Miley Cyrus: After “Flowers,” is it “The End of the World”?
“Pretend that this is not the end of the world...” sings Miley Cyrus in a track that sounds so cheerful that it makes you nervous. It's as if someone is smiling while the ceiling is collapsing. It's as if the girl who recently sang confidently, “I can buy myself flowers,” is now gently asking, “Let's at least pretend this isn't the end.” And that's when it becomes clear — Miley isn't over, Miley is changing.
Something beautiful in chaos
Something Beautiful is an album with a title that sounds like a slight deception. There are no easy hits here, no catchy repetitions of Flowers. Instead, there are experiments, emotional gravity, and musical modules that you either accept or pass by. Miley isn't building a pop empire here. She's compiling her memory card — with references to Fleetwood Mac, Giorgio Moroder, and even Lady Gaga. It's like a family album where every photo has an unexpected filter.
Listening to Reborn, you dive into dark water—as if you were walking into a lake wearing a dress. The voice is low, almost sensual, but then — like a flash — it soars upward without warning. Where Miley used to tear her clothes on stage, now she tears down stereotypes — in her vocals, in genres, in lyrics.
Love as a mirror: from “Flowers” to “Every Girl You've Ever Loved”
If Flowers is a song about a woman choosing herself, then Every Girl You've Ever Loved is a return to mature, conscious vulnerability.
“I am every girl you've ever loved,” sings Miley, and it sounds not like a cry of despair, but like a claim to multifacetedness. Her voice glides over the beat like a model on an 80s catwalk, and in a duet with the unexpected appearance of Naomi Campbell, it turns into a retro-futuristic ballad about selfhood.
Everything in this track is like it's painted in neon: bright, but with a hint of sadness. And this is the aesthetic in which Miley now feels particularly confident: where strength is combined with fragility, like a wet spider web in the sun.
The evolution of style — like a survival diary
Miley has always been loud. In her career, in her relationships, in interviews, in her choice of outfits. But now, amid all this noise, a rhythm is emerging.
Stylist Bradley Kenneth is right to talk about a “new era” — we see it in music and fashion alike. Inspiration came from the archival works of Mugler, Gautier, and Bob Mackie, but this is not a game of nostalgia. It is a second life for images, to which Miley gives energy similar to that with which she sang Wrecking Ball, only now without the screaming.
On the album cover, she wears a suit from Mugler's 1997 couture collection. “Fragility and strength in one,” says Kenneth. And indeed: these suits are timeless. They are beyond fashion. Like Miley, who no longer seeks trends — she herself becomes an era.
Pop star without instructions
Miley Cyrus has long since ceased to be the heroine of teen comedies. But she hasn't joined the ranks of “smooth” pop divas either. Too loud for Adele, too unpredictable for Dua Lipa, too free for the format.
Instead, she builds a musical edifice with crooked windows, where each floor is an attempt to understand herself anew. Can the album Something Beautiful repeat the success of Endless Summer Vacation? Probably not. But can it go down in history as an honest, sensual, and strangely beautiful artifact of its time? Absolutely.
Perhaps Miley knows that the End of the World is just the beginning of a new chapter. Or a new hairstyle. Or a new sound. Or maybe both. And that's why we love her. Because being yourself in an era of clichés is already a form of protest.
