Ballad Breakdown: Miley Cyrus Gives Herself A Long Awaited Bouquet in “Flowers”
In a flurry of solo-dancing and groovy musicality, Miley Cyrus takes back a song that once belonged to her former marriage and confidently admits that self-love conquers all in her single “Flowers.”
A song can range from seconds to more than 10 minutes, but every song, no matter the length, tells a story through its lyrics, instruments, and/or vocals. In Ballad Breakdown, our writers dissect your favorite songs to display the intricacy and care put into every seemingly minuscule aspect.
Written by Deborah Hill
Photo courtesy of Smiley Miley Inc.
Miley Cyrus’ punchy rework of Bruno Mars’ “When I Was Your Man” swept the world into a pre-summer mix of self-love and empowerment 14 weeks ago, topping Billboard’s Global 200 and reigning supreme ever since. Leading the debut of the singer’s second post-divorce album, Endless Summer Vacation, the swanky single dishes a taste of the musical exploration and revitalized air employed within the now one-month-old record. Still, fans and critics alike continue to theorize what and who the track is about.
Breezy bass chords echo the signature husk of the 30-year-old’s vocals in the gliding first verse as she declares, “We were good, we were gold / Kinda dream that can’t be sold.” Following its January 12 release, sleuthing fans and publications interpreted the ballad to be a break-up anthem targeted at Cyrus’ ex-husband, Liam Hemsworth, who conveniently shares a birthday with the song’s drop date. In an accompanying music video posted the same day, the Tennessee-born singer dances through an empty L.A. mansion while swallowed by an oversized blazer that some Twitter users suggested was a piece from the actor’s old wardrobe. The house, they thought, symbolized the former couple’s home, which Hemsworth sold for $3.6 million in November of 2020, ten months after their divorce was finalized. Closing out the first verse, Cyrus alludes to this, singing, “We were right, ‘til we weren’t / Built a home and watched it burn.”
Spurred by these references, listeners continued to dissect other possible implications within Cyrus’ lyrics, diving into intricate theory-building regarding the chorus: “I can buy myself flowers / Write my name in the sand / Talk to myself for hours, yeah / Say things you don’t understand / I can take myself dancing, yeah / And I can hold my own hand / Yeah, I can love me better than you can.”
Strutting up the L.A. hillside with the crisp chick of a high hat and harmonious synth at her back, Cyrus nonchalantly grits out these lines in the official video. Audiences were quick to point out the intentional mirrored phrasing and vocal tones of Bruno Mars’ more sorrowful piano track, “When I Was Your Man,” also rumored to have been dedicated to the “Flowers” singer by her ex-husband at their 2018 wedding. The chorus of Mars’ track goes: “That I should’ve bought you flowers / And held your hand / Shoulda gave you all my hours / When I had the chance / Take you to every party ‘cause all you wanted to do was dance / Now my baby’s dancin’ / But she’s dancin’ with another man.”
Although reasoning behind the reference to Mars’ lyrics might never be confirmed, there’s undeniable power in taking back the remorseful phrasing for a moment of unabashed independence. Instead of answering the regretful and apologetic tone of Mars’ pained version with undeserved forgiveness, Cyrus boldly counters the narrative. The emphasis on what she can provide for herself and the knowledge she owns bravely disrupts the idea that another person needs to provide it, sending a clear message on the comfort and security she holds as her own person.
In an interview with Billboard earlier this month, “Flowers” co-writer Michael Pollack shared some insight into the true inspiration behind the lyrics, “The idea really began with the word ‘flowers’ itself.” When asked about the writing process, Pollack admitted that he and Cyrus wanted a more empowering tagline, changing lyrics from, “But I could never love me like you can,” to “Yeah, I can love me better than you can.” With her online presence, Cyrus remains persistent in refocusing the narrative toward self-love. Since the album's debut, many of her promotional Instagram posts have leaned into encouraging reminders for fans, with one Valentine’s Day post reading, “YOU are enough anything more is just extra.”
In that vein, the song beckons to be seen through another lens. When Cyrus brags in verse two, “No remorse, no regret / I forgive every word you said,” there are several potential ex-lovers, friends, and industries she could be addressing. Raised on the stage of Disney’s hit show ”Hannah Montana” from 2006-2011, Cyrus famously faced a massive amount of backlash for breaking her child actress mold. However, she’s been persistent in exposing the effects that experience left on her. In a 2021 interview with Kevin Hart, she discusses the psychological effects of starting on the show at 12 years old, “The concept of the show is that when I would alter my image and I would put on a wig and I would put on sparkly things that I held a new value,” Cyrus said. “That I was valuable. It did translate into my real life. There was a different level of, like, hysteria… the way that kids would react at these Hannah shows, versus when I was myself and I would meet fans. It was different.” Finding freedom from expectation, “Flowers” expresses the love Cyrus is determined to give herself, sans the long blond wig and glittering Disney costumes.
It’s on those terms that Cyrus finds herself back under the conglomerate’s wing. Reunited for the first time since her departure, the lyricist and Disney+ — Disney’s streaming service — recently released a music event titled, Endless Summer Vacation (Backyard Sessions). The sessions follow the same vibe coined by Cyrus’ original “Backyard Sessions” series, which reached popularity amidst the COVID-19 pandemic for its acoustic performance and raw intimate nature. The collaboration showcases a return to roots for Cyrus, but she’s done it on her own terms, clad in the grunge aesthetic that’s marked her transition into 30.
Thus, “Flowers” becomes more than a breakup anthem. Rather than being spiteful or angry, Cyrus promotes honesty in stoicism, accepting the things that have happened to her but remarking that true joy comes from within. In a confident groove of matured vocals, dancing synths, and powerful drums, Cyrus proves that she’s overcome the things that hurt her. At the height of her career, she’s applauding herself and recognizing that it’s time to give herself flowers for a job well done.