Sabrina Carpenter’s “Man’s Best Friend”
Melanie Mandelke ‘29
mandelkem17@lakeforest.edu
Staff Writer
Sabrina Carpenter’s release of her seventh studio album was anticipated to be another album filled with iconic summer anthems, following her Grammy Award-winning “Short N’ Sweet.”
The single “Manchild,” released in June, promised a continuation of Carpenter’s signature witty lyrics and catchy beats, along with a blend of pop and country influences. Fans loved it, and so did TikTok users, with the spread of a new line-dance-esque trend to the song.
But things quickly went downhill when she officially announced the full album, with a first look at its cover. The cover featured her on all fours in front of a man who appeared to be holding her hair as if it were a leash. That image, and the title of the album itself, “Man’s Best Friend,” led many people to accuse her of comparing women to dogs. Some even went as far as to say Carpenter was anti-feminist.
Fans of the pop star, meanwhile, went online to dismiss the criticism, saying that the cover clearly depicted Carpenter as the one in control. Others thought that the cover was never meant to be a statement or have any deeper meaning in the first place. The artist herself stuck with her creative choices, claiming that the cover made sense for the message she was trying to send. That message, however, remained somewhat unclear.
In my opinion, the cover and title of the album raised an important question. Did she want it to be viewed on the surface level, or for it to start a deeper conversation? If Sabrina Carpenter intended to criticize how women are portrayed in the media, then she could have done so more clearly. Or, if she meant for it to be about sexuality, she could have been straightforward about that and prepared a better response to the backlash. Either way would have been a better handling of the situation.
There was also plenty of debate around the music itself. Sabrina Carpenter covered themes of sexuality, heartbreak and overall disappointment with her love life. Most songs leaned towards upbeat or sarcastic, even those with sadder lyrical tones, such as “Nobody’s Son” when she sings: “Crying in bed / What a familiar feeling / All my friends in love and I’m the one / They call for a third wheeling.”
Some said it was boring and sounded like every other pop album from recent years. Many people, myself included, are tired of synth beats in new pop albums. Such repetitive synth sounds are a staple of Jack Antonoff, one of the producers on the album who has also worked with many artists such as Taylor Swift and Lorde.
This time around, however, I was pleasantly surprised by Antanoff. The production was one of the strengths of the album. It was interesting and at times simply impressive with beautifully layered vocals and satisfying choruses such as those in the songs “Go Go Juice” and “Goodbye.” The lyrics were also incredibly creative and funny with their references, especially in songs like “House Tour” and “Never Getting Laid.”
Frankly, I could live without some of the songs, but there were a few standouts—“Tears,” “Nobody’s Son,” “When Did You Get Hot” and “House Tour.” With skillful production, clever lyrics, and melodies that stick in your head for days, they checked all of the boxes of what makes a fantastic Sabrina Carpenter song.
If you want an amusing, easy listen and aren’t too offended by the cover image, then I recommend checking out Sabrina Carpenter’s newest album, “A Man’s Best Friend.”