Review: SHE IS COMING — Miley Cyrus

“Don’t fuck with my freedom” — belted twice within the first minute of opener “Mother’s Daughter” — is the best summation of Miley Cyrus’ SHE IS COMING. The first in a triptych that makes up her seventh album, SHE IS MILEY CYRUS, the six tracks here are an impressive amalgamation of everything the singer has done in the 2010s with a rockier edge; past collaborators like Mark Ronson and Mike WiLL Made-It mingle with newcomers, including Andrew Wyatt, Swae Lee, and Tay Keith. Dipping into the various waters she catapulted herself into this decade, the extended play feels like the most natural progression for Cyrus in years.

After introducing her (current) manifesto with “Mother’s Daughter,” she continues her assured streak with the short-and-sweet “Unholy.” “D.R.E.A.M.” follows, interpolating Wu-Tang Clan’s “C.R.E.A.M.” and boasting a pretty tame appearance from clansman Ghostface Killah. RuPaul-featuring “Cattitude” is reminiscent of Lady Gaga’s 2013 posse cut “Jewels N’ Drugs” — a should-be trainwreck that kind of slaps — with the Queen of Drag delivering one of the raunchiest verses to be found on a Cyrus record, and that’s saying something! Things slow down for closing track “The Most,” a tender ballad about a romance that has endured despite the pain the singer has caused her partner. It’s a subtle outro by Cyrus’ standards, but it provides a well-rounded end to SHE IS COMING, undoubtedly leaving listeners excited for the rest of the upcoming album.

Rating: 8/10

Standout tracks: “Mother’s Daughter,” “D.R.E.A.M.”

A music business student with a passion for writing about music almost as intense as his desire to curate it.

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