BBC Radio 1’s Live Lounge Month will return for September 2020 with brand new live performances from Miley Cyrus, Little Mix, YUNGBLUD, Jorja Smith, Biffy Clyro and more.
Running from Tuesday 1 – Wednesday 30 September, Live Lounge Month 2020 will feature brand new live performances from (in alphabetical order):
Hosted by Clara Amfo, each Live Lounge will see artists perform their own music as well as exclusive cover tracks.
Every Monday-Thursday throughout September, the Live Lounge can be heard live on Radio 1 and BBC Sounds from midday. This year, new performances will take place on Tuesdays and Thursdays, while Mondays and Wednesdays will feature some of the biggest and best classic Live Lounges from the archives, including Harry Styles, Demi Lovato, Usher and more. Viewers will be able to watch all the new Live Lounges first on the Radio 1 iPlayer channel, and later on Radio 1’s YouTube channel.
All of the new Live Lounges this year will be recorded in the BBC’s Radio Theatre in order to comply with social distancing guidelines, with the exception of Miley Cyrus’ which will be recorded in LA in line with local restrictions.
Earlier today (19th August), Miley Cyrus appeared on Apple Music’s Essential Radio with Zane Lowe to talk about her collection of released music. Check out her interview on Apple Music here or listen below!
Following what TikTok did for Kreayshawn’s“Gucci Gucci,” it looks like TikTok could be on pace to breathe new life into decade-old songs at least once per week.
Miley Cyrusis the next artist in-line to have a blast from the past come back around with her 2010 song, “When I Look at You,” that has become a sudden favorite for Gen Z’s biggest platform. The timing couldn’t possibly be more ironic; Cyrus would probably love this attention levied to her recently released single, “Midnight Sky.”
“When I Look at You” is Cyrus’ loving and emotional second single from her debut EP, The Time of Our Lives. The track, which also appears on the soundtrack to the 2010 romantic drama The Last Song, is an open declaration of adoration for a partner. “When my world is falling apart,” she sings. “When there’s no light to break up the dark/ That’s when I look at you.”
Drake heads for a big Top 5 debut on The Official Chart: First Look, as Joel Corry & MNEK gear up to hold at Number 1 with Head & Heart.
Already ahead by 5,000 chart sales after 48 hours, Head & Heart is comfortably on course to land a fifth consecutive week at Number 1. Their closest competition, Lighter by Nathan Dawe ft. KSI, is up one place to potentially land at Number 2 this week.
Midnight Sky by Miley Cyrus is set to debut at Number 13; it would be Miley’s 13th Top 20 hit if it stays on course. It’s the first new music we’ve had from Miley since her appearance on the 2019 Charlie’s Angels theme Don’t Call Me Angel with Ariana Grande and Lana Del Rey.
The new Miley Cyrus single predictably attracted ample first-day attention at pop and hot adult contemporary radio.
According to Mediabase, “Midnight Sky” had received 737 pop radio plays by the end of Friday, August 14. It had concurrently reached a spin count of 195 at the hot adult contemporary format.
The figures slot “Midnight Sky” at #46 on Mediabase’s building pop chart and #39 on the building Hot AC listing. Although “Midnight Sky” may not receive quite as much support on Saturday, it still has a good chance of remaining inside the Top 50 at pop and Top 40 at Hot AC as the tracking periods go final
“Midnight Sky” has also fared solidly on digital platforms, reaching the Top 3 on US iTunes and Top 5 on US Spotify.
On Friday, 14th August, Miley Cyrus dropped her new single & music video for Midnight Sky. We are compiling reviews and the best parts of media articles into this post! Check them out below.
(This will be a continuously updated post)
Rolling Stone The new clip and song was inspired by female music icons including Stevie Nicks, Joan Jett and Debbie Harry, according to a statement. However, that inspiration may be rooted more in attitude than sonics. In the new visual, Cyrus boldly showcases her independence. “I was born to run, I don’t belong to anyone,” she sings over rhythmic programming — her blasé expression juxtaposing the disco ball above, while she broadly twirls her mic cord. The Stevie Nicks influence runs deepest in Cyrus’ vocal delivery. Having covered Poison and fronted Temple of the Dog, she has always toyed with the natural rock ‘n’ roll essence of her raspy, bellowing range. Free of her often over-zealous desire to hop around cultures, genres and trends, she lets that very voice finally take the lead and shape the persona. And with a voice like that, the crystal visions are limitless.
Billboard 1. Miley also stuns in the self-directed music video, laying luxuriously among colorful gumballs or crooning seductively in a neon disco decked in a black Chanel bodysuit complete with Swarovski crystal-covered long black gloves. The vignette draws inspiration from strong female musical icons, including Stevie Nicks, Joan Jett and Debbie Harry, as Cyrus takes control of her own narrative from the media and becomes fully confident in herself. 2. The last we heard from Miley Cyrus, she was slipping into the abyss, singing about her split with Liam Hemsworth on last year’s melancholy stunner “Slide Away.” Now, she has risen from the ashes, commanding the dance floor with an unexpected disco comeback: “Midnight Sky” functions like a satisfied response to the pain of “Slide Away,” with Cyrus embracing the night’s unanswered questions and declaring early on, “It’s been a long time since I felt this good on my own.” Hearing Cyrus in such a positive headspace is encouraging, as is the sound of her thriving in a traditional pop setting; Louis Bell and Watt produced an electrifying return for Cyrus, and she has made the most of her re-emergence.
Vogue With her new song and self-directed music video for “Midnight Sky,” Miley Cyrus is ushering in a new aesthetic era—one that harks back to the glamour and rebellion of the late ’70s. It’s a dizzying display of self-expression all Cyrus’s own, though she did work off the right blueprints, drawing inspiration for her sparkling short from her female rock icons Joan Jett, Debbie Harry, and Stevie Nicks. (Nicks’s 1981 single, “Edge of Seventeen,” was sampled for Cyrus’s disco-inflected track.) True to the decade’s flair for theatrical dress from head to toe, Cyrus serves up a parade of fashion looks assembled from her archive, from the black Self Portrait bodysuit paired with a Chanel logo chain belt and long David Koma gloves to the herrington bone Richard Quinn suit worn with sculptural crystal Alan Crocetti earrings. Each outfit more stylized than the next, they’re all punctuated by Cyrus’s singular glam rock beauty look, which stunningly plays off the video’s neon color palette and the dappled glow of the disco lights. Cyrus’s platinum blonde mullet (the ultimate bad-good cut) is still going strong with its forehead-grazing fringe, styled sleek and glossy with help from hairstylist Bryce Scarlett. The directional shag highlights her set of metallic violet lids, smoked out towards the outer brows to cat-eye effect, as well as her glossy red pout painted on by makeup artist Janice Daoud. As she sings the lyrics of her breakup anthem (“Fire in my lungs, can’t bite the devil on my tongue, oh no, I don’t need to be loved by you“), her dramatic eye-and-lips combination shines and shimmers amid the vivid sets, from the strobe-lit mirror space to the room draped in a menagerie of neon animal statues and hanging disco balls. Serving up fierce yet relatable sentiments against a fantastical backdrop designed to stoke the imagination, Cyrus continues to push her pop sensibilities forward with a strong visual story. And needless to say, high-impact beauty—including her signature red lips—will always be a vital part of the equation.
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