Throughout the previous year, I have noticed a distinct expression on people’s faces when they begin to realize that Miley Cyrus is more than just a provocative, smirking figure. This look became apparent on my dad’s face a few months ago when we watched her perform a surprisingly talented rendition of “50 Ways to Leave Your Lover” on SNL 40, dressed in a relatively modest outfit.



I also witnessed it on the faces of some friends last week as we discussed Miley’s cover of The Replacements’ “Androgynous,” grappling with our past perceptions of her as a shallow Hannah Montana character, now confronted with her progressive views on gender and sexuality.



Lastly, I saw this look on the faces of some companions last night while attending the Adult Swim upfront party at Terminal 5, where Miley delivered a bold and brilliantly insane performance.

I attended Miley Cyrus’s concert out of sheer curiosity – what kind of music would she play now that it’s been two years since “We Can’t Stop”? To my surprise, she played a diverse range of songs including Led Zeppelin’s “Babe I’m Gonna Leave You,” a new collaboration with the Flaming Lips, “A Boy Named Sue,” “A Day in the Life,” a stripped-down piano version of her song “Drive,” and even reimagined her hit single “We Can’t Stop” as a reggae song while passing around a cigar-size blunt.



Despite the unexpected setlist, Miley’s vocal versatility made it work. Her performance felt like a defiant message to those who expected a polished and conventionally sexy pop star. As Miley stated in a recent Time interview, she is dedicated to being true to herself and constantly evolving.

It has been almost two years since the controversy surrounding Miley Cyrus’s performance at the VMAs, and it seems like she has grown and matured a lot since then. Regardless of whether you like her or not, you can no longer dismiss her as a vapid pop star with nothing to offer.

At a recent event, she spoke passionately about her Happy Hippie foundation, which raises funds for homeless youth, particularly those who are LGBT. It made me wonder if this new focus on charity has given Miley the language to speak more honestly about her privilege, something she has struggled with in the past when criticized for cultural appropriation.



During her speech, she expressed gratitude for being able to speak freely while living among people who are forcibly removed from their homes because of their sexual orientation. While it may not be as profound as Martin Luther King Jr.’s “I Have a Dream” speech, it is still a step in the right direction.

Observing a female pop star confidently projecting her liberated Sexuality is enthralling. During the concert, Miley exuded self-assurance with her glitter-bombed butterfly costume and pink pasties, almost resembling a drag queen. She disclosed that she gets her costume ideas two days before the show and dedicated the night to Amazon Prime.

Toward the end of her performance, she covered Khia’s “My Neck, My Back” and seemed to take pleasure in asking the crowd of suits to “lick [her] p****.” The majority of the audience appeared uncomfortable, which delighted me.



New Miley does not care if you like her; she emanates an Amy Poehler-like attitude. Perhaps she has been this way for a while, but we did not know how to discuss it. Following the VMAs, the media followed the traditional female pop-star arc, comparing her to Britney Spears and criticizing her.

However, Miley is proving herself to be more empowered by presenting pleasure as something she allows herself to feel rather than granting it to those who observe her. While I do not expect Miley to be a perfect role model at all times, watching her navigate this journey publicly is fascinating. The peace-tongue is beginning to speak up, and I am eager to hear its next message.