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Released: 2020

Diving into Miley Cyrus’s rendition of “Heart of Glass” at the iHeart Festival, we’re about to roll through a classic hit injected with her unique Tennessee twang and rockstar vibe. This song, originally a smash by Blondie, drips with themes of fragile love and betrayal, a relationship that started euphoric but crashed into shards of disappointment. The essence? Love’s a trip, but sometimes it flips, leaving you holding onto the pieces of a shattered illusion.

Let’s unpack this lyrical journey. “Once had love and it was a gas / It soon turned out, I had a heart of glass,” sings Cyrus with that gravely, tell-it-like-it-is voice. Translation: Love was a blast until it cracked her heart wide open. That “heart of glass” metaphor? It’s fragile, transparent, easily shattered. Real talk—she’s saying her feelings were true, but vulnerability left her heart exposed to an easy break. She thought it was the “real thing,” but then bam, trust issues piled up and love got tossed out the back door.

Flip to the next verse. “I soon found out I was losing my mind / It seemed like the real thing, but I was so blind.” Here’s where the self-realization kicks in like a gut punch. She’s confessing that the love buzz had her tripping so hard, she almost lost her grip on reality. Being blind—she’s admitting she didn’t see the signs, ignored the red flags, and was all-in on a love that might never have been genuine. And again, “Much o’ mistrust, love’s gone behind,” repeating that chorus of trust trouble, reiterating that the backstabbing has her love story rewritten as a cautionary tale.

Then Miley gets reflective: “In between, what I find is pleasing and I’m feeling fine / Love is so confusing, there’s no peace of mind.” This is the see-saw of emotions. She’s grooving in those sweet spots, those “in between” moments when love isn’t all-consuming chaos. But let’s not sugarcoat it—love’s got her head spinning, and tranquility is playing hard to get. The part about “no peace of mind”? She’s restless, edgy because when things seem too good, she fears she’ll be left hanging.

The line “If I fear I’m losing you, it’s just no good / You teasing like you do” gets into the game-playing aspect. It’s a low blow—feeling like you’re just a plaything. But Miley ain’t having it. She’s warning: Don’t play me, or I’m out.

“Lost inside, adorable illusion, and I cannot hide / I’m the one you’re using” is the moment of truth. It’s her ‘aha’ moment, realizing she’s gotten played and can’t keep it on the DL anymore. “Please don’t push me aside / We could have made it cruising, yeah,” is like her last-ditch plea, hinting they had a shot at sailing smooth if only love wasn’t twisted up in lies.

Cyrus has a way of belting out the “Na-na-na” bridge with gusto, turning what could be filler into a fist-pumping anthem of liberation. Cut to the chase—she’s rising above, the “love’s true bluish light” symbolizing hope, maybe a touch of sadness, but she’s still chasing the high of love’s potential.

Wrapping it up, Miley drops a real zinger, a line that wasn’t in Blondie’s OG track: “It soon turned out to be a pain in the ass.” She’s not sugarcoating it. The romance wasn’t just disillusioning; it became downright annoying, aggravating, a nuisance. Yet, she’s belting it out in a way that signals she’s not broken—just annoyed and ready to bounce back.

And there you have it, “Heart of Glass” by Miley Cyrus—a blistering take on Blondie’s classic that peels back the layers of love gone wrong, with Cyrus serving up raw honesty that makes you want to cheer her on as she dusts off her boots and gets ready for the next round in the ring of love.