On May 6, Miley Cyrus plans to finally return to the stage, resuming her world tour in London after rescheduling an Amsterdam concert date and postponing the final leg of her US tour. The final US dates of the Bangerz Tour were pushed back until August, when Miley will perform nine additional concerts in the Eastern part of the states.
Earlier in April, Miley faced some considerable setbacks when her beloved dog died, causing her to have a pretty heartbreaking public meltdown. Shortly thereafter, the medication she was taking for a sinus infection caused a severe allergic reaction, and she had to be hospitalized for many days.
It’s a bummer to see her slowed down when the Bangerz Tour began with such incredible forward momentum.
I attended one of the first Bangerz Tour dates on Feb. 22 at the Staples Center in downtown Los Angeles. It was a truly impressive spectacle with enough costume changes, larger-than-life props and choreographed dance routines to make your head spin, really.
Anchored by Miley’s strong stage presence, her concerts are the perfect blend of both polished performance and off-the-cuff spontaneity. I was expecting some zaniness — I knew that she would enter via her trademark tongue-slide protruding from a giant projection of her own face, for example. She delivered zaniness and then some: she pretended to fellate a dancer dressed as Bill Clinton during “Party in the USA” and leaned off the stage to initiate a kiss with Katy Perry, who was in the audience, during “Adore You.”
About halfway through the concert, Miley migrated to another stage at the back of the venue, where a band was set up to play an unplugged cover of OutKast’s “Hey Ya!” and Dolly Parton’s “Jolene” with her father, Billy Ray Cyrus, cheering and proudly clapping along from a few feet behind her. Not long after, Miley introduced Wayne Coyne and Steven Drozd of the Flaming Lips, who approached the stage carrying large silver balloons in the shape of the words “FUCK YEAH” and dressed in a red cape, respectively.
Together, they performed an amazing cover of “Yoshimi Battles the Pink Robots,” and then they decided that they were drunk enough to do it a second time — so they did. And it was awesome.
The acoustic set, the old-school country and the unexpected cover songs are great elements of the Bangerz Tour. It’s the perfect way to remind the audience that Miley Cyrus isn’t all spectacle. She’s smart.
There is no doubt in my mind that Miley’s entire rebranding has been carefully planned from the moment the very first video of her twerking in a unicorn suit went viral in March of 2013. It’s kind of genius. And it’s been executed incredibly well. And, best of all, Miley has the talent and personality to back it up.
Ultimately, I am really rooting for her. Not only do I love her ability to get under the skin of the general public, but I am impressed with her in-your-face feminism, musical talent and down-to-earth attitude on- and off-stage. Of course, there are large elements of the media she’s produced that are problematic and worthy of criticism. But I think the “Bangerz” era is an important one in the evolution of pop music, and I would love to see her continue to grow and succeed.
Outside of the venue, middle-aged men with potbellies and bucket hats smugly unfurled signs that read “SMILEY VIRUS WILL WRECK YOUR LIFE” and “SLUTS, ETC. TRUST CHRIST OR END IN HELL!” One wore a shirt proclaiming him “Holygound Security” and shouted through a megaphone at the teenage girls walking past him that they were prostitutes and whores.
Somebody’s got to stand up to those guys.