French Disco Icon Amanda Lear Accuses Miley Cyrus of Plagiarism Over New Album Track 'Redlights'

PARIS — Amanda Lear, the French disco singer and former muse to Salvador Dalí, has publicly accused Miley Cyrus of plagiarizing one of her songs from the 1970s, alleging that the American pop star's new track "Redlights" bears a striking resemblance to her 1978 release "The Sphinx".

Lear, who was a prominent figure during the Swinging Sixties in London and a muse to surrealist painter Salvador Dalí, took to social media on Sunday with a message laced with irony. "Thank you, Miley, for copying my song 'The Sphinx'! I'm flattered!" she wrote, appending the hashtags "ripoff" and "copycat". The accusation came just two days after Cyrus released her tenth studio album, Bass Persuades, a 10-track dance pop record that includes the ballad "Redlights," which invites comparisons to Lear's slower, gravelly voiced original.

A Reluctant Accuser

Speaking to AFP on Monday, Lear sought to distance herself from the confrontational tone of her social media post. "I've never been litigious, but my record label, Universal, and the publishers of the track, for which I wrote the lyrics, want acknowledgment of the plagiarism," she said. "I simply pointed out the situation by thanking Miley Cyrus and adding that I was flattered. I never threatened a lawsuit or retaliation".

Lear told Le Parisien that her fans were the first to bring the track to her attention. After listening, she felt the melody and rhythmic backbone of "Redlights" bore an undeniable resemblance to "The Sphinx," despite Cyrus's version running at a faster tempo. According to Lear, her team and label analyzed both recordings using technology to compare the melodic lines and concluded the structural similarities amounted to full plagiarism.

"Redlights" is officially credited to Cyrus and Michael Pollack, with production handled by Cyrus, Kid Harpoon, and Maxx Morando. Neither Lear nor Anthony Monn, who composed the original music for "The Sphinx," are listed in the song's credits. Lear noted that Cyrus has previously included "The Sphinx" on her public Spotify playlists, suggesting the artist was well aware of the material.

The 79-year-old Lear, who has produced more than 20 albums over her career, said she hopes for an amicable arrangement but does not rule out legal action. "Either we reach a settlement, or there is an American-style lawsuit that can last a long time," she told Le Parisien, adding that she would prefer a resolution.

Not Cyrus's First Plagiarism Rodeo

The accusation against Cyrus is not an isolated incident. The singer is already facing a high-profile copyright lawsuit over her 2023 Grammy-winning hit "Flowers," which music investment company Tempo Music Investments claims copied elements of Bruno Mars' 2013 ballad "When I Was Your Man". Cyrus has denied the allegations, and her lawyers have argued in court filings that the similarities are "commonplace" and unprotectable. The case remains ongoing.

Just this week, French disco singer Sheila added another claim, telling Paris Match that she noticed similarities between "Flowers" and her 1977 hit "Spacer," particularly in the melody and overall feel of the song. While she stopped short of filing a lawsuit, the veteran performer said the resemblance was enough to speak publicly about it.

The mounting allegations against Cyrus reflect a broader trend in the music industry. Copyright disputes have become increasingly common, with the industry estimated to lose more than 1 billion euros by 2028 due to copyright conflicts, while around 30 million musicians face legal risks related to plagiarism. Recent years have seen high-profile cases involving Taylor Swift, Lil Uzi Vert, and Anitta, alongside a wave of litigation against AI music companies like Suno.

The Legal Landscape

Under US copyright law, a plaintiff must prove both that the defendant had access to the original work and that the two works are substantially similar. Lear's claim that Cyrus previously included "The Sphinx" on her Spotify playlists could serve as evidence of access, though the case would ultimately hinge on whether the melodic and rhythmic similarities meet the legal threshold for substantial similarity.

The dispute comes as AI tools are increasingly used to analyze musical similarities. Lear's team employed technology to compare the melodic lines of both recordings, a practice that is becoming more common in copyright disputes. Platforms now exist that detect plagiarism and identify AI-generated music with an accuracy rate exceeding 98 percent, though the use of such tools in legal proceedings remains relatively novel.

Cyrus's New Era

Bass Persuades marks a new chapter for Cyrus, her first project since leaving Columbia Records and signing with Atlantic Records. Reviews have described the album as having "a commendable range," with NME praising the "sun-baked, ABBA-style" quality of "Redlights". The album also features collaborations with the noise-rock band Model/Actriz and Miike Snow's Andrew Wyatt.

Neither Cyrus nor her representatives have issued a statement in response to Lear's claims. As of Monday afternoon, no response had been made public.

For Lear, the situation is less about litigation than recognition. She was at the peak of her fame when "The Sphinx" was released in 1978, and she has described it as her favorite song. Whether Cyrus's team will acknowledge the inspiration, negotiate a settlement, or face a lawsuit remains to be seen. For now, Lear says she is waiting to see how the situation develops.

"I simply pointed out the situation," she said. "I never threatened a lawsuit".