Lear first raised the claim on Instagram around September 20, 2026, posting the Bass Persuades album cover with a sarcastic message along the lines of “Thank you, Miley, for copying my song ‘The Sphinx’! I’m flattered!” She added hashtags including #ripoff and #copycat.
In subsequent comments to French media (including Le Parisien and Agence France-Presse), Lear said fans first alerted her to the similarities. She and her team (including her producer and label Universal) reviewed the tracks and described the resemblance as “total plagiarism.” She specifically cited the same melody and rhythm, noting that Cyrus’s version is faster, with different lyrics. Lear has called “The Sphinx” one of her favorites (or her best song she wrote) and said the situation bothers her because the original feels personal.
She has emphasized she is not typically litigious and has not threatened a lawsuit or retaliation. Instead, her label Universal (which she says owns the rights) and the publishers want formal acknowledgment of the alleged plagiarism. Possible outcomes she has mentioned include an arrangement (such as crediting her or recognizing inspiration) or potential legal proceedings. Lear has also claimed Cyrus is a fan who previously included her music in Spotify playlists.
As of the latest reporting around September 22, 2026, Cyrus and her representatives had not publicly responded. Official credits for “Redlights” list Miley Cyrus and Michael Pollack as writers (with production involving Cyrus, Kid Harpoon, and Maxx Morando); there is no credit for Lear or her collaborator Anthony Monn.
Background on the Songs and Artists
“The Sphinx” is a downtempo disco ballad (Lear’s first of that style) from her 1978/1979 album Never Trust a Pretty Face. Anthony Monn composed and produced the music; Lear wrote the melancholic lyrics, in which she compares herself to the mythical Sphinx and explores themes of mystery, desire, and immortality. It was a moderate European chart success (top 20 in places like Belgium and Germany) and remains one of her notable disco-era tracks. She has re-recorded it over the years.
Amanda Lear (born in the 1930s/early 1940s depending on accounts; active into her later years) is a multifaceted French figure: former model (linked to designers and the Swinging Sixties London scene), longtime muse and friend of Salvador Dalí, singer-songwriter with a string of European disco hits in the late 1970s/early 1980s (e.g., “Follow Me,” “Queen of Chinatown”), actress, TV presenter, and painter. She has a colorful public persona and a career spanning decades and more than 20 albums.
Bass Persuades is Cyrus’s tenth studio album (her first under the mononym “Miley” in some promotion, after switching labels). “Redlights” is described in coverage as a ballad or slow-disco-leaning track with ’70s-flavored elements (including strings in some accounts). Cyrus has called it one of her favorites from the project.
Reactions, Nuances, and Context
Online reactions have been mixed. Some listeners and commenters hear clear parallels and support Lear’s claim, noting her status as a disco pioneer and cultural figure (including ties to Dalí and others). Others question whether the similarities rise to plagiarism, suggest coincidence or shared genre tropes, or note that older songs are frequently sampled/interpolated. One social media comment pointed out alleged similarities between “The Sphinx” and the much older Peruvian melody “El Cóndor Pasa” (1913, by Daniel Alomía Robles), though this does not appear to be a widely substantiated formal claim in major reporting.
Genius Lyrics has even listed “The Sphinx” under interpolations for “REDLIGHTS” in at least one entry, reflecting fan discussion.
Music copyright disputes over melody, rhythm, and structure are common and often complex: they can involve analysis of specific musical elements, independent creation arguments, access (whether the later artist likely heard the earlier work), and industry practices around sampling/interpolation versus uncredited similarity. Lear’s team reportedly used tools including ChatGPT for line-by-line comparison in one account. Outcomes frequently involve quiet settlements, added credits, or (less often) prolonged litigation rather than public trials. No court has ruled on this matter; it remains an allegation.
Lear has previously spoken positively about younger artists drawing from her era’s influence (including figures like Rihanna, Beyoncé, and Cyrus). The episode has renewed attention on her catalog and the lasting reach of 1970s European disco into contemporary pop.
In short, the claim is real and recent: Lear has framed “Redlights” as a ripoff of “The Sphinx” in both social media and interviews, her camp is seeking recognition, and the situation is unfolding without a public reply from Cyrus or a formal legal resolution as of the most recent reports. Listeners can (and have) compared the tracks directly to form their own views on the degree of similarity.
