Miley Cyrus Bass Persuades

ChoruScore Critic consensus / 100

Released Sep 18, 2026 Atlantic Records

Established consensus 5 professional reviews Updated Oct 3, 2026

Split critical consensus

Miley Cyrus's Bass Persuades arrives as a restless, often compelling collection that splits critics between moments of dark electropop vitality and stretches of dated production and stylistic inconsistency.

How ChoruScore works

Critics' Top Tracks

The songs critics returned to most

Different Religion (feat. Model/Actriz)

4 critic mentions

“a dark, throbbing, sexy cut that's wrapped in chains and leather” — The Needle Drop

Aftermath

4 critic mentions

“a kind of trance-y pop fusion piece that feels very late 90s, but in the most dated way” — The Needle Drop

REDLIGHTS

4 critic mentions

“The track seems like the clearest, most successful showcase of what Bass Persuades aimed to accomplish both in sound and subject.” — Rolling Stone

Full critic consensus

Miley Cyrus's Bass Persuades arrives as a restless, often compelling collection that splits critics between moments of dark electropop vitality and stretches of dated production and stylistic inconsistency. Across five professional reviews, the record earned a 56.6/100 consensus score, with reviewers consistently pointing to charismatic performances that sometimes falter beneath heavy-handed arrangements by Kid Harpoon and Mike Pollack.

Critics agree the album's strongest moments let Cyrus' voice dominate rather than hide behind pastiche. “Different Religion (feat. Model/Actriz)” emerges repeatedly as a standout - praised for its throbbing gothic pulse and sensual intensity - while “Aftermath” and “REDLIGHTS” are singled out for their forward momentum and emotional clarity. Reviewers note recurring themes of sobriety, domesticity, anxiety and grief, and devotion; those intimate subjects register most effectively in the record's sparser, piano-led and storming cuts rather than in its nostalgia-tinged dance-pop homages.

Yet several critics warn that genre shifts and production choices dilute the album's impact. Some reviews describe the record as episodic, trading momentary highs for an uneven sequence of experiments that blend industrial/no-wave textures with tried pop formulas. While a portion of professional reviews praise the middle sequence for revealing Cyrus' emotional center, others find songs such as “REDLIGHTS” and select pop pastiches sterile or rambling.

For readers wondering what critics say about Bass Persuades, the consensus suggests a mixed but intriguing listen: essential for fans seeking bold vocal turns and a few standout tracks, less so for those seeking a cohesive follow-up in Miley Cyrus' catalog.

Track Ratings

How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.

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Bass Persuades

3 mentions

03:22

"She takes on the role of a yassified pied piper on the opening title track"

— Slant Magazine

"making for a dance-pop anthem that gets the body moving but lacks the white-hot originality of Miley’s best songs"

— Slant Magazine

"When she tries to re-access some version of what fueled their creation, she ends up with "Bass Persuades," a rambling lead single with little to say."

— Rolling Stone

"She reiterates 19 times that "the kids don't wanna dance.""

— Rolling Stone

"the title track, lead single of this thing, which was kind of an electropop number"

— The Needle Drop

Different Religion (feat. Model/Actriz)

4 mentions

100

03:43

Let’s Get Married

4 mentions

—

03:36

""Let’s Get Married" is yet another Bruno Mars-minded clunker, devoid of passion."

— Pitchfork

"immediately followed by the spritely but underwhelming pop-rock ballad “Let’s Get Married”"

— Slant Magazine

"There’s a sweet simplicity in how she races down the aisle on "Let’s Get Married.""

— Rolling Stone

"As far as the canon of Cyrus’ love songs goes, it’s an instant classic."

— Rolling Stone

"a kind of dreamy ballad that feels like an extra from the Endless Summer Vacation era"

— The Needle Drop

Orbit

3 mentions

—

03:55

"and the maudlin “Orbit.”"

— Slant Magazine

""I would bend all space and time to fall into your hands," Cyrus sings on the aching piano ballad "Orbit.""

— Rolling Stone

"The starry-eyed standout has no use for flash and spectacle"

— Rolling Stone

"whose pacing is even worse and is, I would say, a more serious attempt at something dramatic"

— The Needle Drop

"the overly pristine amphitheater grand piano passages... feel more fitting for a Hans Zimmer piece"

— The Needle Drop

Aftermath

4 mentions

100

03:31

"The driving beat and cicada-like synths of “Aftermath” bolster her most energetic performance on Bass Persuades"

— Slant Magazine

""Do you ever fall into pieces? Do you ever think of me now and then?" she asks."

— Rolling Stone

"This time, she pulled "Aftermath" from it."

— Rolling Stone

"a kind of trance-y pop fusion piece that feels very late 90s, but in the most dated way"

— The Needle Drop

REDLIGHTS

4 mentions

03:42

""REDLIGHTS" shoots for ABBA and lands like something off their immersive museum’s waiting room soundtrack"

— Pitchfork

"The track seems like the clearest, most successful showcase of what Bass Persuades aimed to accomplish both in sound and subject."

— Rolling Stone

""Truth is all we need, and also what I fear," Cyrus sings."

— Rolling Stone

"feels almost like any number of mid-to-late 70s ABBA songs"

— The Needle Drop

Neon Signs (feat. Andrew Wyatt of Miike Snow)

3 mentions

—

04:13

"Neon Signs is a languid duet with Andrew Wyatt, whose reedy timbre is outshown by Miley’s smoldering alto"

— Slant Magazine

"whose spoken-word pillow talk offers us all the eroticism of a stopover in a roach motel"

— Slant Magazine

"This is a pretty solid duet"

— The Needle Drop

"derailed through this very odd bridge that features a lot of moaning"

— The Needle Drop

Innocent Ways

2 mentions

03:51

""I want better for my sister/She calls me only when it’s late night and she’s high," Cyrus sings"

— Rolling Stone

""I wonder if she went and changed her number/I tried to call her three times over/Is she alright?""

— Rolling Stone

"just a very tiresome and meandering song, with little to no payoff"

— The Needle Drop

"a lot to say, a lot to get off her chest, but clearly doesn't have the chorus"

— The Needle Drop

Snow

3 mentions

04:12

"“Snow” is a rather prosaic love song that seems algorithmically designed to belong to no genre whatsoever"

— Slant Magazine

""Now your knee’s in the dirt as I hold out my left," she sings."

— Rolling Stone

""You should swallow the nerves ’cause there’s yes on my breath.""

— Rolling Stone

"after this we have "Snow," which also doesn't really have much punch or weight to it"

— The Needle Drop

Bass Persuades Remixx

0 mentions

—