Track Review: Miley Cyrus, “Flowers”
Miley Cyrus has returned. After a successful stint on the festival circuit following the release of 2020’s Plastic Hearts, Miley has unveiled the lead single from her forthcoming eighth studio album Endless Summer Vacation.
“Flowers,” a reflective breakup song that evolves into a self-love anthem, eschews the ‘80s rock of Plastic Hearts in favor of a breezy disco-tinged dip into pop-rock. The new single finds Miley joining forces with Kid Harpoon and Tyler Johnson, the producers responsible for last year’s most dominant song (Harry Styles’ “As It Was”), as well as a slew of songs from its 6x Grammy-nominated parent album (Harry’s House) including “Music for a Sushi Restaurant” and “Late Night Talking.” “Flowers,” with its simple lyrics and unfussy production, is engineered for passive listening. The song’s string-inflected instrumental combines the bluesy whimsy of Fleetwood Mac with the defiant disco-pop of Kylie Minogue, allowing the song to instantly solidify its broad appeal while still feeling ever-so-slightly different from the scores of disco-pop ditties that have flooded the 2020s.
“Flowers’” biggest shortcoming is how reserved and safe it feels. With a chorus that melodically and lyrically nods to Bruno Mars’ “When I Was Your Man,” production elements that recall Gloria Gaynor’s “I Will Survive,” and a vocal performance that lacks the punch and grit that made her such a particularly arresting performer during the Plastic Hearts era, “Flowers” is too concerned with securing goodwill through its familiarity to already-existing pop tracks than bringing something unique and fresh to the scene. On the one hand, “Flowers” is yet another reintroduction to contemporary pop audiences for Miley, so going with the safest option for the lead single makes sense. On the other hand, this is Miley Cyrus we’re talking about, and being safe has never yielded her the best results.
“I can buy myself flowers / Write my name in the sand,” Miley croons before concluding “I can love me better than you can.” Written alongside Michael Pollack and Gregory Aldae Hein, Miley opts for tired pop music clichés that border on redundant. If the track’s production was as audacious as that of Plastic Hearts, the flaccid lyrics (lots of cherry-red and dancing by yourself going on here) could be more interesting. Nonetheless, Harpoon & Johnson opt for a mellow composition that forgoes the vigor of a well-placed modulation in the final chorus or a proper bridge. “Flowers” is safe, but that doesn’t mean it’s intolerable. It’s simply a fine pop song that will likely conquer radio and introduce an album that’s much more daring and interesting.
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Score: 68
