Miley Cyrus performs at the sold-out performance at Echostage on her Milky Milky Milk Tour on Friday, Nov. 27, 2015.
The cliche tumultuous rise to fame, then infamy, has become a part of daily life for the American pop-culture enthusiast. We’ve watched Britney Spears shave her head, caught Justin Bieber peeing in a bucket and gazed on in amazement as Miley Cyrus was, well, just being Miley. August 2015 saw the release of the latter pop star’s fifth studio album, Miley Cyrus & Her Dead Petz, an experimental psychedelic journey guided by Cyrus and The Flaming Lips. And while the album is a huge departure from her previous sound, seeing it performed live proves she has never been more herself.
[ READ MORE: Miley Cyrus – Echostage ]
With a line wrapped around the street, Echostage, one of eight smaller club shows on this tour, was prepared for the sold-out performance. Preshow, with glitter already coating the street, it seemed the venue had its work cut out for it. The crowd was a diverse group, including youngsters who liked the music, youngsters going to spite their parents, their parents and the type of people who slow down on the highway just to watch the aftermath of a car wreck. In a sea of sparkles, stickers and skin, I saw one individual near the front with a giant dildo strapped to their forehead, looking as though they’d never been happier.
The line was so long and slow that Cyrus’ set was pushed back half an hour to let the rest of the attendees make their way in. Within the hour, the smaller crowd that arrived early for Dan Deacon’s set (or front-row privileges) had grown to fill the club, packing both the main floor and the balconies. The stage was adorned with giant confetti cannons, dangling LED strands and a gigantic disco ball. The clock struck 10 p.m., and the Dead Petz (The Flaming Lips) took to the stage to start the magic. The opening notes of Cyrus’ 2009 hit “Party in the U.S.A.” started up and the LED strands started glowing, revealing the band members. Massive LED screens in the back cut Cyrus’ silhouette against the light.
As Miley made her way out through the lights, wearing a golden “Do It” outfit, the tame “Party” track gave way for “Dooo It!”, the lead single from the Dead Petz record that professes her love for peace and smoking pot. Two dancers joined her onstage, one being the 6-foot-7 Amazon Ashley, a dancer who rose to prominence after teaching Cyrus how to twerk. The self-proclaimed “Queen of the Amazons” towered over Cyrus in a rainbow afro wig, dancing around and throwing massive silver “Do It” balloons into the crowd.
Almost every sense was stimulated by the performance. Marijuana smoke wafted over the young crowd, flashing lights and lasers blinded, and the music enveloped the crowd as they were berated and assaulted by confetti and balloons. Cyrus’ multiple costume changes included the “Do It” outfit, a sun and then moon costume, a baby outfit, various dairy products and the mythical “pornicorn” featuring fake breasts and an 18-inch dildo.
The show was a guaranteed disappointment for anyone expecting Hannah Montana or even Bangerz-era Miley Cyrus to make an appearance. The only taste of Cyrus’ past came in the form of the “Party in the U.S.A.” opener and the closer, “We Can’t Stop.” However, Cyrus’ roots came through as she closed the main part of her set with “Twinkle Song.” It was just her and a piano onstage, and the entertainer’s original talent as a singer shone as she belted the song, a ballad about the death of one of her friend’s cats. The raw power and emotion in the performance reminded me why we all fell in love with her in the first place.
The encore featured the most ridiculous of ridiculous outfits, the pornicorn and two of her bigger songs, “Karen Don’t Be Sad” and “We Can’t Stop.” The night never seemed to end, and yet I don’t think anyone there wanted it to. Even though the performance was weird, trippy and sexual, I can’t wait to see her again.
