Amanda Lear accuses Miley Cyrus of copying her 1970s hit "The Sphinx

French singer Amanda Lear accused Miley Cyrus on Monday of plagiarising her 1970s disco track “The Sphinx” in the pop star’s new single “Redlights”, released this week on streaming platforms. Lear made the claim in a brief interview with France 24, noting that the melody and the vocal hook in Cyrus’s song sounded almost identical to the 1978 hit that launched her career in Europe.

Lear is a former model turned disco diva who scored several chart‑toppers in the late 1970s, most notably “The Sphinx”, which became a staple of French clubs and was later sampled by other artists. Cyrus, meanwhile, has been promoting a series of genre‑bending releases after her 2023 album “Endless Summer Vacation”. “Redlights” marks a shift toward a retro‑inspired sound, a direction that has sparked both praise and criticism from fans. The timing of the accusation coincides with a broader wave of high‑profile plagiarism disputes in the music industry, from “Blurred Lines” to recent lawsuits over sampling rights, underscoring how closely artists guard their intellectual property.

In the interview, Lear said the chord progression and the distinctive vocal phrasing in “Redlights” mirror those of “The Sphinx” almost note for note. She added that she is not seeking a lawsuit, preferring a public acknowledgment instead. Cyrus’s team has not yet responded, but a spokesperson for her label said the track was created by an independent producer and that any similarity was “unintentional”. Music rights experts note that proving infringement often hinges on whether the similarity is substantial and whether the accused had access to the original work. Lear’s decision to forgo legal action may reflect a desire to avoid a protracted court battle and the associated costs.

The dispute is likely to play out in the court of public opinion while both sides assess their options. If Lear decides to pursue formal action, a case could be filed in a French or U.S. court, potentially delaying promotion of “Redlights”. For Cyrus, the controversy could affect radio play and streaming numbers, especially in Europe where Lear’s legacy still resonates. Industry observers will watch how the claim influences future collaborations and the growing scrutiny of retro influences in contemporary pop.