Miley's 'Bass Persuades' Is Pretty and Passable, But Surprisingly Light on Bass… or Persuasion

Introduction: A Misleading Teaser

When Miley Cyrus dropped her new single "Bass Persuades" just two and a half weeks before the release of her upcoming album, it was an absolute bait-and-switch. The song promised an explosion of bass-heavy dancefloor bangers — think Madonna meets Lady Gaga, with a side of club-ready swagger — and delivered something that, while not terrible, is decidedly more mellow than its title suggests.

"But that was our supposition, not hers... it's eclectic, but not 'Endless Summer Vacation'-level eclectic. One thing no one will ever remember about it is the album having a surfeit of bass."

And yet, even though this is the single that led us to believe we were about to hear the next great Miley club anthem, it's not until track 10 — an unnecessary remix — that the album truly revisits its promised sonic territory. The result? A curious and somewhat frustrating experience: one that starts with promise but fails to deliver on its most ambitious concept.

The Album's Structure: A Mix of Moods

"Bass Persuades" is a study in contrasts — at least in the way it moves from song to song. The album opens with the misdirection of its title track and "Different Religion," both of which flirt with dancefloor energy but never quite commit fully to it. Then comes a string of tracks that feel like they're taking a detour into romance, which makes sense given Miley's relationship status with fiancé Maxx Morando.

The third track, "Let's Get Married," is an abrupt left turn — from the club vibes of the opening to what feels like a lovey-dovey AC ballad. While not terrible, it's jarring and feels out of place in a collection that otherwise aims for a more consistent tone.

That said, the album finds its groove with "Orbit," which is one of the better tracks on the record. It's romantic, thoughtful, and cleverly structured around the metaphor of her significant other being the center of her universe — a nice touch that elevates what could have been another generic love song.

Surprises and Struggles

"Neon Signs" is a standout moment — not necessarily because it's a great song, but for its quirky, spoken-word interplay between Cyrus and Andrew Wyatt. The absurdity of the interaction (“Some people think I'm creepy, but others think I'm just right”) gives the track an offbeat charm that breaks up the more serious emotional content.

But the album's real emotional high point comes in "Aftermath," a track that tries to take a philosophical turn on the theme of endings. It's one of the few genuinely introspective moments, though it feels out of place among the lighter fare — and the fact that it's the only sad song on the album makes its placement feel slightly awkward.

Then there's "Innocent Ways," which stands out as both a darker and more personal moment. It features Miley reflecting on her relationship with her sister Noah, and includes some sharp, emotionally resonant lyrics. She sings about family trauma, mental health struggles, and even the idea of reclaiming one's identity — something that's both haunting and surprisingly relevant in the context of her public persona.

Conclusion: A Passable, But Unremarkable Offering

Overall, "Bass Persuades" is a pretty passable album that feels more like a transitional effort than a bold statement. It lacks the punch of past Miley efforts and doesn't offer enough cohesion to make it feel like an essential listen. The record is pleasant, even enjoyable at times — but it never quite reaches that next level where listeners are compelled to return.

For fans who were hoping for something more ambitious or cohesive, this album may fall short. But for those who enjoy Miley's evolution as an artist and want to see her explore different directions, "Bass Persuades" offers a curious snapshot of a moment in time — a mix of love, introspection, and the occasional dancefloor dip that never quite delivers on its biggest promise.

Final Thoughts

What's most notable about this album isn't necessarily what it achieves, but what it reveals about Miley Cyrus as an artist. While it may not be groundbreaking or even particularly memorable, it does feel like a genuine attempt to find her own voice — albeit in a slightly offbeat way.

It's not bad, just… not great. And that, I suspect, is exactly where Miley wants us to leave her for now — somewhere between comfort and curiosity, a place that leaves room for growth without feeling forced or overdone. For now, we can appreciate her effort, even if we're still waiting for that bass-heavy breakthrough she promised us.