It’s been almost a year since “Short n’ Sweet,” the album that elevated Sabrina Carpenter’s status to one of the biggest pop stars in our generation, delivering her first No.1 single and Grammy. Now here we are again, being gifted more — as on Aug. 29, Carpenter dropped her newest album, “Man’s Best Friend.”
Her niche is clear: a sweet, bubbly blonde who can get under a man’s skin while slyly undermining and asserting her dominance.
“Man’s Best Friend” is packed with comedic and sexual lyricism, where Carpenter alternates between sarcastic quips and heavy-hearted sighs.
Following the release of the single “Manchild” in June, fans wondered about the direction of the record. Curiosity spiked once Carpenter unveiled a widely debated album cover, which shows her on her hands and knees with her hair being pulled from above, presumably by a man.
Listening to the album, the cover makes sense. It highlights Carpenter’s inability to cut herself off from men, even when treated poorly — like a dog, emotions tugged back and forth.
It’s all about the lack of control.
Say what you want, but she is timely. The 12-track, 38-minute project, created with Jack Antonoff, Amy Allen and John Ryan, brings out her lustful, quirky and sneakily heartfelt sound.
Like any album, it takes time to pick out favorites and rule out the duds, so it took me about three listens to narrow it down — and I admit, it’s growing on me.
Right off the bat, the first new song, “Tears,” which doubles as the album’s second single, hooked me with its string section and siren-like vocals. But the chorus — “I get wet at the thought of you (Uh-huh)” and “Tears run down my thighs,” — felt like a cheap switch-up.
The disco-pop edge carries into the music video, taking inspiration from “The Rocky Horror Picture Show.” It’s a haunted house spectacle led by Academy Award-nominated actor Colman Domingo in drag, leading the celebration.
Sonically, the album leans into ‘70s and ‘80s disco. It draws on ABBA’s “Voulez-Vous” with Carpenter’s closing track, “Goodbye,” channeling that era’s dance-floor pull, making you want to move.
Production shines, but lyrically, Carpenter risks boxing herself in. She could have benefited from letting her sound evolve with more patience.
“Don’t Worry I’ll Make You Worry” is my personal favorite. A soulful yet upbeat, sorrowful tone marked by layered harmonies that linger long after. It’s almost like she’s letting someone down easy; there’s no question who is in control.
“So don’t worry/ I’ll make you worry like no other girl can/ So don’t worry/ Damn sure I’ll never let you know where you stand” Carpenter swoons. Sweet poison — and it works.
In an interview with CBS Mornings, Carpenter prefaces that the album isn’t for “pearl clutchers.” It’s not that serious; the whole point is to have fun and belt out the bold lyrics, resonating with any emotion you have a hard time admitting — let yourself feel it.
“When I started, you know, becoming more sexual as a person, I think it’s just something that’s a part of life. You want to write about it,” Carpenter said. “I didn’t realize it was as taboo of a topic until I started writing about it more freely.”
Every track lands some sort of physical reference, guaranteed to leave listeners blushing or smirking.
Still, there’s an over-reliance on sneaking in profane language. It’s catchier when the innuendo is clever rather than explicit.
“House Tour” is a prime example: “Do you want the house tour?/ I could take you to the first, second, third floor/ (We can take it to the—)/ And I promise none of this is a metaphor (Ah)/ I just want you to come inside (Come inside)/ But never enter through the back door” Fun, sure, but heavy-handed.
Carpenter is pushing boundaries but risking predictability.
In today’s pop landscape, “Man’s Best Friend” proves she knows how to keep herself in the conversation, either by sparking a debate or delivering a chorus full of vulgar complexities. For now, that’s enough to keep her on top — but it may take more evolution to keep her there.
