Miley Cyrus Defends Intentional Performance Style After Hollywood Bowl Criticism

Miley Cyrus used the second night of her residency at the Hollywood Bowl to address social media criticism regarding her stage presence, defending her commitment to her craft. During her set on Sunday, Oct. 18, 2026, the singer directly challenged “clickbait” videos and reports that questioned her engagement during the Friday performance.

The backlash stemmed from her performance on Friday, where some social media users accused the singer of leaning too heavily on the audience to provide vocals for career-defining hits like “Wrecking Ball” and “Party in the U.S.A.” Addressing the crowd on Sunday, Cyrus made it clear that her approach to performing has changed as she navigates a new era of her career.

“One thing I will not stand is any question about where my heart is when I’m on the stage,” Cyrus told the audience, according to reports from the venue. She admitted that returning to a full-scale concert schedule has been a significant adjustment, noting that performing “does not come as natural as it once did” and that she frequently finds the process “hard.”

The residency marks her first major series of headlining shows since 2022.

The singer, who has dropped her last name for this album cycle and is billed simply as MILEY for the “Bass Persuades” era, used sarcasm to highlight what she views as the absurdity of the criticism. While performing the title track of her new album, she quipped, “Oh, I forgot I’m supposed to sing every fing line,” before diving back into the lyrics.

The Hollywood Bowl shows marked a vulnerable turning point for the artist. Cyrus paid tribute to her late godmother, Dolly Parton, during the set with a performance of “Jolene,” a staple of their many collaborations over the decades.

The '' era features collaborations with partner Maxx Morando and tributes to Dolly Parton.

The show also featured personal milestones, including a guest appearance by her partner, Maxx Morando, who joined her on stage to play drums during “Let’s Get Married.” Despite the mixed reception to her vocal choices on older material, the residency serves as a public reclamation of her right to evolve, prioritizing her emotional well-being and her new musical direction over the high-energy, pop-spectacle expectations of her earlier tours.

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