Sabrina Carpenter’s “Man’s Best Friend” is Ruff 

Sabrina Carpenter’s newest album “Man’s Best Friend” is all bark and no bite. 

After months of backlash over its controversial album cover depicting the singer on her knees with a man holding her hair, Carpenter’s newest album “Man’s Best Friend” released August 29. 

Sabrina Carpenter begins her album with “Manchild,” which quickly became TikTok’s darling from its release, including its own dance. 

The opening song sets an unfortunate tone for the album, with Carpenter continuing her slight jaunt into country tunes from her previous hit album “Short n’ Sweet,” but never falling into the genre full force. With an overpowered synth backing, she’s in constant competition to sing over the song’s production. 

Yet, in classic Carpenter fashion, one semi-decent song is followed by a hit. “Tears” is the pop star at her best. The second track outshines the opening track from its first funky beat. Aside from provoking listeners to groove, the disco-pop song responds to her critics who say she only writes “man-hating” music. “Tears” is Carpenter laying out the bare minimum for the way men should be treating her. 

The ‘80s style song is accompanied by a “Rocky Horror”-esque music video starring Colman Domingo. 

“A little respect for women can get you very very far,” Carpenter sings while bringing a platter of tea and wearing lingerie. 

The apathetic “My Man on Willpower” and “Sugar Talking” turn the album sour. Carpenter’s voice lacks emotion, causing the songs to feel forced. There’s little variation in the tracks’ respective repetitive instrumentals, cementing the lack of depth. 

“We Almost Broke Up Again Last Night,” is just like its title — too long. 

After a lackluster three track run, the songs begin to blend together. Carpenter showcases minimal vocal range with her inflection remaining static. The songwriting is low quality, presumably to match the three song’s production.

Carpenter saves herself from the doghouse with “Nobody’s Son,” which features lyrical and instrumental juxtapositions. Carpenter sings of breaking up with someone, crying in bed and comparing her newly-single status to friends’ relationships, while the upbeat production plays with her vocals, adding minimal stylization to her voice and a bridge built with whip noises.

“That boy is corrupt / Get PTSD on the daily / He sure fucked me up,” Carpenter sings. 

The album begins to build itself back up after “Nobody’s Son,” as the following “Never Getting Laid” continues Carpenter’s story of healing after a break up. The track is slower, the instrumentals quieter and her voice powerful. Carpenter’s vocals shine through this track, especially during the final 20 seconds. 

The singer blends aspects of her previous albums “emails i can’t send” and “Short ‘n Sweet” with “Man’s Best Friend,” displaying her growth as a popstar. 

Despite running under three and a half minutes, “When Did You Get Hot?” finds itself with a near-perfect track length. There’s heat in Carpenter’s voice, her vocals comical at times and sensual at others. 

“Congratulations on your new improvements / I bet your light rod’s, like, bigger than Zeus’,” Carpenter sings.

Akin to its country-esque counterparts “Manchild” and “Slim Pickins” from her previous album “Short n’ Sweet,” “Go Go Juice” begs an accompanying line dance. Carpenter sings of drinking her sorrows away only to then call an ex, even slurring her words in the song’s bridge. 

“Ba da da da da da / Shouldbwe hooks up / Ba da da da da da / Bye it’s me / Howsmmmm call / Do you me still love?” Carpenter slurs. 

“Don’t Worry I’ll Make You Worry” tonally shifts the album. For almost four minutes, the singer slows to contemplate her previous relationships. The calm, stripped-back song allows Carpenter to display her vocal prowess, with harmonies lifting her voice throughout the track. 

Carpenter truly shines on the album’s seminal track “House Tour.” The track is refreshing, groovy and catchy. The beat follows Carpenter as she gives the listener a tour through innuendos, metaphors and implications. The lyrics are tightly coupled with household items, yet, like “Busy Woman” from her previous deluxe album, are full of double meanings. 

“Do you want the house tour? / I can take you to the first, second, third floor / And I promise none of this is a metaphor / I just want you to come inside.” Carpenter teases. 

The album returns to its foremost theme of heartbreak with “Goodbye.” Starting slow, the track builds up to the first “goodbye” and breaks into an ABBA-like instrumental. The production of “Goodbye” does anything but say goodbye — the track repeats its own stylistic ebb and flow for its nearly four minute run. 

Moments after the track ends, the pop star sums up listeners’ thoughts with “Oh boy” as “Manchild” begins again. 

“Man’s Best Friend” is an untrained dog with a lack of patience, discipline and skill. But, like any good dog, there’s always room for improvement. 
Listen to “Man’s Best Friend” on all major streaming platforms now.