Before I get into the meat and potatoes of this review, a quick disclaimer: this record leans heavily into sexual content — as the not-so-subtle cover art makes clear. While I’ll do my best to stay objective, I’ve been a fan of Sabrina Carpenter long before this album dropped. So if her cheeky pop persona or lyrical themes aren’t your thing, this record probably won’t change your mind. But if you’re open to clever, self-aware pop with bite, keep reading.
In August of last year, Carpenter released her sophomore album “Short n’ Sweet.” Generating a sold out tour, a feature on pop powerhouse Taylor Swift’s upcoming album, and creating a multitude of TikTok trends and iconic pop culture moments, Carpenter was one of the few who dominated pop culture last year. She was quick to keep the hype alive and announced a brand new record a little over nine months later titled “Man’s Best Friend.” Upon announcement, the record was met with skepticism and mass controversy. Between the cover art choice and the quick turnaround between records, both fans and haters alike anxiously awaited the release date. After three listens of the record now, I can confirm it’s great! Dare I say better than her previous works..?
While Carpenter’s previous record had a fair amount of sonic cohesion, “Man’s Best Friend” feels more dialed in than before. If her musical inspirations weren’t apparent on the last record, she’s doubled down on them this time around. Tracks like “Go Go Juice” and “We Almost Broke Up Again Last Night” sound like they were ripped straight out of a Dolly Parton record (which makes it even cooler when you remember Dolly Parton has collaborated with Carpenter). Then you have songs like “Nobody’s Son” and “Tears” which have the same energy and tone as an ABBA song, making it damn near impossible to not wanna get up and dance! In the current climate of pop, which is full of artists attempting to replicate older sounds without knowing and/or appreciating the source material, Carpenter stands out in a way that’s very refreshing. The music itself is very well done, and all sounds respectfully inspired by the artists stated above, not a cheap copy of it.
But it wouldn’t be a proper review of a Sabrina Carpenter album if we didn’t talk about the lyrics. As I mentioned above, the lyrics are fairly explicit for a pop record. While the majority of the record follows themes surrounding relationships and sexual content, Carpenter keeps it light and tongue-in-cheek throughout. On the second track “Tears,” Carpenter details a list of things a man should do to get her in bed – all of which are basic expectations rooted in, frankly, common decency. This is a method she’s known for in her song writing, and also one that should be highlighted. While on the surface she may come off as very ditsy and “for the average male”, her branding and music is very clever. Her lyrics take jabs at the broken system that is the patriarchy, and how one track minded men can be. On the surface, it feels like unnecessary sexual branding, but deeper digging reveals it as a sort of empowering satire.
If you’re curious what the essence of Sabrina Carpenter really is, I would encourage watching the newly released music video for her track “Tears.” In the video, Carpenter and a mysterious man are seen after getting into a car accident. After Carpenter wakes up from the accident, she discovers a house not too far away and decides to go check it out. But upon entry, she’s met with a Rocky Horror Picture Show-esque world. The video then quickly becomes a musical number including a cast of drag performers, eccentric outfits, campy sets, and much more. By the end, Sabrina is kicked out of the house and is met with her love interest outside waiting for her, where she then stabs him with her high heel because “It’s a thing, someone (someone being the male love interest) has to die every video” (per her words). The whole performance is a great summary of what Sabrina Carpenter’s music represents and her overall agenda. It’s campy, it’s funny, and it’s a good time all while taking the power back from power-hungry, manipulative men — the kind too many women unfortunately encounter.
If you’re open to looking past the surface of what Carpenter represents, I promise you’ll enjoy this record. Not only is she insanely talented when it comes to writing catchy pop hooks, but she’s also an intelligent lyricist who knows how to disguise unfortunate truths in humor, sarcasm, and spectacle. And even if the lyrical content isn’t your cup of tea, I can promise you’ll find yourself bouncing your head to the earworm production courtesy of Jack Antonoff and John Ryan. In a pop landscape cluttered with safe choices and recycled trends, Carpenter is doing something riskier — and far more rewarding.
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