Sabrina Carpenter sparked a fervent debate this summer with the release of the cover for her seventh studio album, “Man’s Best Friend.” It featured Carpenter in a thought-provoking pose, igniting a heated discussion. Some accused it of “pandering to the male gaze” and being “regressive.” In a time when the world seems to be regressing, people were quick to point to Carpenter, one of the biggest pop stars at the moment, as being part of this. This controversy, while intense, adds an intriguing layer to the album’s narrative.
Amidst the heated debate over the cover, the real question emerges: Can the album itself rise above this controversy? Let’s embark on a detailed exploration of “Man’s Best Friend,” track by track, with the hope and anticipation that it might just do that.
“Manchild”
The only single off this album is a testament to Carpenter’s evolution. It showcases her journey from the country influence in “Short n’ Sweet” to a more pronounced Dolly Parton style. This song not only sets the tone for the rest of the album but also stands out as a great song in its own right, leaving us excited for what’s to come.
“Tears”
This song is much more 70s pop-inspired, featuring heavy piano, syncopated rhythms, and sexual references; it fits right in with her output of the last two years. Though very catchy, it fails to distinguish itself from the likes of “Espresso” and “Juno” in her discography. It feels a lot like more of the same thing — a good thing — but the same nonetheless.
“My Man on Willpower”
This song ingeniously combines the best parts of the last two. The synth beat, in a clever twist, complements the stomp clap country elements, resulting in a compelling dance track. Carpenter’s decision to weave a more intricate narrative into the song is a refreshing change that I particularly enjoyed. The inclusion of a call-and-response element further enhances the song’s appeal, and I’m sure it will be a hit on her upcoming tour.
“Sugar Talking”
This is another song that seems like a typical Sabrina Carpenter song, with little difference between it and anything on “Short n’ Sweet.” She revisits themes of heartbreak, relationship drama, and complicated relationships with men (though I will admit that “put your loving where your mouth is” is a very clever line). This is slightly slower than her usual fare, which makes it sound almost R&B, making me enjoy it somewhat more than “Tears.”
“We Almost Broke Up Again Last Night”
Unexpectedly, a ballad emerges in this song, crafting emotion in a way that feels undeniably real. Her voice, raw with emotion, hits home. We’ve all been in a toxic relationship or friendship, where we give more than we get, and this song captures that feeling perfectly. I can’t wait to sing these lyrics on an empty highway with my friends, a shared experience we can all relate to.
“Nobody’s Son”
Not upbeat enough to be a dance number, but not slow enough to be a ballad, this song has a simple melody that lacks interest. It sounds like something that would appear on a children’s television show if they dealt with adult relationships. It commits the worst crime in pop: being incredibly dull.
“Never Getting Laid”
This R&B track is a fresh take on a breakup song, as Carpenter is still very possessive of the subject. She belts out that she hopes her ex never gets laid, which is a very Sabrina Carpenter take on moving on from a crappy guy, but a funny one for sure.
“When Did You Get Hot?”
A pretty good song about someone who you hadn’t seen in a while becoming hot. It’s also kind of funny and has enough elements that I like. Yet, the sum is less than the parts, so while it will go into my rotation, it doesn’t really stand out to me.
“Go Go Juice”
Finally, a song that’s not entirely about men! Sometimes alcohol is a girl’s best friend. Frankly, a wedding classic in the making, another country-style song is much appreciated after four songs worth of synth. I know it’s going on my 21st birthday playlist, and probably many bachelorette playlists after mine.
“Don't Worry, I'll Make You Worry”
A bit more introspective than usual, Sabrina pulls aside the bombshell facade to reveal a more complicated personality. The music is softer, much more piano-like, than most pop songs, which lends itself to this kind of song. It’s a nice change of pace and much more interesting than most of it. Something you can kind of sink your teeth into.
“House Tour”
Right back to the disco vibes she’s known for. This song feels like it could be another single in the same vein as “Espresso.” It’s very much a get up and dance and not listen to the lyrics. Like a bag of potato chips, it’s nice and light, but it does not have much nutritional value; it’s a good time nonetheless.
“Goodbye”
A fittingly ABBA-style end to this album. It feels right at home being belted along to in a club with your friend. Carpenter clearly takes inspiration from ABBA but is able to make this song all her own. It ends the album on a high note, with clever lyrics and a fun backing track including synths, violin and stomp claps that dominated this album, mixing them perfectly together.
Overall, Carpenter has played this album incredibly safe; she wrote more of what made “Short n’ Sweet” popular. Though imitating a good album isn't a bad idea, it gets kinda boring after a while. Maybe with artists like Taylor Swift clearly demarcating eras, we’re not used to others sticking to recognizable brands. Still, I frankly expected more from this.
