Noah Cyrus Effortlessly Slides Into Country on ‘I Want My Loved Ones to Go with Me'
But a sharp turn straight into country seems like far too obvious a path for a singer-songwriter who has quietly done her own thing. And while her music has always had a tinge of country traditions, Cyrus's approach has always been a little more understated. Across EPs like The End of Everything and her gorgeous 2022 debut LP The Hardest Part, she's kept the connection loose, weaving together more experimental takes on Americana, folk, and indie-rock. Her latest album I Want My Loved Ones to Go with Me, however, has been touted as a dabble into the genre. It has come with moments like a recent Grand Opry performance that got her compared to Lucinda Williams. But rather than veering into mainstream styles, I Want My Loved Ones to Go with Me continues Cyrus's path of left-leaning, unexpected sound architecture. It's gorgeously rendered — and very Noah.
More from Rolling Stone
Noah Cyrus Sets Return With 'I Want My Loved Ones to Go With Me': 'This Album Is Me'
Miley Cyrus on How She Fixed Her 'Messy' Family Relationships After 'Dark' Decade
Noah Cyrus Rides Into Nature's Depths in 'I Saw the Mountains' Video
She teams up with past collaborators Mike Crossey and PJ Harding again, maximizing their full chemistry together. Cyrus has never shied away from intensely personal lyricism; The Hardest Part stared down at heartbreak and substance abuse. Here, she explores the background and experiences that have shaped her. There's a recording of her grandfather saying a prayer on 'Apple Tree;' other songs touch lightly on the importance of family, at a time when the Cyrus clan has fought itself frequently in tabloids. But the most stunning thing on the album is its musicality, as Noah slides easily next to Fleet Foxes on the bucolic 'Don't Put It All On Me,' trades vocal acrobatics with Ella Langley on the twanging 'Way of the World,' and duets warmly with lofi folk icon Bill Callahan on the album-closing 'XXX.'
The swan-dive into country music could, on its face, seem like a ploy for more commercial ambitions, given country's hold on popular music at the moment. But I Want My Loved Ones to Go with Me is less opportunistic and more of a chance to go further into a sensibility that has always been there. Even songs that feel like they'd elicit an instant eye roll — the Blake Shelton collab 'New Country' feels like the biggest offender at first glance — are strikingly pretty.
So much of Cyrus' sound has been refined; The Hardest Part had an understated quality that avoided flashiness or theatrics, even while delving into serious issues of grief and addiction. A great deal of the album's power comes from soaring, layered arrangements. The tide switches quickly on a lot of songs, driving them from one unexpected point to the next, like on the opening track 'I Saw The Mountains.' Occasionally, the production can overwhelm what felt like a simpler signature on Noah's past albums — a song like 'Long Ride Home,' for example, meanders beautifully but loses some of its precision once more sounds come in. Yet as a whole, the project benefits from a fuller approach that feels like an artist coming into her own — it's a sign of growth, it's a testament to flourishing.
Best of Rolling Stone
Sly and the Family Stone: 20 Essential Songs
The 50 Greatest Eminem Songs
All 274 of Taylor Swift's Songs, Ranked
Solve the daily Crossword
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
a minute ago
- Yahoo
Tom Lehrer, musical satirist, dies at 97
Tom Lehrer, an acerbic songwriter and Harvard-trained mathematician who rose to fame in the 1950s and '60s by pillorying the sensibilities of the day, has died at age 97. Lehrer died at his home in Cambridge, Mass., on Saturday. His death was confirmed by friends on Facebook. No cause of death was given. The bespectacled Lehrer began performing on college campuses and clubs across the country in the 1950s, playing the piano and singing darkly comedic numbers that he penned on topics such as racial conflict, the Catholic Church and militarism, earning him the sobriquet of "musical nerd god." In "National Brotherhood Week," which lampooned the brief interlude of imposed tolerance celebrated annually from the 1930s through the early 2000s he wrote: Oh, the white folks hate the black folksand the black folks hate the white folks,to hate all but the right folks is an old established rule …But during National Brotherhood Week (National Brotherhood Week),Lena Horne and Sheriff Clark are dancing cheek to fun to eulogizeThe people you despise,As long as you don't let 'em into your school. Lehrer's songs also took aim at then-taboo subjects such as sexuality, pornography and addiction. In 1953, his self-released album 'Songs of Tom Lehrer" became an underground hit. Produced for $40 and promoted by word of mouth, the cover image was of Lehrer in hell playing piano as the devil. It eventually sold an estimated 500,000 copies and sparked demand for concert performances around the world. During the mid-1960s, Lehrer contributed several songs to the satirical NBC news show 'That Was the Week That Was,' hosted by David Frost. The show inspired Lehrer's third album, 'That Was the Year That Was.' Released in 1965, it reached the 18th spot on American music charts. On the occasion of his 90th birthday in 2018, Los Angeles Times columnist Michael Hiltzik wrote that Lehrer's lyrics were written "with the facility of William S. Gilbert and tunes that evoked the felicity of Sir Arthur Sullivan. Lehrer's work bounced the absurdities and paranoias of that period back at us, in rhymed couplets and a bouncy piano beat." Thomas Andrew Lehrer was born in New York City on April 9, 1928, to a middle-class family. His father James Lehrer was a successful necktie manufacturer. As a child he took piano lessons but preferred Broadway show tunes — with a particular affection for the works of Gilbert and Sullivan — to the classics. After entering Harvard University at age 15, his penchant for sardonic humor surfaced in his parody song "Fight Fiercely Harvard," which challenged the football team's reputation for toughness and earned him a measure of renown on campus. For a time he followed a dual track, music and academia, though he never completed the PhD thesis he began while pursuing doctoral studies at Harvard and Columbia University. After a two-year break between 1955 and 1957 when he served in the Army, Lehrer once again performed concerts across the U.S., Canada and Europe. In a 1959 Time article, the magazine described Lehrer and fellow comedians Lenny Bruce and Mort Sahl as the symbols of a new 'sick' comedy. 'What the sickniks dispense is partly social criticism liberally laced with cyanide, partly a Charles Addams kind of jolly ghoulishness, and partly a personal and highly disturbing hostility toward all the world." Lehrer's work opened the door for generations of musical satirists including Randy Newman and 'Weird Al' Yankovic and exerted an influence on everything from the musical skits of "Saturday Night Live" to the mockumentary "This Is Spinal Tap." "He set the bar for me — and provided an example of how a nerdy kid with a weird sense of humor could find his way in the world,' Yankovic once said of Lehrer. 'Done right, social criticism set to a catchy tune always makes politics easier to digest,' Lizz Winstead, co-creator of "The Daily Show," told Buzzfeed in an article examining Lehrer's influence on modern satirical comedy. But Lehrer was first and foremost an academic, over the course of his career teaching math and musical theater at Harvard, the Massachusetts Institute of Technology and UC Santa Cruz and working for a time at the Atomic Energy Commission. He viewed entertainment largely as a sideline, and by the late 1960s had grown weary of life in the public eye. After several pauses to focus on his academic pursuits, he stepped off the stage in 1967 following a concert in Copenhagen. In 1971, he wrote songs for the PBS children's series "The Electric Company." His last turn in the spotlight was a year later. After performing at a presidential campaign rally for the Democratic nominee, South Dakota Sen. George S. McGovern, he gave up performing for good. Lehrer explained his retreat from the stage by saying that 'political satire became obsolete when Henry Kissinger was awarded the Nobel Peace Prize." In an interview with the New York Times, he elaborated: 'The Vietnam War is what changed it. Everybody got earnest. My purpose was to make people laugh and not applaud. If the audience applauds, they're just showing they agree with me.' But audiences were not through with Lehrer. After nearly a decade in self-imposed exile, Lehrer became a hit once again in the early 1980s when Cameron Mackintosh, the British theatrical producer, created "Tomfoolery," a revue of Lehrer's songs that opened in London's West End before going to to play New York, Washington, Dublin and other cities. Despite the public acclaim, Lehrer maintained a fiercely private life. He never married nor did he have children. In 2020, Lehrer announced through his website that he was making all of the lyrics he wrote available to download for free without further permission, whether or not they were published or retained a copyright. Two years later he went further in relinquishing his rights, saying: 'In short, I no longer retain any rights to any of my songs. So help yourselves, and don't send me any money.' Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times. Solve the daily Crossword
Yahoo
a minute ago
- Yahoo
Donald Trump Repeats False Claim Beyoncé Was Paid $11 Million To Endorse Kamala Harris; Calls To Prosecute Singer, Oprah & Al Sharpton
On Saturday, Donald Trump repeated false claims that Beyoncé was paid $11 million to endorse Kamala Harris on the campaign trail in October of last year. The Truth Social post comes as the president faces scrutiny from his own base over the release of the Jeffrey Epstein files. Taking to his social media platform yesterday, the GOP leader wrote, 'I'm looking at the large amount of money owed by the Democrats, after the Presidential Election, and the fact that they admit to paying, probably illegally, Eleven Million Dollars to singer Beyoncé for an ENDORSEMENT (she never sang, not one note, and left the stage to a booing and angry audience!), Three Million Dollars for 'expenses,' to Oprah, Six Hundred Thousand Dollars to very low rated TV 'anchor,' Al Sharpton (a total lightweight!), and others to be named for doing, absolutely NOTHING! These ridiculous fees were incorrectly stated in the books and records. YOU ARE NOT ALLOWED TO PAY FOR AN ENDORSEMENT. IT IS TOTALLY ILLEGAL TO DO SO. Can you imagine what would happen if politicians started paying for people to endorse them. All hell would break out! Kamala, and all of those that received Endorsement money, BROKE THE LAW. They should all be prosecuted! Thank you for your attention to this matter.' More from Deadline Beyoncé Reunites Destiny's Child For Final 'Cowboy Carter' Tour Stop In Vegas Stephen Colbert Praises 'South Park's Naked AI Trump PSA: "An Important Message Of Hope" Donald Trump Denies Being Briefed That His Name Appeared In Jeffrey Epstein Files, Despite Wall Street Journal Report That He Was Informed Trump is referring to the 35-time Grammy-winning artist's appearance at a rally in Houston, where the singer took to the stage to endorse the vice president and call for unity. 'It's time to sing a new song, a song that began 248 years ago. The old notes of downfall, discord, despair no longer resonate. Our generations of loved ones before us are whispering a prophecy, a quest, a calling, an anthem. Our moment right now — it's time for America to sing a new song. Our voices sing a chorus of unity. They sing a song of dignity and opportunity,' she said to the crowd. Federal campaign spending records show a $165,000 payment made from the Democratic presidential candidate's organization to Beyoncé's production company, per CNN, with 'campaign event production' listed as the reasoning for the expenditure. Last year, senior spokesperson for the Harris campaign Adrienne Elrod told Deadline that the campaign did not pay any celebrity endorsers but was required by campaign finance law to cover costs associated with holding such events, per Federal Election Commission rules. This accounts for the $1 million the Harris campaign spent on Oprah's Harpo Productions, as the famed TV personality endorsed her at a Michigan-held 'Unite for America' event in September 2024. The baseless allegation was fact-checked by websites and PolitiFact last year, though Trump repeated his sentiments about Beyoncé, Oprah and Al Sharpton back in February. Trump has also previously harped on the matter in a post made back in May, where he named other influential Harris endorsers like Bruce Springsteen and Bono, calling for a 'major investigation.' There's also no evidence to suggest such expenses were incorrectly categorized, and though Trump maintained payment for endorsement is illegal, there's actually no FEC law that prohibits such campaigns for paying for endorsements, though they must disclose such expenditures. Best of Deadline Celebs Supporting Zohran Mamdani In New York's Mayoral Race: From Ramy Youssef To Cynthia Nixon The Fox News To White House Pipeline: TV Personalities Who Joined The Trump Administration Celebrities Voting And Encouraging Voting In The 2024 Election
Yahoo
a minute ago
- Yahoo
After ‘Eddington:' 7 Offbeat Westerns to Watch Next
We've got some movies that'll scratch that itch Ari Aster's 'Eddington' is here. The movie, which pits a small-town sheriff (Joaquin Phoenix) against his mayor (Pedro Pascal), set during the early days of the global pandemic, is fierce and raw. Considering this is from Aster, the director of 'Midsommar,' 'Hereditary' and 'Beau is Afraid,' it is also confrontational and strange and deeply funny, with the action set at the precipice of the complete breakdown in communication that accompanied lockdown. (Indiewire called it 'the first truly modern American Western.') More from TheWrap After 'Eddington:' 7 Offbeat Westerns to Watch Next 'The Fantastic Four: First Steps' Post-Credits Scenes Explained: Who Was That? Jamie Lee Curtis Watched Her Parents' Success 'Slowly Erode' as They Aged: 'That's Very Painful' 'Coyote vs Acme' Takes Digs at Warner Bros., 2026 Release Date Announced And if you come out of 'Eddington' looking for more offbeat westerns to watch, we've got seven that should fill that void nicely. 'Bad Company' (1972) In the 1960s and 1970s, there was a slew of what were referred to as 'acid westerns' – westerns that were set in the distant past but that embraced the counterculture of the period, including, of course, recreational drug use. (Hence the 'acid' in 'acid western.') These parallels are made explicitly clear in 'Bad Company,' which is one of the very best movies from that era and one of the more underrated. The movie stars Jeff Bridges and Barry Brown (who tragically took his own life before the decade was up) as two young men who dodge the draft during the American Civil War. The movie has an episodic structure, with the pair getting into misadventures along the way, gorgeously shot by legendary cinematographer Gordon Willis, as their wayward drifting transitions to out-and-out lawlessness. If you've seen it and are a fan of it or want to check it out now for the first time, Fun City Editions put out a terrific Blu-ray edition recently that is very much worth checking out. 'Walker' (1987) After making 'Repo Man' and 'Sid & Nancy,' British director Alex Cox turned his sights on a one-of-a-kind western. The movie stars Ed Harris as William Walker, an American physician, lawyer and mercenary who organized military expeditions into Mexico and at one point made himself president of Nicaragua. Like 'Eddington,' 'Walker' leans into the events of recent (and current) history – it was actually filmed in Nicaragua during the Contra War, a conflict that would have major implications for American politics. (Just Google Iran-Contra.) What makes 'Walker' really bonkers is Cox's use of historical anachronisms – there will be a Zippo lighter or a Coke can in scenes, and, if you don't know this going in, it can make you feel like you're going insane. Incredibly, Universal Pictures released the movie, selling it as a more straightforward western (in the trailer you here but never see a helicopter) and it promptly tanked. Since then, it has caught a second wind, and Criterion put out a killer Blu-ray that is very much worth your time. 'Unforgiven' (1992) Aster has openly stated that he was influenced by 'Unforgiven' in making 'Eddington,' and it's both easy and somewhat difficult to see. There is a meandering quality to the story in both 'Unforgiven' and 'Eddington,' and we mean that in a positive. If it's been a while since you've seen the Best Picture-winning Clint Eastwood film, there's a whole section of the movie where the wronged prostitutes hire an assassin named English Bob (Richard Harris), who totally punks out and leaves them high and dry, before they even find Eastwood's 'Will' Munny. There are so many narrative left turns and surprises, which translate to 'Eddington' (we don't want to give anything away), even if 'Unforgiven' is a much more traditional Western in tone and look. But hey, if you were looking for an excuse to rewatch 'Unforgiven,' consider 'Eddington' the reason. 'Lone Star' (1996) John Sayles' masterpiece, set in modern times and starring Chris Cooper as a sheriff who investigates the murder of one of his predecessors (Kris Kristofferson) years earlier, investigates time and how the past impacts the present. (These are things very much in 'Eddington.') What was striking about 'Lone Star' at the time – and what's still striking now – is how much iconography and narrative convention from a classic western could be grafted to something that would be considered a 'contemporary' film. These are themes and characters and even shot compositions that would not be out of place in a classic western, but dealing with modern concerns and moral ambiguity. (We don't want to ruin anything if you've never seen 'Lone Star.') Just watch it; it has a handful of award-worthy performances and a script by Sayles that was nominated for the Oscar for original screenplay. It also has a must-own 4K from Criterion. 'The Proposition' (2005) 'The Proposition' is bleak, even bleaker than 'Eddington' and with fewer jokes. But they do share a connective tissue in their desire to showcase a particular moment in time and the people who inhabit that moment. In 'Eddington,' it's 2020, and the breakdown of law and order around the pandemic is evident. In 'The Proposition' it's the 1880's, when criminals populated the Australian bush (like famous outlaw Ned Kelly) and English were brutally exterminating Australian Aboriginals. Like we said – bleak. Chances are you've never seen this one, which marked the breakthrough film of Australian director John Hillcoat, working from a screenplay by Australian musician Nick Cave, so we'll spare the details. We'll just say that Guy Pearce and Ray Winstone enter into a truly screwed up agreement that has dire consequences. Just watch it. It's worth it. Even if you have to close your eyes occasionally. 'The Counselor' (2013) Both more straightforward and more bonkers, Ridley Scott's underrated masterpiece 'The Counselor' is the perfect chaser to 'Eddington.' Like 'Eddington,' it is set in modern times, with deeply conflicted characters occasionally bumping up against and colliding with one another. In the only original screenplay written by the great Cormac McCarthy, Michael Fassbender plays a lawyer who gets in deep with some underworld types and attempts to save himself and his new wife (Penelope Cruz) from damnation. It's heady, for sure, but also extremely pulpy, with some of the best dialogue this side of the Rio Grande. (Most of it is too filthy to directly quote here.) Javier Bardem, Cameron Diaz and Brad Pitt all offer up superb supporting performances. And if you really want to feel the full power of 'The Counselor,' which we would put in the top 5 Ridley movies, watch the extended version. It gives everything more time to luxuriate. We are desperate for a longer 'Eddington', too, for that matter. 'Hell or High Water' (2016) What a movie – aesthetically 'Hell or High Water' is probably closest to 'Eddington' in its attempt to replicate the feeling of the old west in contemporary context. The movie, which people forget was nominated for four Academy Awards (including Best Picture), follows Chris Pine and Ben Foster, who are robbing banks to save their family ranch. Jeff Bridges is the Texas Ranger on their tail. They both tackle current-day social issues (the pandemic vs. the country's abysmal economic condition) but do it in an incredibly entertaining way, with Scottish director David Mackenzie upping the tension and Nick Cave and Warren Ellis delivering a beautiful, elegiac score (they also scored 'The Proposition,' see above). While 'Hell or High Water' might be more outwardly entertaining, it is still very much of a piece with 'Eddington.' Again: with fewer jokes and conspiracies. The post After 'Eddington:' 7 Offbeat Westerns to Watch Next appeared first on TheWrap.
