With her ninth studio album, “Something Beautiful,” Miley Cyrus strutted into a visual journey that fused sound, emotion, and archival fashion.
After the commercial success of her 2023 single “Flowers“, which earned her her first Grammy, Cyrus chose to redefine her sound yet again and, in her distinctive fashion, embraced a bold left turn.
What became clear, however, was that this new era of music was just one part of a grander vision. This album was artistically coupled with a visual experience that Cyrus described as a “one-of-a-kind pop opera” fueled by fantasy. Titled “Something Beautiful,” the pop opera premiered at the Tribeca Film Festival before its limited theatrical debut on Thursday, June 12, 2025.
While the studio album was released on May 30, 2025, Cyrus allowed the music to breathe independently. It was only with its cinematic unveiling that the full scope of this unique pop opera truly became apparent.
Like the perfect designer handbag completing an outfit, this visual experience, rich with archival runway looks, striking visuals, evocative lighting design, dynamic choreography, and raw emotion, elevated the music to an entirely new level, revealing Cyrus’s complete artistic vision.
Most notably, Cyrus’s fashion choices were a standout, featuring a stunning mix of archival and couture pieces from legendary designers such as Thierry Mugler, Schiaparelli, Alexander McQueen, and Bob Mackie. She also modeled looks from Alaïa, Jean Paul Gaultier, and Ludovic de Saint-Sernin. Especially striking were her archival Thierry Mugler pieces from his Fall 1998 and Fall 1997 collections, which significantly enhanced the pop opera’s thematic narrative.
From the very first frame, “Something Beautiful” commanded attention from the audience with its captivating prelude. Cyrus then descended into the title track, wearing a custom design by Casey Cadwallader for the House of Mugler. The seemingly melodic track unexpectedly erupted into an explosion of sound and visual stimulation, powerfully reminding the audience that when it comes to Miley Cyrus, you never know her next move.
Act I continued with “End of the World,” a dreamy and hazy sequence where Cyrus simply commanded the screen. This intensity then calmed to a stillness, allowing Cyrus’s raw vocals to form a connection with the audience as she performed the ballad “More to Lose.” Following this intimate moment, the scene shifted as the twangy pop track “Easy Lover” began to play, finding Cyrus saddled up and rocking chaps, embodying an old showgirl strutting around the backlot of a Hollywood set. Amidst this glamorous setting, she broke out into dynamic choreography, all to conclude Act I.
Act II drew viewers even deeper into Cyrus’s dreamscape, finding her bathed in the glow of a red sky as she sang “Golden Graining Sun” atop a motorcycle. However, it was the subsequent track, “Walk of Fame,” that truly found Cyrus fully embracing her identity with intentionality. Lyrics like “I walk the concrete like it’s a stage” cemented the essence of the track. Shot on the actual Hollywood Walk of Fame, Cyrus was lit by fluorescent streetlights as she danced across the screen, an effect that fiercely reflected her lyricism: “Every time she walks, it’s a walk of fame.”
Yet, after this peak, the visual journey hit a flat note as its pulsating and danceable beat melted into “Pretend You’re God,” marking the first instance in the visual journey where the audience was brought to a high only to be let down. But Cyrus executed a sharp pivot as “Every Girl You’ve Ever Loved” was introduced, with the notes of a saxophone echoing through the theater. The enticing beat immediately reclaimed the audience’s attention, fully immersed in the world Cyrus had been crafting. Within this number, lyrics like “I give you every color of a flame that’s burning with desire” mirrored the performance quality of Cyrus, who was joined by Naomi Campbell, the British supermodel. Together, they struck a pose and exuded powerful runway energy, perfectly complementing the track’s sweaty, confident, and bold tone.
As the two left the scene, the grandest of finales pixelized across the screen with the track “Reborn.” Its hypnotizing chorus hit chords that left the audience in a state of euphoria as Cyrus performed the steamy and blue-toned finale sequence. As the credits began to roll, Cyrus left the audience one last surprise, serenading them with “Gimme Love,” a single tear streaming down her face in the final frame.
For 55 minutes, Cyrus took audiences on an unparalleled visual journey, an immersive experience few artists have dared to undertake on such a grand scale. By taking a departure with her new sound, inspired by Pink Floyd‘s 1979 album “The Wall”, she once again defied expectations of how to approach the current pop landscape.
This project found Cyrus stepping into her own, presenting the truest form of her artistic expression. She didn’t just release an album; she elevated the very concept of an album release, offering a bold and nuanced experience that transcended typical commercial releases. In a pop landscape often characterized by fleeting trends and commercial pressures, Cyrus ruthlessly continues to create art on her own terms. With such undeniable confidence and verve, it’s clear that Cyrus isn’t just delivering “Something Beautiful”; she is the living, breathing, unapologetic definition of it.
