Sabrina Carpenter’s seventh album, “Man’s Best Friend” was released on Friday, Aug. 29th on all major streaming platforms. Following her Disney career, the artist consistently released music to relative success until her fifth album, “Emails I Can’t Send” gained traction. This built the groundwork for her album “Short n’ Sweet” to break records and win Carpenter her first Grammy. Now, just one year and six days later, she has released another album, showcasing the evolution of her music.
The album begins with “Manchild,” a three-month-old single that brewed anticipation for the album. The song stomps out in full country pop swing, with lyrics as biting as the title suggests. The lead single sets the tone for the rest of the album’s bold lyricism and sonic confidence, preparing listeners for a record that discusses complicated love and situationships.
In comparison to her previous record-breaking album, “Short N’ Sweet,” “Man’s Best Friend” starts off very similar with country pop inspirations. However, throughout the album, she begins to draw more inspiration disco-pop with influences from ‘80s synth-pop. She transitions from a Dolly Parton inspired sound to using tracks that align with ABBA. The lyricism is also more dramatized than “Short N’ Sweet” and has more provocative innuendos throughout the songs.
The album had already received criticism before its release due to the provocative nature of the album cover. The cover features Carpenter on her knees in an assumed sexual manner, sparking debate over whether her position was empowering or degrading. Critics argued that Carpenter debasing herself and that choosing that image for the cover was inherently problematic and catering to the male gaze.
On the flip side, her supporters maintained that she was reclaiming the position and finding power in the sexual nature of the photo. Sexuality is an aspect of her music that has evolved, especially considering her roots as a strictly family-friendly artist. This shift shocked her fans at first but has helped establish Carpenter as a different artist from her Disney days.
The entire record leans more into the raunchy, sex-positive lyrics that sparked attention in the last two albums. This album utilizes provocative language throughout the songs, no matter the tempo. From the slower “We Almost Broke Up Again Last Night,” to the faster paced “Tears” and “Gogo Juice,” she does not shy away from the reality of sex in modern-day relationships.
The last two songs of the album stay on-brand, while exploring new depths of lyricism. “House Tour,” is an auditory house tour where Carpenter cheekily invites the listener into her home, filled with double-entendres. It’s witty, theatrical, and perfectly on brand. Then comes “Goodbye,” which signs off with a multilingual kiss: mixing bitterness and comedy in her closing song.