Album Review: Miley Unleashes Her Rockstar Potential in ‘Plastic Hearts’
Miley Cyrus puts her incredible talent and empowering messages on full display in her latest album, Plastic Hearts.
Written by Katie Karp
Photo courtesy of Alana O’Herlihy
Since her 2008 debut album, Breakout, Miley Cyrus has created music reflective of her introspective, free-spirited, and romantic personality. Whether it be unveiling her raw talent through her innocent pop hits in 2009’s The Time of Our Lives, establishing a sexual and culturally appropriative tone on 2013’s Bangerz, or demonstrating her capabilities as a singer-songwriter with 2017’s Younger Now, Cyrus’ discography demonstrates both her range as a musician and reputation as a polarizing figure. Still, her public image tends to delegitimize her as a musician in the eyes of the media.
Prior to her music career, the singer rose to stardom through the Disney Channel television series “Hannah Montana.” In the show’s four seasons, she played protagonist Miley Stewart, who lives a double life as her pop icon alter-ego, Hannah Montana. Because she made her debut in the entertainment world as the fictional, child-friendly titular singer, her emerging persona after the show startled fans, parents, and media. Bleaching and chopping off her long, brown locks, producing rebellious music, and flaunting her risqué fashion demonstrated that her role on “Hannah Montana” was merely an act. She cultivated a controversial public image by rejecting the standards that the media set for her due to their inability to accept that the real Miley Cyrus is not the same sweet, rule-abiding Miley Stewart. Unable to distinguish between her career and identity, the public has deemed her a poster child for the ‘child-star-gone-bad’ trope throughout her career.
On Nov. 27, Cyrus released her seventh studio album, Plastic Hearts. The record is filled with punchy drums, collaborations with esteemed rock musicians, and ballads that remind listeners of her astounding vocal skills. Stepping out from previous projects, the LP puts her wide range of sounds on display as she jumps into the world of rock after making a mark on teen pop, psychedelic, and country music. Each of the record’s 15 tracks unveil how the singer’s public image is merely a reflection of society’s inability to accept her versatility and wild nature.
Cyrus gets a kick out of her problematic persona right off the bat in first track, “WTF Do I Know.” Acknowledging that radio stations will likely shy away from playing her music, she toys with her past actions that have sparked judgement from the public, such as her disregard for norms in her clothing choices and the decision to get a divorce. “I'm completely naked but I'm makin' it fashion / Maybe gettin' married just to cause a distraction,” she sings. She embraces her past controversies with a cool, nonchalant sense of pride, as the beat of the poignant drum changes and an electric guitar lets out guttural sounds to match the angsty but playful chorus. “What the f-ck do I know? I’m alone / 'Cause I couldn't be somebody's hero / You want an apology? Not from me.” Nearly shouting these lyrics but maintaining a melodic sound, Cyrus shows that she is a true musician and doesn’t need to apologize for not living up to standards that were set for her.
The pop provocateur further flaunts her nonconformist nature while cultivating her rock sound in title track “Plastic Hearts.” Like the Rolling Stones’ notorious “Sympathy of the Devil” (which the title track derives its introduction from), Cyrus offers the perspective of the heartbreaker in a relationship. She warns how her lack of attachment hurts others who desire a long-lasting relationship: “Frightened by my own reflection / Desperate for a new connection / Pull you in, but don't you get too close.”
Image courtesy of RCA Records
In the following track, “Angels Like You,” Cyrus takes a more sympathetic stance on the potential harm her unusual, carefree nature can cause. A soft acoustic guitar accompanies her gentle lyrics and vocals, almost evoking a sense of nostalgia for the sweet love songs she recorded for “Hannah Montana.” Through her chorus, however, the singer reminds listeners that she is not made to be a noncontroversial pop musician, though her early career proves she’s capable of it. Loud drum sounds emerge as she belts “I brought you down to your knees / 'Cause they say that misery loves company.” Through the guitar’s energy and her loud, exciting voice, she relishes her freedom and isn’t willing to surrender it to please others.
In “Prisoner,” Cyrus reveals a potential threat to her freedom in the album’s fourth track. Featuring pop musician Dua Lipa, the song is more suited for radio than the album’s other songs. The track interpolates the melody of Olivia Newton John’s 1981 hit “Physical,” in its chorus to take a light-hearted approach to a rather serious topic: obsessive and controlling relationships. Reflecting on their inability to escape a toxic lover, the pop divas sing, “Strung out on a feeling, my hands are tied.” As she discusses feelings of suffocation from her partner, Cyrus demonstrates her need to free herself from them.
Despite her hardships, Cyrus remains self-assured as she professes she will follow the titular “Midnight Sky” in the seventh track. The song encapsulates the singer’s wild nature and strong, newfound talents as a rock musician that define Plastic Hearts. Blending synthetic keys with heavy drum beats as she sings about her need for liberation with her raspy, almost twangy voice, “Plastic Hearts” is a true encapsulation of the album and Cyrus herself. As she embarks on the ‘road less traveled,’ she cherishes the mystery and excitement that lie ahead. By singing that she was “born to run,” not only does she reiterate her appreciation for rock music through this nod to Bruce Springsteen, but she conveys her physical need for freedom. “Midnight Sky” solidifies Cyrus’ desire to be entirely free and herself, but she doesn’t need or ask for love in return. “Midnight Sky” resurfaces later in the album as “Edge of Midnight,” which pairs with Stevie Nicks’ 1981 “Edge of Seventeen” to produce a disco-pop anthem for female liberation.
Photo courtesy of Vijat Mohindra
Between her loud belts, unabashed moans, and electric guitar riffs, Cyrus further establishes herself in the rock world with “Bad Karma.” She embraces her heartbreaking powers and shares an immense pride with rock legend Joan Jett, who also expressed her desire for liberation in her hit single, “I Love Rock ‘N’ Roll.” Beyond her big name collaborations with Stevie Nicks and Joan Jett, Cyrus pays tribute to other female rockers who inspired her. To close the album, she includes her live covers of Blondie’s “Heart of Glass” and The Cranberries’ “Zombie,” two classic rock songs from woman-fronted bands.
In the final track, “Golden G String,” Cyrus closes the album by reminding her listeners that though she is an independent woman, she remains trapped in the gaze of the male-dominated world around her. Singing, “The old boys hold all the cards and they ain't playin' gin / And you dare to call me crazy, have you looked around this place?,” she acknowledges the limitations and judgements that men impose on her freedom.
Each song on Plastic Hearts brings something new to the table, creating an album that is wholly empowering, liberating, and fun from start to finish. While it is uncertain if Cyrus’ newfound skills in rock music will last, she has yet again proved her extraordinary musical talent.