No one does edgy quite like Miley Cyrus post-Hannah Montana and she’s been claiming her media narrative with cold, hard bitch slaps to the industry left, right, and centre for quite a few years now. And in true form to the knife-sharp woman Cyrus is now, her new release, ATTENTION: MILEY LIVE sees her revisit her past selves with a wink, in a searing, uproarious live performance of an album.
She jumps between those personas throughout – but dextrously and with every ounce awareness of just what she’s doing. Halfway through the extensive 20-track album she addresses the roaring crowd: “People, when they think about me, they think of someone that’s been a million different things. A lot of different identities.” And she’s here to own them all.
Opener “ATTENTION” is the only track recorded in studio and is a screaming, grating, fibrillating call for yours – while a cheerleader squall cuts through intermittently, yelling “Go, bitch, go.” The rest of the album is a roaring performance for your rollicking enjoyment.
A mash-up of “We Can’t Stop” and “Where Is My Mind” is next on the list and I’ll tell you one thing, I forgot about the low notes she can hit. They lend the sort of punch that can’t be dodged. Dynamic percussion rings through newer hits like “Plastic Hearts” and older ones alike (see “4×4”), while a couple of roaring covers are thrown in for good measure, racking up her idols – from Madonna’s “Like A Prayer”, to Dolly Parton’s “Jolene”, and Blondie’s classic “Heart of Glass”.
She breaks the energy for some crooners – including “You” and “High”, and then, if that weren’t enough she takes it right back to Hannah Montana era to wrap things up with some fresh renditions of “The Climb” and – yes she did – “Party in the USA”.
Say what you will about Miley Cyrus, but she doesn’t give two fucks about what you think, she’s doing just what she wants, as she’s always done.
Feature pic by Vijat Mohindra