Why Celebrities Matter Now

Celebrities sure have been stepping in it lately. A lot. In their attempts to connect with people around the world during the COVID-19 pandemic, many actors, musicians, and other public figures have come across as painfully tone-deaf. Finding examples is like shooting fish in a barrel. There was the cringeworthy “Imagine” singalong by a parade of out-of-touch (and out of tune) personalities. And David Geffen trying to relate to the masses by posting an Instagram image of his self-isolation on his $590 million superyacht. Or how about actress Evangeline Lilly blithely discussing on Instagram her disregard for social distancing (unwittingly predicting the social distancing backlash that would erupt among right-wing fringe groups in April)?

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And then there’s Madonna, in a category all her own. As if posting an Instagram video of herself immersed in rose-petal-covered bathwater were not enough, she also created bizarre, rambling Instagram “quarantine diaries” in which she pondered a burning spear making its way into her inner core before discussing the loss of people in her life due to COVID-19 while a jaunty oboe played in the background.

And that’s just scratching the surface of celebrity weirdness. It’s gotten so bad that we’re seeing a new genre of fairly in-depth news media analysis that might be best described as Celebrity Screwups in the Time of Coronavirus, including a major New York Times article, “Celebrity Culture Is Burning,” and a BBC piece, “Do Celebrities Still Matter in a Crisis?”

You Can’t Always Get What You Want

Yup, celebrities can be horrible. But for every miscue, many are using their power and visibility to help in some genuinely touching ways, especially when they stick to their knitting and uplift us with their talents. We saw an example of celebrities at their best during the multi-hour One World: Together at Home concert livestreamed on April 18 to benefit healthcare workers and others on the front lines of the pandemic. Several musicians ranging from Lizzo to Paul McCartney performed single-song sets from remote locations (you can view many of them here). And the performances were consistently moving. Lizzo’s powerful rendition of “A Change Is Gonna Come” offered hope.

The Rolling Stones’s “You Can’t Always Get What You Want” was an emotional moment that will endure for ages.

The musicians relied on their stagecraft to connect with people they could not even see. Consider the Rolling Stones, for example, appearing from four separate rooms. There was Mick Jagger, blowing us a kiss, his voice soaring above global sorrow. Ronnie, punching his fist in the air and exhorting us to sing — he could not see us, but he could feel us. There was Keith Richards, transcending the ravages of his life, smiling, lost in the moment of music, like some ancient blues man casting a spell. And Charlie Watts, grinning sheepishly as we all realized one of the world’s greatest drummers was playing air drums just like everyone else at home. The Stones have been on a journey with us during some painful times: wars, acts of terror, natural disasters, recessions, and now a global pandemic.

As of this writing, the concert has raised $127 million for various COVID-19 relief efforts, a testament to the power of celebrities to do good.

Words of Hope

But long before the event occurred, celebrities had already been connecting in personal and affecting ways. As the pandemic took hold, Matthew McConaughey offered encouragement with a convincing video. There was Ryan Reynolds, sarcastically poking fun at celebrity culture in a video exhorting people to stay at home. Or Dolly Parton, launching a series of children’s book read-alouds on YouTube.

And how about Dame Judi Dench, posting a delightfully goofy video of herself on Twitter urging us to “just keep laughing — that’s all we can do,” and John Krasinski, delvering good news from around the world through his own show on YouTube?

And I must give props to Ronnie Wood, who has taken to Instagram to speak to recovering alcoholics who, like himself, are facing struggles of their own as they are cut off from their sponsors.

In the Footsteps of Celebrities

In recent weeks, I’ve spent some time following their words and checking out their Instagram Live Q&As. Although I witnessed some boring misfires (John Mayer, I am looking at you), I’ve also seen some sparkling, warm moments. The other night the musician Weyes Blood hosted a Q&A via Instagram livestream, and I learned, among other things, that she’s a Scooby Doo fan.

“Scooby Doo, where the F — — are you?” she asked, accurately reading the room as she expressed what we have all been asking.

The poet Scarlett Sabet has hosted some Q&As on Instagram, too, from London somewhere, presumably her home. I realize that Scarlett Sabet is an award-winning poet. But many of us on that Q&A were hanging out with her virtually because she’s dating FREAKING JIMMY PAGE.

She was pretty nice and thoughtful during the Q&A, patiently handling questions from people whose Instagram handles are all variations of Led Zeppelin song names. I’m sure she realizes many of us were joining her Q&A hoping for a fleeting glimpse of Jimmy Page poking his head into the tiny phone frame or maybe playing a lick of “Black Dog” to keep things lively. At one point, I humbly posted a comment about the importance of creating art during hard times. Like everyone else’s little spurts of information, mine appeared on the Instagram screen for everyone to see. Lo and behold, she gave me a shout-out by name, even mentioning my handle.

Eventually she shut down her Q&A after a voice in the distance called her to dinner. The low murmur came so fast that I could not make out who it was. I pictured Page himself, sitting impatiently at the dinner table while pondering the possibility of re-issuing Coda as a 5.1 remix.

The Best of Times

Many famous musicians, bless their hearts, continue to perform concerts from their homes or, in the case of Neil Young, apparently from some distant planet. Dennis DeYoung, sitting at a piano, reintroduced us to the song “The Best of Times,” nearly 40 years after recording the tune with Styx. His voice, a little weathered by 73 years of living, still carried more emotional resonance than I would have dared to expect.

On March 22, Courtney Barnett hosted a three-hour benefit for Oxfam using the magic of Instagram Live — getting a jump on One World: Together at Home by a month. She brought in different musicians such as Sheryl Crow and Lukas Nelson from their homes. There was a homemade charm to the performances, and a lot of amusingly awkward “How do I use this phone?” moments as musicians navigated a performance without the help of their roadies.

And dang if those musicians weren’t kind of charming, too. At one point Barnett asked what all of us in Instagram-land were eating for dinner. I quickly posted “pizza” with an emoji. Her face lit up. “Pizza!” she smiled. For a hot second I could pretend that COURTNEY BARNETT KNOWS WHAT I AM EATING FOR DINNER AND APPROVES, knowing full well that probably 10,000 other people watching the livestream were posting the exact same answer with the same emoji.

There is nothing like a global pandemic to make us want to connect with each other. Most of us are doing that with our loved ones. But in our desire to connect, we’re finding some unexpected sources of connection with people we’ll never meet. In their own way, celebrities are connecting — sometimes in outrageously tone-deaf ways that belie their privilege, to be sure. But even their missteps add value by giving us a diversion from the onslaught of COVID-19 gloom and doom. We are in this for the long haul, my friends. Celebrities are not like you and me, but they are part of our lives. And I’d like to keep it that way.

Beyoncé Finds a New Muse

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Was anyone ready for the new-look Beyoncé?

After creating a body of work that celebrated self-empowerment through sexuality, Queen Bey has released searing music that tackles themes such as black femininity, social inequality, spirituality, and marital politics. In other words, she has become culturally relevant. Striving to be culturally relevant does not always work for artusts, as Sean Penn’s embarrassing attempt to inject himself into the national conversation about drugs demonstrates. But for Beyoncé, courting controversy through social commentary has made both her music and her personal brand bigger than ever.

It’s not uncommon for musicians to use their art and fame as a platform for social commentary, but it’s hard to do without coming across as preachy or without putting the message before the artistic quality of the song. And being culturally relevant by commenting on topical issues can be risky even if the artist has sincere intentions. Lady Gaga has successfully built a reputation beyond her music by being a champion of LGBTQ rights. But the Dixie Chicks nearly killed their careers by speaking out against the War in Iraq in 2003.

For years, Beyoncé’s music has focused largely on love and sexuality, while tiptoeing around social issues such as race. But her personal life has been another matter. She has publicly supported human rights issues such as same-sex marriage and women’s empowerment. She and Jay Z met with the families of Mike Brown and Freddie Gray in the aftermath of Brown’s and Gray’s controversial deaths at the hands of police officers. She has expressed sympathy for people in Baltimore protesting Gray’s death.

“Formation”

Now her music is catching up to her life. First came “Formation,” her potent celebration of black identity that she dropped during Super Bowl weekend this year. The song’s video sparked a controversy with its images suggestive of police brutality and insensitivity. The controversy became even more pointed when she performed the song during Super Bowl 50 with back-up singers dressed like the militant Black Panthers. Law enforcement authorities denounced her and called for boycotts of her Formation Tour, which kicks off April 27.

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Kanye West’s “The Life of Pablo”: Art, Fashion, and the Record Album

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The release of Kanye West’s new album, The Life of Pablo, is a testament to the enduring relevance of record albums even as people buy fewer of them year after year. Albums no longer possess any of the commercial power they once had. But they can create tent pole moments that generate awareness for an artist and support other commercial endeavors.

The Kanye formula for an album release combines Kanye’s penchant for creating controversy and cultural relevance with some confusion tossed in for good measure. It looks something like this:

  • Months before the release date, stoke interest by leaving hints on social media that you’re going to drop some new music, even giving your new album a name, So Help Me God. Keep leaving hints on Twitter but don’t release any music, thus inspiring news articles such as “So Help Us God: Where’s Kanye West’s New Album?
  • Collaborate with a music giant and a hot star on a single to remind everyone that you exist, as he did when he created “FourFiveSeconds” with Paul McCartney and Rihanna
  • In case no one noticed your single, draw attention to yourself by annoying Western Civilization with an ungracious remark about a popular Grammy Award winner. Break the Internet in the process.

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  • Continue to remind the world of your relevance by appearing at a major music festival, as he did by performing at the Glastonbury Festival. Surely Kanye was pleased that 135,000 people signed a petition against his appearance. You must be doing something right to generate that kind of reaction when you haven’t released new music in a few years.
  • Keep your name and pending album in play by distracting, breaking, and confusing the Internet with the launch of a presidential bid.

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Keep Your Paws off Lady Gaga

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Never underestimate Lady Gaga.

The viral effect of digital has made it possible for artists to experience meteoric rises, falls, and rebounds within a matter of a few short years. If you didn’t know any better, you would think that Lady Gaga demonstrates this reality. She exploded in popularity in 2009, but by early 2013, the critics were asking, “What Happened to Lady Gaga?” because her album ARTPOP didn’t match her previous efforts in terms of sales and critical reception.

The criticisms continued. For example, in 2014, Kat George wrote of “The Slow and Bitter End of Lady Gaga’s Career” in Noisey, and in 2015, Lauren Duca of The Huffington Post asked, “Lady Gaga was the biggest pop star in the world. What happened?” as her music seemingly lost its luster for no other reason than the critics said so.

Then, just as suddenly as they were vilifying her, the critics began singing a different tune throughout 2015. After a stunning performance at the 2015 Academy Awards, and after winning a Grammy for Cheek to Cheek, her collaboration with Tony Bennett, the critics spoke of a “Lady Gaga comeback.”

But Lady Gaga never went away. From 2013-15 — supposedly years of living in the wilderness — she was ranked consistently among Forbes‘s highest-earning musicians. For the past three years, she has earned $172 million according to Forbes, with most of her money coming from touring as well as commercial ventures such as her Fame fragrance. That’s what happened to Lady Gaga.

It isn’t just the money that matters.

She continues to set the standard for fan engagement. She is all over social media, celebrating her Little Monsters on Facebook, Instagram, Snapchat, and Twitter. But, being Lady Gaga, she takes engagement to another level: her LittleMonsters website now boasts 975,000 members worldwide and is the most vibrant of any celebrity-run communities.

LittleMonsters

And if you have ever been to a Lady Gaga concert, you understand that her shows are not one-way performances. She involves her fans, whether inviting them up onstage, calling them on the phone, or simply celebrating them. Not surprisingly, marketers cite her as an example of building customer loyalty. I think community love is more like it.

She continues to expand her artistic reach. She has always understood the power of theater, as her over-the-top appearances at public awards ceremonies demonstrate. In 2015, she channeled her knack for drama into her appearance as the Countess on American Horror Story: Hotel, for which she won a Golden Globe. Her American Horror Story performance has been lauded as “her greatest invention yet” by Daniel D’Addario of Time. What’s next for Lady Gaga on the drama front?

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Image credit: FX

She is culturally relevant like no other artist. She is, of course, noted for being a champion of LBGT rights and youth empowerment in ways that go beyond the scope of my blog post. She is, quite simply, a champion of human rights. She is involved in so many philanthropic efforts that it’s easy to overlook the many times she has risen to the occasion to help people, whether donating concert proceeds to victims of the 2010 Haiti earthquake or donating $1 million to help victims of Hurricane Sandy. During the height of her fame and the depths of the critical backlash, her commitment to human rights has been unwavering.

Finally, at her core, Lady Gaga reminds us that she has the soul and talent of an artist. For casual fans, Cheek to Cheek, and her performance at the 2015 Academy Awards, was an introduction to her powerful yet tender voice that sometimes gets overlooked amid her theatrics. Oh, and the critics are falling all over themselves to find the right words to describe how awesome her performance was at Super Bowl 50 February 7, when she turned the National Anthem into a soul standard.

And there’s more to come: she will perform a tribute to David Bowie at the Grammy Awards February 15, will perform at the Academy Awards February 28 (which will make her the first artist to perform at the Super Bowl, Grammy Awards, and Oscars in one year), and reportedly has a new album on the way.

In fact, Lady Gaga is the first artist to win the Super Bowl, making the actual game between the Denver Broncos and Carolina Panthers look small.

Any questions?

Will the Music Industry Enjoy an “Adele Effect”?

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When Forbes publishes its annual list of highest-earning musicians in December, Adele’s name will surely be on it. Her astronomical album sales, even surpassing the standards of the pre-digital era, will be a large part of the story. Within its first seven weeks of release, 25 had sold 15 million copies worldwide, including about 8 million in the United States. 25 set a new record for most album sales in one week, an incredible feat given that 25 was released in the digital age. She also made headlines for refusing to stream 25, joining Taylor Swift and other artists who have protested that streaming services fail to compensate artists fairly and cannibalize music sales. Adele’s success has also raised the possibility that record albums, after experiencing years of declining sales, might come back in 2016, with the rising tide of 25 lifting all boats. Will the music industry enjoy an “Adele effect,” or is Adele’s success an anomaly?

Are Record Albums Coming Back?

Without question, 25 refocused attention on the album,. As journalist Chris Willman wrote in Billboard, “[W]hat Adele has really revived, more than any style, is the primacy of the album as an emotional experience that a single digital track is not equipped to provide . . . Voices matter. Albums, against all odds, matter. Honestly jerked tears still matter. And when you can give a parched populace all these things, we’ve now learned, they will follow you to the ends of the earth . . . which we now know to be the downsized CD section at Target.”

In other words, great music delivered in album-length form matters. And Willman has a point. Adele is not the only one making critically acclaimed received record albums that also sell. For example:

  • Ed Sheeran’s X, released in 2014, has sold 10 million copies globally.

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  • Taylor Swift’s 1989 has sold 8.6 million globally.

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  • Justin Bieber’s Purpose, considered a comeback critically and commercially for Bieber, has sold 1.2 million copies.

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  • Drake’s If You’re Reading This, It’s Too Late, released in February 2015, has sold 1.1 million units (even though Drake claimed it wasn’t an album proper).

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  • Kendrick Lamar’s To Pimp a Butterfly, while not achieving the coveted 1-million-selling platinum status, went gold and then some, selling close to 800,000 units.

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There are more big albums to come: Drake (again), Lady Gaga, Bruno Mars, Frank Ocean, Katy Perry, and Kanye West are among the megastars dropping albums in 2016. All of them are capable of moving big numbers, too. Meantime, Rihanna’s Anti, released on January 28, went platinum in 15 hours — thanks to Samsung, which bought 1 million copies and gave them away as part of a promotion.

Even more promising is that younger artists who came of age in the digital era still make record albums even though they have every reason to venerate the power of singles. As Spencer Kornhaber of The Atlantic noted in 2015, millennial-era artists, such as Tyler, the Creator, and Kendrick Lamar, have made it a point to release major musical statements intended to be enjoyed as albums. And musicians continue to rely on striking album cover art to express their personal visions and market their music.

Not So Fast

But despite some high-profile examples of albums selling like crazy, the numbers don’t lie: album sales continue to slide. According to the 2015 Nielsen Music U.S. Report, total album sales (including compact discs, digital, and LP/vinyl) fell 6.1 percent in 2015, from 257 million units sold to 241 million units sold. (One bright spot: vinyl sales actually increased, from 9.2 million to 11.9 million.) Another telling statistic: sales of catalog albums (18 months or older) outperformed new albums, meaning that consumers were not buying what artists were selling in 2015. On the other hand, the rate of decline slowed — in 2014, album sales fell 11.2 percent.

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Rihanna and Samsung Create an “Anti” Moment

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Rihanna’s Anti went platinum in 15 hours. But before you think, “albums are back!” bear in mind a big caveat: Samsung bought one million copies of the album and gave them away. For Rihanna and Samsung, Anti going platinum is not about record sales — it’s about creating a moment that earns attention for two giant brands at a time when attention is currency, as Brian Solis has noted. There are many more moments to come, as prepares to launch her Anti World Tour, where the real money will be made.

What $25 Million Will Buy a Brand

A platinum album is certified by the Recording Industry Association of America (RIAA) as selling at least one million copies — a difficult feat to achieve in the digital age. Only three albums released in 2015 went platinum: Adele’s 25; Drake’s If You’re Reading This, It’s Too Late; and Justin Bieber’s Purpose. Adele, Drake, and Justin Bieber all earned their sales the traditional way: by releasing and promoting music for consumers to buy, stream, and download (with the exception of 25).

But Rihanna rolls differently. In 2015, she signed a $25 million deal with Samsung, through which Samsung sponsors her album and tour, and Rihanna promotes Samsung’s Galaxy line of products. As part of their relationship, Rihanna and Samsung have been creating digital content together including video, website, and social media posts. Oh, and Samsung agreed to buy 1 million copies of Anti.

Samsung, in turn, gave away 1 million free download codes to its customers. Each of those downloads came with a 60-day free trial to Tidal, the high-end streaming service that counts Rihanna as one of its owners. The entire album was available on Tidal before any other streaming service could have access to it.

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Millennials and Old People Rule the Music World

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Music fans have always reserved the right to identify with the popular artists of their time while harshly judging the tastes of the generations that follow them.

Those who came of age during World War II had Frank Sinatra, and they recoiled in horror when children of the 1950s embraced Elvis Presley. Today’s highest-earning musicians reflect the tastes of two of the largest generations alive in America, baby boomers and millennials, but their tastes are fairly complementary. The influence of baby boomers and millennials on music is the subject of today’s post, which is part of a series that examines the broader themes evident in the Forbes ranking of 2015’s highest paid musicians.

The annual Forbes list, created by Zack O’Malley Greenburg, is a snapshot of the music industry. In 2015, O’Malley Greenburg ranked 30 musicians, who reflect genres ranging from country to hip-hop. Collectively, they earned nearly $1.5 billion. All of them made huge bucks. The lowest ranking musicians, Dr. Dre and Maroon 5, made $33 million each. The entire list looks like this:

Rank Name Amount Earned
1 Katy Perry $135 million
2 One Direction $130 million
3 Garth Brooks $90 million
4 Taylor Swift $80 million
5 The Eagles $73.5 million
6 Calvin Harris $66 million
7 Justin Timberlake $63.5 million
8 Diddy $60 million
9 Fleetwood Mac $59.5 million
10 Lady Gaga $59 million
11 The Rolling Stones $57.5 million
12 Ed Sheeran $57 million
13 Jay Z $56 million
14 Beyonce $54.5 million
15 Elton John $53.5 million
16 Toby Keith $53 million
17 Paul McCartney $51.5 million
18 Michael Buble $45.4 million
19 Jason Aldean $43.5 million
20 Luke Bryan $42.5 million
21 Kenny Chesney $42 million
22 Bruno Mars $40 million
23 Drake $39.5 million
24 Foo Fighters $38 million
Tim McGraw $38 million
26 David Guetta $37 million
27 Florida Georgia Line $36.5 million
28 Jimmy Buffett $36 million
Tiesto $36 million
30 Maroon 5 $33 million
Dr. Dre $33 million

Many of the names on this list, ranging from the Rolling Stones to Justin Timberlake, reflect the collective tastes of baby boomers and millennials, who comprise 158.5 million Americans, or about half the total U.S. population. (Millennials overtook baby boomers as the largest age block in 2015.). Both groups continue to influence American culture even as more baby boomers age their way out of the work force each year.

Baby Boomer Acts: Adapting to New Rules

The top earners of the baby boomer era — Jimmy Buffett, the Eagles, Fleetwood Mac, Garth Brooks, Elton John, Toby Keith, Paul McCartney, and the Rolling Stones — represent the last gasp of an age when musicians could build careers by releasing million-selling albums and then touring to boost the album sales. They are all white, reflecting the whiteness of the baby boomer generation.

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Meet the New Music Moguls

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How do the world’s highest-paid musicians make their money? Not by making music.

As shown in the Forbes list of the world’s highest paid musicians of 2015, elite stars cash in from touring, forming endorsement deals with brands, and by launching their own business ventures. Consumers just don’t buy enough recorded music anymore to support the performers we say we love.

The annual Forbes list, created by Zack O’Malley Greenburg, is a snapshot of the music industry and as such offers some clues about those who create music and those of us who listen to it. My analysis of the list uncovers a number of trends, such as the influence of baby boomer and millennial-era consumers and the dearth of women superstars in country music. I’ll explore those topics in future posts in my series on the world’s biggest musical moneymakers. Today’s post focuses on how successful stars have become moguls, extending their reach beyond music into businesses such as spirits, food, and clothing.

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Hey, Beyoncé: Let’s Call a Fraud a Fraud

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Photo source: Wikipedia. This file was derived from: I Am… Tour 11.jpg

Beyoncé has been busted again. Nineteen months after being criticized for lip-syncing during the presidential inauguration, she was caught lip-syncing at a recent concert in Paris (and doing so badly). Look, I understand why Beyonce or any artist lip-syncs in concert. Beyoncé has a $450 million brand to protect. These days, an artist’s every move is watched and recorded, and God help the unfortunate soul whose musical flaws are isolated and mocked for digital eternity. But, let’s also realize this: each time Beyoncé lip syncs, she commits a fraud and damages the authenticity of her precious brand. It is time for artists to start being human. Otherwise, holograms will take their jobs.

The promise of a live event — the reason we’re willing to fork over $300 to see Beyoncé and Jay Z perform together — is that each show is a unique experience. Together, the performer and the audience create a dynamic unique to that concert. The bond forged between the artist and the audience, however illusory and fleeting, feels real at the time. And the live nature of the performance is essential to forming that bond — the inflection in an artist’s voice, the personality she injects into a song through her live interpretation, and the interplay between her vocals, the music, and audience all help convince us to pay a premium price for a show instead of streaming her music on Spotify for a whole lot less money. For instance, during her ArtRave tour, Lady Gaga has turned her anthem “Born This Way” into a more intimate moment of audience interaction by delivering a slower, more soulful version instead of simply duplicating the hit you hear on Born This Way. (Lady Gaga, who has spoken out against lip-syncing, also invites a fan to join her onstage during the song.)

Lip-syncing undercuts the live experience. Instead of singing, the artist becomes a professional dancer or gymnast, carefully orchestrating her every movement with a pre-recorded track — an experience, however impressive, that you can watch for free on YouTube. Moreover, the experience is inauthentic. You really are not hearing Beyoncé sing when she lip-syncs. You are not hearing the Red Hot Chili Peppers play music when their instruments are unplugged during a Super Bowl performance. What you get is a musician aping the songs you can stream for free (and, ironically, doing just what the artist wants to avoid — making a glaring mistake — when the artist accidentally falls out of sync with the backing track, as happened with Beyoncé during the Paris concert).

In essence, lip-syncers make their personal brands inauthentic. And inauthentic brands eventually alienate their audience. We live at a time when customers can use social media to challenge and confront brands that fail to deliver on what they say they will deliver. As journalist James Surowiecki wrote in The New Yorker recently, “[B]rands have never been more fragile. The reason is simple: consumers are supremely well informed and far more likely to investigate the real value of products than to rely on logos.” Marketing expert Scott Monty, an executive vice president at SHIFT Communications, argues that authenticity is essential for brands to succeed in an era when customers can easily smell out a fake. “Authenticity is the quality of being genuine, and ultimately of being trusted,” he wrote recently.

Like savvy, well-informed customers, fans are exposing the fakes with their smart phones and YouTube videos. Beyoncé is far from the only faker. She joins a hall of shame that includes artists as diverse as Luciano Pavarotti to Shakira. Fans don’t like the fakery. And who can blame them? At a minimum, performers owe concertgoers truth in advertising. Don’t advertise a live show if you use prerecorded tracks. Let your fans know what they are buying.

If you cannot be authentic, be honest.

Why Every Year Is the Year of Miley Cyrus

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It’s time for the Miley Cyrus bashers to wake up to a stark reality: Miley Cyrus ain’t going away. Not in 2014. Not anytime soon. Why? Because when you peel away the layers of twerk-inspired controversy, Miley Cyrus is creating good pop music. And with a major North American tour launching February 14, Miley Cyrus is going to be in our faces even more than she was in 2013.

I waited until now to pass judgment on Cyrus’s latest album, Bangerz, even though it was released three months ago. Frankly I needed some emotional distance from the phenomenon of Miley (which was wearing me out) in order to objectively explore the music of Miley. After listening to the latest edition of her constantly reinventing sound, I have to say, yeah, she delivers some fun, engaging pop on her first non-Disney album — the kind of pop that will endure if she plays her cards right.

You already know about the big moments from Bangerz — how could anyone escape the much discussed and spoofed video for “Wrecking Ball?”

Miley Cyrus swinging around naked on a wrecking ball got tongues wagging. But the video is just a way (and an effective one at that) to get attention amid the white noise flooding our multi-tasking lives. On the song itself, she reveals the kind of talent that will sustain her. Her vocals soar with the kind of epic style that Alicia Keys attempted with “Girl on Fire,” but without any of Keys’s self-conscious posing.

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