs to be shared.”
Cyrus then dives into the title track—a stylish blend of the verses that established Christina Aguilera’s fame, combined with an explosive chorus that would receive nods of approval from Black Country, New Road. “Something Beautiful” stands out as the album’s most audacious track, oscillating between different moods. The transition to the upbeat disco-pop of Track 3, “End of the World,” feels almost disorienting.
In truth, the avant-garde pop elements and sultry R&B are just part of Something Beautiful. Cyrus remains enamored with conventional pop hits, willingly setting aside riskier sounds while conveying her themes through lyrics. There’s nothing amiss in the seductive dystopia of “End of the World” or the powerful ballad “More to Lose,” which showcases the distinctive vocal qualities that set Cyrus apart. She continues to explore themes of beauty and ugliness, the chaos of transitions, albeit with a narrative style that prioritizes storytelling over sound until “Interlude 1” reintroduces the sonic elements from earlier, realizing the most ambitious aspirations of Something Beautiful.
A vibraphone resonates amid a swirl of wind or static. A pick glides over a guitar like a knife from its sheath. As strings swell and percussion breaks through the mist, Cyrus remains silent. This first of two instrumentals features horns heralding a euphoric dance moment that peaks nearly before it begins, dissipating into chimes within the haze.
As a seasoned master of ceremonies, Cyrus has readied the stage for the highlight.
“Easy Lover” features a series of nimble top-lines over lively bass and funky guitar riffs facilitated by Brittany Howard. The verses fluctuate on the scale with meticulously controlled undulations, culminating in a show-stopping chorus: five concise words, one deep breath: “You’re not an easy lover.” Cyrus curves and shifts from high to low effortlessly, akin to a snake darting across the sands.
In contrast, “Flowers” relies on multiple breaths throughout its verses, with short phrases perfect for even the most intoxicated karaoke performances. On the flip side, only an exceptionally skilled amateur could handle “Easy Lover” in the shower, let alone in the middle of a tour setlist after weeks on the road. One can easily visualize Cyrus’s experience—waking up in a musty hotel, a scratchy throat, anxious about her performance, and already fretting over hitting that bold hook in front of an audience.
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Conversely, could you find satisfaction singing in a thin, potentially unremarkable alto, knowing you once sounded like this? “Easy Lover” transcends a mere song; it’s a testament to Cyrus’s talent, rivaling any diva of her time. Although the lyrics may be generic and the track unlikely to become a fan favorite, it is unmistakably a source of pride for Cyrus, distinctly setting it apart.
“Easy Lover” exemplifies exceptional vocal technique and unique imperfections, something seldom captured in recording. As the filters lift towards the track’s conclusion, her voice echoes the haunting, utterly damaged recordings of Janis Joplin in her final days—yet Cyrus gets to embrace sobriety while doing it.
Most follow-up tracks would disappoint after the emotional letdown of “Interlude 2,” but “Golden Burning Sun” lands flat. Its bright optimism feels out of place compared to the more intricate explorations of beauty’s cost. However, while the latter half lacks the same strength, it maintains vitality, leaning into upbeat tracks like “Reborn” and “Every Girl You’ve Ever Loved” featuring Naomi Campbell. This section draws from the electronic experimentation characteristic of the SHE IS COMING era in 2019, when Cyrus began grappling with the extent of surgeries she should undergo. “Walk of Fame” stands out, with another performance from Brittany Howard showcasing her own distinct vocals. Initially, it seems like another disco-pop hit, but at the four-minute mark, an exhilarating key change builds to an electrifying finale.
Something Beautiful concludes with “Give Me Love,” whose cheerful acoustics mask an impending horror underlying the lyrics. As flutes and harps conjure visions of paradise, “Behind the curtain, heaven awaits,” quickly gives way to “Behind the curtain, terror awaits.” The final refrain of “Give Me Love” remains celestial, yet soon a void engulfs the instruments. Within a chilling stillness, Cyrus declares, “So I’ll say my goodbyes to the earthly delights/ While my perfect eden goes down in flames/ I’m eaten alive by the mouth of a monster/ While fearlessly calling out your name.” Hinting back to “Prelude,” the conclusion of Something Beautiful is abrupt and unsettling.
Cyrus has gifted us something rare in modern pop: an album that intertwines its fragility with its strength. Each crack, each rasp, and every moment her voice threatens to break adds to its narrative. She’s not trying to project health or sustainability. Ultimately, she prefers to be ashes rather than dust.
The outcome is chaotic, ambitious, occasionally vexing, and truly unique—a testament to uncommon anatomy and even less common choices. Cyrus has struck a deal with her own body: accepting distress and limitation for a voice that remains unparalleled. This album reflects that decision. Following such a journey, one might question if the voice is truly worth it.
But what a voice.
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