By Samantha Jones-
Amanda Lear has accused Miley Cyrus of copying her 1970s Euro-disco song “The Sphinx” in Cyrus’ new track “REDLIGHTS” — reigniting a debate over musical inspiration, artistic borrowing and where homage ends and plagiarism begins.
Miley Cyrus has found herself at the centre of a fresh music controversy just days after releasing her new album Bass Persuades.
AD: Capeesh Restaurant
The American pop star has been accused by legendary French singer Amanda Lear of copying her 1978 song “The Sphinx” for Cyrus’ new track “REDLIGHTS”, which appears on the newly released album.
Lear, now an established cultural figure whose career has stretched across music, fashion, television, theatre and painting, made the accusation on Instagram.
Sharing a photograph of Cyrus and the Bass Persuades artwork, she wrote:
AD: Oysterian Sea Food Restaurant And Bar
“Thank You Miley for copying my song The Sphinx, I am flattered.”
The apparently tongue-in-cheek message immediately drew attention online, with listeners divided over whether the two songs are sufficiently similar to justify Lear’s claim. Some fans have insisted that they can hear similarities between the melodies and phrasing, while others have rejected the comparison altogether.
But the story is attracting particular interest because Lear is hardly an obscure artist whose work has simply resurfaced by chance. She was one of the defining figures of the European disco era.
From Swinging London to Euro-disco stardom
Long before becoming known for songs such as “Follow Me”, “Queen of Chinatown”, “Tomorrow” and “The Sphinx”, Lear had already established herself within the fashion and art worlds.
Her career began in modelling, and she worked with influential designers including Mary Quant and Ossie Clark. She subsequently became part of the cultural scene surrounding London’s Swinging Sixties before moving between London, Paris and other European creative centres. Her official biography also records her work with designers including Paco Rabanne.
Lear was also closely associated with some of the most recognisable names in 20th-century popular culture. She became a muse of surrealist artist Salvador Dalí and was photographed and celebrated within the worlds of fashion, art and music. Her connections to the era’s creative elite helped make her a distinctive cultural figure long before her records became international disco favourites.
Musically, Lear’s breakthrough came in the late 1970s, when she became one of the recognisable voices of European disco.
Her albums I Am a Photograph, Sweet Revenge and Never Trust a Pretty Face established her as a major figure in Euro-disco, with tracks including “Blood and Honey”, “Queen of Chinatown”, “Follow Me” and “The Sphinx”.
“The Sphinx” was released during this period and later appeared on Never Trust a Pretty Face. The song was written by Lear and Anthony Monn, with Monn responsible for the music and Lear for the lyrics, according to published credits.
That history is important because Lear isn’t simply claiming that an obscure song from decades ago has been reused. She is asserting that a piece of music from her own established catalogue has resurfaced in a major new release by one of the world’s biggest contemporary pop stars.
“REDLIGHTS” is one of the tracks on Bass Persuades, Cyrus’ tenth studio album, released on September 18. The record represents a new chapter for Cyrus, arriving after Something Beautiful and marking her first album released under the name “Miley” rather than her familiar professional name,
Miley Cyrus. The album features contributions from artists including Model/Actriz and Andrew Wyatt of Miike Snow, while longtime collaborators Kid Harpoon and Maxx Morando are among those involved in production.
Cyrus had already singled out “REDLIGHTS” before the album’s release, describing it as one of her favourite records she had made. That makes Lear’s accusation particularly striking: a song Cyrus has publicly championed is now being compared with a composition recorded nearly half a century ago.
The published credits for “REDLIGHTS” list Cyrus and songwriter Michael Pollack as writers, with production involving Cyrus, Kid Harpoon and Maxx Morando. Lear and Monn are not currently listed among the songwriters.
That does not, by itself, establish whether copyright infringement has occurred. Musical similarity and legal infringement are separate questions, and determining infringement would require consideration of the protected elements of the compositions and the circumstances surrounding their creation.
Lear says the similarities go beyond coincidence
Lear has gone further than simply pointing out that the records sound alike.
According to French reporting, she has said that she believes the melody and rhythm are the same and that she has discussed the matter with people around her record and publishing interests. TF1 also reported that Lear subsequently said she was not seeking a court battle, despite discussing the possibility of legal action if the dispute could not be resolved.
At present, there has been no court ruling that “REDLIGHTS” infringes Lear’s copyright. Cyrus has also not publicly responded to the accusation. The immediate dispute therefore remains exactly that: an allegation made by Lear, followed by an online debate over how similar the two songs actually are.
Perhaps the most remarkable aspect of the story is the extraordinary longevity of Lear’s career. She emerged from the fashion and art worlds of the 1960s, became a Euro-disco star in the 1970s, developed a career in television and theatre, and continued working in the arts decades later.
Her official biography describes her later success on the French stage, including a lengthy run in Panique au ministère and subsequent theatre productions. Her latest stage work has also enjoyed touring success in France, Belgium and Switzerland.
She has also retained considerable influence as a fashion figure. Her distinctive image has continued to attract the attention of designers including Jean Paul Gaultier, Riccardo Tisci, Kim Jones and Simon Porte Jacquemus, according to her official biograp
That makes the confrontation with Cyrus an intriguing collision between two very different generations of pop. Lear represents an era in which European disco, fashion, nightlife and visual identity were becoming increasingly intertwined.
Cyrus, meanwhile, is a product of the 21st-century global pop machine — a former Disney star who evolved into a Grammy-winning recording artist with a catalogue spanning pop, rock, country and psychedelic influences.
The “REDLIGHTS” accusation also comes with an important footnote from Cyrus’ own recent history.
In 2024, music-rights company Tempo Music Investments sued Cyrus and other parties over her Grammy-winning song “Flowers”, alleging that the track copied protected elements of Bruno Mars’ “When I Was Your Man”.
The lawsuit alleged similarities involving elements including melody, harmony, bass line, chord progressions and lyrics. Cyrus’ legal team has denied that “Flowers” infringes copyright and has fought the lawsuit. Importantly,Bruno did not lodge the suit. The “Flowers” case has continued through the US courts, making the latest allegation involving “REDLIGHTS” particularly noteworthy in the context of Cyrus’ recent catalogue.
But the two disputes should not be conflated. The “Flowers” case is a formal copyright lawsuit, whereas Lear’s claim over “REDLIGHTS” is currently a public accusation.
What happens next?
The biggest unanswered question is whether the controversy goes any further. Lear has made her position clear: she believes Cyrus’ song bears substantial similarities to “The Sphinx”.
Cyrus has yet to publicly address the allegation. And while fans can argue over whether the two melodies sound alike, the ultimate question of copyright infringement is not something that can be settled simply by comparing two songs online.
If the parties were to reach an agreement, one possible outcome could be a songwriting credit or other acknowledgement. If they cannot agree, the dispute could potentially develop into a formal rights or copyright matter.
However, the episode has already achieved something remarkable: nearly 50 years after “The Sphinx” was recorded, the song is once again at the centre of international pop conversation.
Whether Cyrus’ “REDLIGHTS” is an unintentional resemblance, an example of musical influence or something more significant remains disputed.
What is beyond dispute is that Amanda Lear — the former model, muse, disco star, actress, television personality and enduring fashion icon — has once again managed to command the attention of the pop world.
And this time, her audience includes Miley Cyrus.
Anadna lear was contacted for comment.
AD: Heritage And Restaurant Lounge Bar