By the age of 21, how many artists can boast that they’ve already built a pop career worthy of a lifetime achievement award? And how many can then go on to reach even higher plateaus of success as a grown-up artist? Sure, there have been child stars who have made the leap to mature phenomenon, but there has never been anyone quite like (she’s just bein’) Miley Cyrus, née Hannah Montana … and there most likely never will be again. (All rise for our true national anthem.)
Blessed with an incredible, whiskey-soaked set of pipes that many a classic country star would have killed for, Cyrus was looking for a new sound and image in 2013 that would rocket her beyond her Disney past. Thanks to some good old-fashioned controversy and a bold new album packaged in a sleazy, neon-lit palm trees vibe, Cyrus did just that and then some.
Released September 30, 2013, Bangerz topped the Billboard album charts, went triple platinum in the U.S., launched a massive tour, and ensured that of all the tongues wagging about this new provocative image and direction, the one wagging the hardest and most triumphantly was Cyrus’. Let’s revisit the album that taught the world to twerk.
“Adore You”
Fans sugar-charged on the cartoonish and wild sexual energy Cyrus was tapping into were definitely in for a surprise with the first cut on the album: a midtempo ballad. Showcasing Cyrus’ throaty vocals and a very mature restraint on this cut about recognizing one’s own capacity for obsessive love, this subtle earworm starts with an important question that all of Cyrus’ critics and casual fans should ask themselves: “Are you listening?” Too often, Cyrus’ musicianship gets left out of conversations when her image can dominate, and this strong, unexpected cut is a reminder of how gifted she really is as a performer.
“We Can’t Stop”
Released in June 2013 as the first single from the upcoming album, “We Can’t Stop” was a huge hit around the world, topping the charts in the U.K., reaching No. 2 on the Billboard Hot 100, and going multiplatinum in a handful of countries. And yet it ultimately feels a little overshadowed in the Cyrus canon by some of her flashier hits — an unfortunate fate for what I think is a strong contender for her best and most signature song. A low-key anthem for love and acceptance masquerading as a trashier “party as you please” drug jam, there’s something revolutionary in the straightforward, quiet way Cyrus demands that compassion and character, not wild behavior, be used to define us all.
“SMS (Bangerz)” featuring Britney Spears
Speaking of trashy — and lots of fun — here comes this quirky musical collab between two of the countriest pop queens to ever rule youth culture. Cyrus’ brash attitude and sassy, twangy vocals coax Spears to add a little more spark to her usual baby-voice delivery. It’s also all just so delightfully weird, with Cyrus chanting, “F--king bangerz,” in the background while wacky lyrics wash over it all that shout out Cyrus’ father, Billy Ray; quote the most famous Fantasy Island catchphrase; and naturally, champion drugs and sex toys aplenty. The fearlessly quirky streak in Cyrus that would lead to her follow-up album, Miley Cyrus & Her Dead Petz, is on full display here.
“4x4” featuring Nelly
Leaning hard into the Dirty South sound, Cyrus hits a nearly hypnotic groove repeating the words “round and round and away we go” about a million times before slipping into the next verse. No stranger to country crossovers himself, Nelly slides in for a bouncy cameo, but even as our heroine sings about being in the passenger’s seat, Cyrus is obviously driving this strange jam. It’s hard to classify just whom this song is for — its driving beat definitely seems tailor-made for line-dancing, but it’s not that easily pinned down. It’s another interesting genre-bender from an artist always looking to bust out of any boundaries imposed on her.
“My Darlin’” featuring Future
Interpolating the iconic “Stand by Me” into a moving duet between mumble-king Future and singing-for-the-rafters Cyrus, this is a song just aching to score the climactic prom scene in a never-made teen movie. To this random fan, it feels as if “My Darlin’” would have been an interesting single with the potential to connect with fans; as it is, it feels like an appropriate emotional tee-up for the heart of the album and, to many, Cyrus’ career. And so, without further ado …
“Wrecking Ball”
… This is it, the first Billboard Hot 100 No. 1 of Cyrus’ career and arguably her ultimate signature song. (Of course, we all have our personal faves from her incredibly deep catalog.) There are few more iconic pop culture images from the 2010s than a sexy Cyrus atop the titular object, and this power ballad for the ages topped charts around the world while going more platinum than Cyrus’ short hair in the video. Not many artists get one song this massive or career- and era-defining, and no other could sell one of the hardest-hitting emotional songs of modern pop without being overshadowed by their sledgehammer-licking or nude chain-swinging. Resistance is futile: This jam will still be packing a wallop long after we’re all dead, so you might as well sing along.
“Love Money Party” featuring Big Sean
The second half of the album starts off on a trippy note, with an eerie, minor-key melody and swirling beat battling Cyrus’ rapid-fire delivery. It’s dark and cool, and kind of surprising that it wasn’t given more of a promotional push since it seems to hit more of the notes that you might expect from the publicity whirlwind surrounding this project. A natural fit for the vibe and Cyrus’ unique energy, Big Sean surfs in and matches her hypnotic flow. They’re a great team, and this is a hidden gem that deserves to be rediscovered. TikTokers, make it happen!
“#GETITRIGHT”
A sunny, staccato jam solely penned by Pharrell Williams, this feels like a lesser cousin of some of his later work, a likable and effective album cut that wouldn’t exactly stand on its own otherwise. The best thing it has going for it is Cyrus’ powerful vocals as she charts the rising flow while making lines like “I feel like I got no panties on” feel playful. There’s less to love about the annoying whistling that underscores the song, but as far as respectable album filler goes, this is a nice track.
“Drive”
A little sister to “Wrecking Ball” that goes dark and jittery instead of aching and bold, this is one of the most musically interesting cuts on Bangerz, dipping into an almost trappy sound that echoes what Katy Perry was doing the same year with “Dark Horse.” While that song may be superior to “Drive,” the latter does benefit from Cyrus’ impressive vocals and is an underrated gem in its own right. It’s definitely worth a relisten and a reappraisal.
“FU” featuring French Montana
One of the album’s most impassioned vocals comes in this bluesy kiss-off to an unworthy lover, where Cyrus swings fearlessly for high notes and higher drama in a song built around some clunky lyrics. You’d never guess, though, based on the production and the way Cyrus sells them like a mix between Billie Holiday and the Diva Plavalaguna. This is a must-listen and should have enjoyed a life beyond the album — and the fact that it didn’t? To quote the song, “SMH!”
“Do My Thang”
In case you were worried that she somehow wouldn’t, Cyrus helpfully reminds listeners (repeatedly) that she will indeed do her “thang.” As always, Cyrus commits completely to the performance and vibe while nailing some lovely vocals. The song doesn’t quite give her enough road to get up to full speed on; still, this seems like the kind of jam that a Southern sorority or especially “edgy” cheerleading squad might crank up. For shame, Abby Lee: How did this not end up being used on Dance Moms?!
“Maybe You’re Right”
This very mainstream power ballad would have fit right in on previous Cyrus (and even Montana) albums; the sensitive piano, soaring male backup vocals, and blockbuster-movie-credits musical punches would have sounded right at home on any pop or adult contemporary station, then or now. Maybe it was too middle of the road to be spotlighted by Cyrus at the time as she pursued her wilder muse, but this is a well-crafted slice of pop that you can easily picture moms and kids singing along to together, with a big message of believing in yourself even when the world may not. It’s worth checking out, and I would be surprised if it doesn’t resurface at some point.
“Someone Else”
Although a deluxe version of the album would come out later (and add some gems like the silky “Rooting for My Baby”), the original Bangerz ends with the frenetic, intense “Someone Else.” While the song itself feels like too many ideas thrown into a blender, and it’s hard to find a hook to latch onto, it does feel as if there is a method to Miley’s madness here. Delivering a statement of growth, acknowledgment of change, and demand to be seen as a complete person in the present rather than a memory of the past, Cyrus ties a bow on her “Hannah no longer” journey by building up to the fiery delivery of the line “I’ve turned into someone else.” Did she ever, and we are all the luckier for it.
Jonathan Riggs is a freelance writer and former managing editor of the LGBTQ+ lifestyle magazine Instinct.
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