In the spirit of the single release being the new normal before an artist finally gets around to putting a handful of them on a record that comes out the following year (see also: Katy Perry), Miley Cyrus has brought us yet another new song following last year’s “Slide Away” (released on August 16th–a.k.a. Madonna’s birthday–almost exactly a year to the date of this one). Granted, she was also part of “Don’t Call Me Angel” soon afterward.
In any case, “Midnight Sky” is something of a departure from both of those, with Cyrus favoring the intonation one can instantly associate with Stevie Nicks’ 1981 classic, “Edge of Seventeen” (perhaps only ever repurposed successfully for Destiny’s Child’s 2002 hit, “Bootylicious”). In point of fact, Miley seems to be having the same schizophrenic episode people of this early 80s epoch were, still basking in the residual light of the disco ball while also sporting a very pronounced femullet.
This latter aesthetic trait is presented, of course, in her socially distanced video (Miley being the only person present throughout the entire “concept” à la Taylor Swift in “Cardigan”). A video that borrows quite noticeably from the long-standing Kylie Minogue shtick of disco balls and sparkles recently taken to an nth degree for her single, “Say Something.” Even the intro to the track features a Minogue tinge (specifically that “Asian flair” on 2003’s “Promises”), which is perhaps why Cyrus first appears in a leotard complete with the complementing accessory of a diamond-shiny Chanel belt (literally crafted of diamonds–for they couldn’t possibly be rhinestones–and spelling out Chanel). The video–directed by Cyrus herself–then cuts to a barrage of disco balls on the ceiling before we see her in front of a neon sign that spells out DISCO (also, incidentally, the title of Minogue’s next album) while she sings into the microphone for no one (that’s sort of her thing lately, as evidenced by performing The Beatles’ “Help!” in an empty stadium).
As it happens, each of the rooms and costumes she appears in echo the “Instagram experience” model that was so popular before the pandemic limited the moneymaking potential of it (see: Britney’s The Zone), as though every set was designed solely so she could photograph and video it for social media. To break up the monotony of seeing “just” one person throughout the video, Miley gives us a long line of her duplicated selves in a moment that conjures memories of The Chemical Brothers’ “Let Forever Be” video (famously directed by Michel Gondry)–though her lyrical vibe is decidedly loyal to her godmother, Dolly Parton, and those other “old timey” country singers of the 50s and 60s who incorporated pop (think Connie Francis with “Who’s Sorry Now?” or Patsy Cline with “Crazy”). And yes, one can view “Midnight Sky” as a natural progression from the “he done me wrong” sentiments of “Slide Away” in that Miley remains committed to her decision to having ended things with Liam Hemsworth via the lyrics, “I was born to run, I don’t belong to anyone, oh no/I don’t need to be loved by you/Fire in my lungs, can’t bite the devil on my tongue, oh no.” How very Holly Golightly indeed.
Barring the ripping off of Bruce Springsteen with that “born to run” line, Cyrus clearly takes all of her inspo from women of country and pop’s past, bringing us back to that Stevie Nicks instance when Miley sounds just like her as she croons, “Oooh, you know it’s true.” It mimics the exact moment when Nicks wails her chilling “Ooooohhhh” at the three minute, ten second mark of “Edge of Seventeen.” The backbeat accompanying also draws easy comparisons to Nicks’ seminal track.
And as Miley swings her microphone in the spirit of Pat Benatar (though it remains almost impossible to top her authentic early 80s mullet), we genuinely believe in the defiance of Cyrus’ voice as she declares, “You should know right now that I never stay put in one place/Forever and ever, no more.” Luckily, she can make good on this statement by being a celebrity who can defy the pandemic limitations of travel.
As part of the trio of EPs (thus far, only She Is Coming has been released, to be followed by She Is Here and She Is Everything) that will comprise the full-length record, She Is Miley Cyrus, “Midnight Sky” makes a worthy sonic and thematic addition–even if very heavily borrowed.
