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Miley Cyrus: Something Beautiful review – solid pop that’s about as ‘psychedelic’ as a baked potato

The singer’s ninth album has grand ambitions but – despite some sparkling songcraft – falls short of its mind-altering promises and the hits that made her a star

Everyone’s Getting Involved review – tepid all-star Talking Heads tribute

Cult film company A24’s tie-in merch to the seminal documentary Stop Making Sense sounds either like karaoke or is wildly disconnected from the source material

Miley Cyrus: Endless Summer Vacation review – gossip, grit and glorious pop

After years trying to reconcile chart success with her leftfield musical instincts, the singer has delivered a hazily atmospheric album that plays to her provocative strengths

Miley Cyrus: Plastic Hearts review – mock rock

The punky sneer of this post-divorce album feels like an act

Miley Cyrus: Plastic Hearts review – too plastic, but has heart

From floaty synth ballads to punky 80s pop, this album’s middling material doesn’t adequately serve this unusual star

BBC Radio 1’s Big Weekend review – electric Stormzy opens two days of non-stop pop

Billie Eilish draws the crowds, Miley Cyrus rejects her previous personas and Slowthai steals the day

Kitty Empire’s best pop of 2017

From Jay-Z to Taylor Swift, it’s been a year of high political and personal drama in the worlds of rap, pop and rock

Miley Cyrus: Younger Now review – goodbye girl in the hood

The pop provocateur plays safe on her new album, abandoning R&B in favour of country-pop

Miley Cyrus: Younger Now review – big-hearted country-pop from Miley v4.0

‘No one stays the same,” sings Miley Cyrus on the excellent title track of her sixth studio album, surely referring to a career of reinventions from Disney child star to Wrecking Ball-era sledgehammer-licking controversies to Dead Petz’s psychedelic weirdness. On … Continue reading →

Miley Cyrus review – new psychedelic direction is a bad trip

Featuring dildos, drag queens and someone dressed as a set of teeth, Miley Cyrus takes her stadium show and crams it into a small theatre, with chaotic results

Miley Cyrus: Miley Cyrus & Her Dead Petz – a sweary, engaging self-release

Miley Cyrus self-releases a stoned, sweary and engaging curveball

Miley Cyrus review: tackling rock classics at Art Basel with the Flaming Lips

This private show saw Cyrus embark on upscale rock karaoke with psychedelic trappings – but proved that she knows how to sell a song

Miley Cyrus live review – a Duracell bunny of provocative mischief

She's up, she's down, she raunches all around, but scratch the surface of Miley Cyrus's Bangerz show and there's method in her cartoon madness, writes Kitty Empire

Miley Cyrus: Bangerz review – loud, lewd, but still laudable

Other stadium-sized pop acts signpost their maturity with clanging visual references to Warhol: Cyrus dances with a pantomime horse, writes Alexis Petridis

GIRL review – Pharrell Williams turns on the charm

Pharrell Williams tones down the libido and turns on the charm for his latest long-player, writes Kitty Empire

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← Older posts
  • Alim Beisembayev review – intimacy and conviction in programme of Romanticism
  • Royal Liverpool Philharmonic/ Candillari review – Simpson’s oratorio shrieks; Elgar and Sibelius stay polite
  • LPO/Tan Dun review – a full battery of drums, dramatic inhalations and hints of Mongolian throat singing
  • The Turn of the Screw review – gripping and unsettling water-logged staging of Britten’s ghost story
  • Tamerlano review – Trump, Freud and a Bridgerton escapee struggle to get a handle on Handel
  • Miroslav Vitous: Mountain Call review – double bass duets balance muscularity with mellowness
  • Flea: Honora review – Chili Pepper turns piper, taking up trumpet for a soulful jazz odyssey
  • Mendelssohn: Symphonies and Oratorios album review – Andris Nelsons’ prodigious talent on full display
  • Anne-Sophie Mutter: East Meets West album review – diverse, bold and brand new
  • Paul McCartney: Days We Left Behind review – this wistful, lovely song is as McCartney-esque as it’s possible to be
  • Rigoletto review – strong revival of Mears’s violent take, with Elder revelatory in the pit
  • Fcukers: Ö review – hyped Harry Styles-supporting NYC hedonists have the hooks to merit the hoopla
  • The Passion of Mary Magdalene review – Tansy Davies’s score is taut and intriguing
  • Imeneo review – Handel in mischievous mood handled with wit and care
  • Robyn: Sexistential review – pop doyenne returns with emotional grenades and a new philosophy
  • Raye: This Music May Contain Hope review – a wildly ambitious epic of unbridled self-expression
  • FKA twigs review – an Olympian display of pop prowess
  • Pagliacci review – Leoncavallo’s grand guignol staged with insight and commitment
  • Geese review – all hail the new saviours of rock’n’roll
  • The Gondoliers review – brilliantly barbed Gilbert and Sullivan is a feast for the eyes and ears
  • BTS review – having lost none of their chemistry, this is a comeback of epic proportions
  • BTS: Arirang review – the world’s biggest pop band return with dumb fun and downright weirdness
  • Grace Ives: Girlfriend review – bedroom-pop auteur goes widescreen for a gorgeous sobriety epic
  • Huw Marc Bennett: Heol Las review – exhilarating Welsh folk injected with synths, sitars and surf rock
  • Johannes-Passion album review – Pygmalion are razor sharp in theatrical new recording
  • Through the Centuries: Songs of Madeleine Dring album review – puts paid to any idea that she was not a serious composer
  • Underscores: U review – ultra-imaginative auteur has pop’s most brilliant brain
  • Siegfried review – invigorating and mesmerising staging, with Schager outstanding as Wagner’s hero
  • Wu-Tang Clan review – still bringing the ruckus even on their farewell tour
  • The Kingdom: Oxford Bach Choir, BSO/Nicholas review – Elgar’s unloved oratorio sounds expansive and convincing

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