In June, Sabrina Carpenter released her seventh studio album, *man’s Simplest Friend*, which features provocative cover art depicting her on all fours with an unseen man gripping her hair. This imagery ignited intense discussions online, particularly among Carpenter’s younger fans who may not have been familiar with the Tumblr debates of 2015 or the media frenzy surrounding Madonna in the ’90s and early 2000s.Many of these listeners might not realize that conversations about whether pop stars should embrace sexual themes have been ongoing for decades and often veer into triviality.
Fans approaching *Man’s Simplest Friend* anticipating another wave of controversy may find themselves surprised—not due to overt scandal but because of it’s unexpectedly retro-pop sound. carpenter showcases clever wordplay (“Gave me his whole heart and I gave him head”), reflecting a generation accustomed to rapid-fire stimulation. However, she clearly perceives pop music as both a craft and an artistic endeavor.
In recent times, few albums have been as meticulously produced as this one; nearly entirely performed with live instruments, it is filled with catchy hooks that make it feel alive—a remarkable creative feat for Carpenter. The most significant provocation here may be a newly minted star beloved by Gen Z challenging industry standards by incorporating unconventional instruments like clavinet, sitar, and agogo while drawing inspiration from artists ranging from ABBA to Fleetwood Mac’s *Tusk*.
Carpenter has previously gained acclaim for tracks such as “Nonsense” and “Coffee,” which thrived on infectious hooks paired with sharp lyrics.Though, *Man’s Simplest Friend* serves as a rebuttal to critics who labeled “Coffee” too simplistic; these new songs are intricately layered yet deceptively accessible in their construction. The lead single “Manchild” exemplifies this complexity—its second verse features an entirely different melody from the first while maintaining distinctiveness throughout its bridge; all set against a driving country-infused groove where Carpenter cleverly rhymes phrases like “hard to get” with “incompetent,” culminating in exclamations like “fuck my liiiiiiiife!”
Carpenter’s songwriting has consistently demonstrated more depth than she often receives credit for; however, “Manchild” stands out due to its intricate structure combined with infectious catchiness—it demands attentive listening. Initially overwhelming upon first listen due to its busy arrangement, clarity emerged only after several plays when I could fully appreciate its seemingly contradictory elements. Similarly engaging is “My Man,” an opulent Eurodisco track juxtaposing themes of sexual frustration against Boney M-esque flair alongside “Home Tour,” which humorously captures mundane life reminiscent of Diana Ross’s classic hit through lines like “The couch is usually comfy / Got some Chips Ahoy if your hungry?”
While ther are sonic nods towards ABBA throughout *Man’s Simplest Friend*, Carpenter along with collaborators Jack Antonoff, Amy allen, and John Ryan seem inspired by Swedish pop sensibilities—ensuring even upbeat radio-friendly tracks receive meticulous attention regarding detail.
The central theme encapsulated within the album title suggests men treat women they date akin to pets—and she approaches this notion playfully while maintaining her signature tongue-in-cheek style reminiscent of Betty Boop.
The execution remains robust; Antonoff enlisted members from his band Bleachers along with session musicians renowned in their own right contributing significantly across these songs elevating them into vibrant productions you wish you could dissect further.
“We Almost Broke Up Again Last Night,” narrates relatable rocky relationships many friends experience crescendos into grand guitar solos accompanied by soaring strings.
After collaborating extensively producing records alongside Taylor Swift,Lorde,Lana Del Rey,and others,Atonoff seems somewhat unwelcome among current pop enthusiasts who perceive him as overexposed yet *Man’s Simplest Friend* makes compelling arguments advocating his continued relevance.
This collaboration between him,Carpenter,Amy Allen,and John Ryan operates seamlessly together creating what feels akin producer/artist partnerships comparabletohisworkwithDelReyonherinstant-classic*NormanFuckingRockwell!*
The synergy between her writing style combinedwithhisproductiononthisalbumisremarkablytight,makingitsprecedentthestrongerShort’n’Candy—which spent49weeksintheUKTop10producingthreeMajorhits—seemalmostelementarybycomparison.
The trade-off when Carpenter excels so remarkably lies within aspects that irk some listeners—the frequent useofprofanity,theoverstuffedlyricsfilledwithinnuendo,andthevaudevillianhaminess—all present abundantly here.
This content may have felt stale previously but what distinguishes *man’sSimplestFriend*isthatwhileeverythingelsefeelsfinelytunedandelegantlycrafted,itbecomeseasytooverlookoccasionallylazilyphrasedlines(like“Igetwetthinkingofyou/beingaresponsibleman”)orrecognizethatmanytrackscoverstrikinglysimilarconcepts.
Nonetheless,*MansSimplistFriend*possessesatrueTrojanHorsequality—it embodies such distinctively Carpentersoundthatonecould easily overlookitsplaceamongthisyear’smostunique,musicallyinnovativepopalbums.