grit

On the stunning “What’s It All For” on her new album, “I Want My Loved Ones to Go With Me,” Noah Cyrus sings: “Why have a family/If that ain’t what you want?/Why have a child/You don’t know how to love?

I’ve asked all of these questions/And I got one more/If that’s all there is/Then what’s it all for?/What’s it all for?”

Cyrus, often writing with Australian singer-songwriter PJ Harding, has a way of storytelling that captures the grit and highs and lows of real life the way Kris Kristofferson does on the classic “Sunday Morning Comin’ Down,” or John Mellencamp and Lucinda Williams do.

Her song, “July,” released when she was 19, was praised by the likes of John Mayer and Leon Bridges and has more than a billion streams. So the potential for something special has always been there. But now that she has put it all together on “I Want My Loved Ones to Go With Me” the result transcends special. The 11 songs on the album bridge storytelling with classic country and folk sounds that hark back to the ‘70s, a la songs like the Eagles’ “Wasted Time.”

“I hope that this record, when I hear it, I hear something that’s very classic and reminds me of music that’s been around for a very long time,” she says.

Cyrus has that “classic” music in her blood and bones. Old soul is often a trite, overused expression, but when you grow up in a famous family in the public eye, as Noah Cyrus has, it is an accurate one — her father is country music veteran Billy Ray Cyrus and her sister is pop star Miley Cyrus.

Cyrus said she grew up faster than most people her age. “I’ve been touring since I was 16, I’ve been making music since I was 16,” she tells The Times. “ I grew up in a family that was in the public eye. I think with that there were certain things that we could and couldn’t do, that felt restricted because of the public eye or the way we’d be judged or the way we were judged whenever we made mistakes just as kids.”

She turned 25 in January, which brought a new maturity. Like another all-time great songwriter, Jackson Browne, who famously wrote “These Days” when he was 16, Cyrus has shown a wisdom beyond her years.

“I found out a lot about my senses on a song and learning to trust that as a songwriter,” Cyrus said. “I learned a lot how to lead for myself as a musician.”

(Jason Renaud)

She addresses growing up throughout the album. “I turned 25 this January and I talk about this on the record It’s one of the themes of the album … growing up and new countries about walking on your own two feet and going into unknown land and no matter where you go, there you are. And just learning how to deal with that and cope with that as a young adult,” she says. “That was something that was going on at the time of creating this record. That’s why I just fell into the themes because as a person I was like, ‘How do I not second-guess myself with every single move? How do I learn to trust myself? How do I learn how to become an adult that’s going to be a mother one day? How do I grow up so one day I can take care of another actual person?’”

Having confronted fame and the insecurity that comes with youth, she was ready to take control of her artistic vision with this album.

“I found out a lot about my senses on a song and learning to trust that as a songwriter. I learned a lot how to lead for myself as a musician. This is the first record that I have actual producer credits on and I actually produce some of these songs with Mike [Crossey],” she says. “It was a really beautiful experience and a great learning experience. I really was surprised by those intuitions. And when I listened to the final product, I think it’s the first time in my career where I’m actually really proud of myself.”

Cyrus made sure her personal touch was felt on every aspect of the record, including the eclectic quartet of guests: Robin Pecknold of Fleet Foxes, Bill Callahan, Ella Langley and Blake Shelton.

She made sure the invite to Shelton on “New Country” came directly from her. “I really wanted to personally talk to Blake and wrote him a letter and did all the things to really make this a personal connection,” she says. “Blake and I have a mutual friend on the song — Amy Wadge, she’s one of my favorite songwriters and I love her so much. It was like a God thing telling me you have to reach out to Blake. When I heard that song, it was Blake’s from the beginning. And Blake made it happen. It felt like this spiritual thing that was bound to happen and something that was just written up there in the stars was having Blake on this record.”

For all the notable guests, the centerpiece of the album fittingly features Cyrus’ grandfather. The mesmerizing spiritual hymn “Apple Tree,” which is like the love child of a Nick Cave song and Dolly Parton track, is built around her grandfather’s voice.

“I do feel like ‘Apple Tree’ is a song from God because of the prayer that is said at the end and spoken by my grandfather Ron Cyrus,” she says.

It’s fitting that the song features her grandfather because “I Want My Loved Ones to Go With Me” is very much Cyrus returning to her Nashville roots and the music she grew up around. Though she says it’s just a happy accident, her embracing the music that is her birthright coincides with the surge in popularity of country music.

“When I was making this album, country was really getting its mainstream momentum again and taking over the world again as it was when I was a baby, when CMA fans used to have Fanfare and stuff. I remember my dad doing Fanfare. For me it’s really awesome because I think country music has so much more of a wider audience and so many people are starting to connect with country,” she says. “I think that was just God’s timing with the album and everything and it all lining up.”

While artists have been increasingly embracing country, for Cyrus this wasn’t about a trend — she was following the natural order of things. Many musicians will say that as they get older, they return to their roots.

So this was Cyrus coming home. “The more freedom I got I just kept putting more and more of myself into the record, which is metaphorically and literally back to my roots. I think I’ve been longing to feel closer to where I come from. I put that into my music and that’s such a beautiful outlet for me. And I think there’s so many people, not just kids, as an adult, as your parent, you feel things, they’re just like you and the child inside you, it’s all still broken, no matter how old you get, you still have that inner child inside of you. I think a lot of that inner child goes into my music and you hear a lot of my inner child.”

Though Cyrus loves the storytelling aspect of classic country records, it is just as much about the sound of those albums and artists as it is the lyrics. She reveled in that raw, organic sound in making this album.

“The more freedom I got I just kept putting more and more of myself into the record, which is metaphorically and literally back to my roots,” Cyrus said.

(Hannah DeVries)

“That was a fun thing for me again to learn is when you take all the bells and whistles away on a vocal and you just have that person’s originality and that person’s personality and let that shine through on a vocal. That’s the best thing you can do, just have the most amazing and natural raw vocals for people to hear and that’s what I love about the genre of country music and especially older records where you’re singing full takes and that’s what the record is. That’s a lot of the time what Mike and I like to do with our songs, is our songs are full takes of everything. We like everything to feel live, and I think that’s an important part of the record.”

The goal was an album that defies categorization and time. She wanted a record that if you had found it in 1975 and put it on right next to Bob Dylan’s “Blood on the Tracks” or you played it in 2025 it would have sounded of that time. In her pursuit of that lofty goal, she transcends the genre tag. This isn’t what most people think of as country today. The closest contemporary artist would be Chris Stapleton, who, when seen live, embodies a Neil Young solo acoustic; it could be country, folk, rock.

That’s what Cyrus set out to do. “When I hear it, I hear a record that will hopefully give the listener a chance to heal as it was a really healing experience for myself,” she says. “And I hope that this record, for me, is something that in 20 years … people are still mentioning and it’s a monumental album in the timeline of my career.”

Noah Cyrus performs Friday at The Ford at 8 p.m.

Hobbling captain Temba Bavuma and hundred-hitter Aiden Markram pushed South Africa to the brink of a sensational victory over Australia in a gripping World Test Championship final at Lord’s Cricket Ground in London.

Bavuma, elevating the drama with a strained left hamstring, and opener Markram capitalised on ideal batting conditions on Friday.

They partnered for an unbroken 143 runs against one of Australia’s greatest bowling attacks to have South Africa 69 runs from an historic triumph.

Chasing 282 to win, the Proteas were 213-2 at stumps on Day Three in a stirring bid to win a first ICC trophy in 27 years.

Bavuma was 65 not out from 121 balls, his running restricted but not his batting technique, and Markram was 102 not out from 159, easily the highest individual score of the final.

Defending champion Australia bombarded them with four of its top-10 all-time test wicket-takers – more than 1,500 wickets in total – but they were not able to part the Proteas pair, and hardly troubled them.

In South Africa’s huge favour, the Day Three pitch flattened, offered the bowlers little and was far easier paced than the first two chaotic days, when 14 wickets fell on each. Only four wickets were taken on Friday, and none after tea.

South Africa will not go to bed entirely comfortably, though. The men’s team has a heartbreaking history in ICC tournaments of blowing winning positions. It is the reason its only ICC trophy is the ICC Knock Out in 1998.

“This would be massive for our country,” Proteas batting coach Ashwell Prince said. “Both in terms of what we want to do in test match cricket and what we want to achieve going forward. We’ve fallen short in some white-ball competitions with teams that have been favourites at times. History says we haven’t done it yet, so we have to knuckle down.

“Not sure how I’m going to sleep tonight. Whether I can fall into a deep sleep, I’m not sure!”

It is certain serial champion Australia still believes, too.

“In the morning, we’ve got to come back and try and form a plan,” Beau Webster said. “The boys will be looking at any advantage we can get. Strange things happen in this game.

“We tried some new things with the bowling attack, but they were just too good in the end … and both of them were chanceless, so complete credit to them.”

The odds were in Australia’s favour when South Africa’s chase began straight after lunch.

To win, a work-in-progress batting lineup needed to equal England’s most successful-ever run chase at Lord’s from 2004.

By the time pacer Mitchell Starc removed Ryan Rickelton and Wiaan Mulder, South Africa was 70-2, but flying.

There was positive intent missing from the first innings, and the strike was rotated constantly. Australia managed only three maidens in 56 overs, all by spinner Nathan Lyon.

Starc could have reduced South Africa to 76-3 when Bavuma, on 2, thick-edged to first slip.

But a helmeted Steve Smith, standing closer than usual to the wickets because the ball has not been carrying to the cordon all game, could not hold Starc’s 138 km/h delivery and broke his right pinkie finger. He immediately left for a hospital, was out of the final and probably the following three-test tour of the West Indies.

Given life, Bavuma was on 9 when he hurt his hamstring 10 minutes before tea. Prince said he was adamant about continuing, but noticeably limping. The captain soothed his dressing room with pulls and sweeps and hobbled runs, each one rousing the South Africa fans. Bavuma reached his 50 off 83 balls.

Meanwhile, Markram was cutting and driving to 50 off 69 balls. The best of his 11 boundaries was a late cut off Starc expertly sliced between two fielders. His reaction to his eighth test century five minutes from stumps was muted. He had enough strength to raise his bat to all sides and receive applause and a hug from his captain.

South Africa’s celebratory end to Friday the 13th contrasted starkly with the deflating start to the day.

The Proteas would have expected to begin the chase by bowling out Australia, resuming on 144-8, half an hour after the start of play. Lyon was dismissed early and gave Kagiso Rabada his ninth wicket of the match, but tailenders Starc and Josh Hazlewood resisted for almost two hours.

Starc achieved his 11th test fifty, and first in six years. He and Hazlewood’s third 50-plus partnership for the 10th wicket tied the all-time test record.

The stand ended on 59, Hazlewood out for 17 to part-timer Markram. Starc was not out on 58 from 136 balls. He had entered at 73-7, when Australia led by 147, and combined mainly with Alex Carey and Hazlewood to conjure 134 more runs.

Those runs and South Africa’s 20 no balls appeared to put Australia beyond reach. But Bavuma and Markram had the confidence and the pitch to defy nearly all expectations.