“Oh boy.”
That is how Sabrina Carpenter begins her latest album, Man’s Best Friend, a somewhat apt statement considering all the commotion surrounding its release. The entire release cycle has been overshadowed by the controversial cover, sparking an intense period of internet discourse. It became a discussion of extremes: critics were outraged with the portrayal of Carpenter in a submissive position, while others applauded her use of feminist satire. Some merely argued it was the employment of shock tactics often used throughout pop music, most notoriously by Madonna in ‘Like A Prayer’.
When focussing on the music alone, Man’s Best Friend is a perfectly enjoyable follow-up to Short n’ Sweet that is harmless to listen to – as long as you’re not offended by consistent sexual innuendo (“Gave me his whole heart, then I gave him head”). It just sometimes lacks the bite, musically, to make this album the best in show.
Man’s Best Friend is set up well with the first single, ‘Manchild’. It’s a melodically and instrumentally complex country-pop hybrid, beginning with a synth that sounds suspiciously similar to Chappell Roan’s ‘Good Luck, Babe!’. Still, the theatrical crescendos after each revelation Carpenter reveals in the choruses (“Never heard of self-care / Half your brain just ain’t there”) make it funny. Commercially, too, the lead single went well, achieving the coveted Number 1 spot on both the UK and the US charts.
Yet, neither ‘Manchild’ nor Man’s Best Friend feels like a regurgitation of Short n’ Sweet; rather, it feels like a continuation. It echoes a similar formula to pop supreme Taylor Swift, whose upcoming album The Life of a Showgirl includes a Sabrina Carpenter collaboration. Much like how evermore continued the whimsy of folklore, Man’s Best Friend shares a similar thesis to Short n’ Sweet. They both describe heartbreak (‘Nobody’s Son’ and ‘Slim Pickins’) as well as flirtatious possibilities and romantic manifestations (‘Go Go Juice’ and ‘Bed Chem’), with Man’s Best Friend having more consistent musical references to retro genres.
What evidently stands out on Man’s Best Friend is Carpenter’s exceptional curation of an eclectic mix of nostalgic, retro musical genres. The disco and R&B infusions are joined with nods to Dolly Parton, ABBA, and even Bucks Fizz, showing a hyper-awareness of the vintage aesthetic Carpenter is trying to conjure.
The second single, ‘Tears’, draws clear inspiration from Earth, Wind & Fire, who were special guests at Carpenter’s Lollapalooza set in early August.
The disco influences are strong – with strings, suspended piano chords, and a laid-back bass line. It’s somewhat reminiscent of ‘Feather’ from the deluxe version of her 2022 album (emails i can’t send), but it’s more nuanced and refined, with a greater homage paid to the disco genre. It’s invariably catchy, and you cannot help but be amused by the crude lyrics: “I get wet at the thought of you / Being a responsible guy / Treating me like you’re supposed to do / Tears run down my thighs”. Visually, the Rocky Horror-inspired music video is brilliant, as was the performance at the VMAs where Carpenter advocated for trans rights, a level of activism rare to see from such a high-calibre pop star.
These lyrics, however, do not translate as well on the slow, country ballads Carpenter tends to revert to. On ‘Don’t Worry I’ll Make You Worry’, the opening line “You think that I’m gonna f*ck with your head? / Well, you’re absolutely right” struggles to make the intended impact following a slow, swirling electric guitar intro and lethargic kick drum. Short n’ Sweet also featured these country-esque songs (“Sharpest Tool”, “Dumb & Poetic”, “Slim Pickins”) but sandwiched them between better pay-offs with ‘Good Graces’, ‘Espresso’, and ‘Bed Chem’. On Man’s Best Friend, the leisurely tracks ‘Sugar Talking’, ‘We Almost Broke Up Again Last Night’, ‘Nobody’s Son’, and ‘Never Getting Laid’ are in successive order, resulting in a loss of punch and edge.
Carpenter’s humorous lyrics work best on a committed pop track. ‘House Tour’ does this perfectly with strong use of drums and percussion, underscored by glitching synths, while she uses the double entendre “Do you want the house tour?”, echoing ‘Juno’ (“Have you ever tried this one?”). Likewise, the nods to Salt-N-Pepa and TLC on ‘When Did You Get Hot?’ provide some much-needed drive. Perhaps she would have been better off reserving Short n’ Sweet deluxe songs ‘Busy Woman’ and ‘15 Minutes’ for this latest offering to add some dynamism to the track list.
“Goodbye, means that you’re losing me for life.”
That is how Sabrina Carpenter ends her latest album, Man’s Best Friend.
By no means has Carpenter lost me. Man’s Best Friend is still an incredibly enjoyable album, and she still is a very engaging artist and performer. It must be said: I am a huge Sabrina Carpenter fan. I went to both her O2 and Hyde Park shows and own multiple copies of her LPs on various formats. After all, if Jesus was a Carpenter, then so am I.
Plus, with 85,500 units sold in the UK in the first week alone, it is clear that despite the controversies, Carpenter is still beloved by many fans. The cover alone proves she can still leave quite an impression – five feet to be exact.
Words by Ben Oxley
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