By Alena Bitonti
Arts & Entertainment Editor
Pop sensation Sabrina Carpenter released her seventh studio album titled “Man’s Best Friend” on Aug. 29. The album follows “Short n’ Sweet,” her sixth studio album released last August, which earned praise for its clever lyricism and perfect blend of bubblegum pop with influences from R&B, country, folk, rock and disco.
Following the album announcement in June, the singer received backlash for the cover of her new record. In the image, Carpenter is shown on her knees next to a faceless person in a suit, grabbing her hair, which some argued made her appear submissive and could be seen as degrading to women.
Carpenter told Interview magazine, “When I came up with the imaging for it, it was so clear to me what it meant. So the reaction is fascinating to me. You just watch it unravel and go, ‘Wow.’”
With her latest project, Carpenter leans further into the sound that helped launch her into stardom, beginning with the playful lead single, “Manchild.”
Released back in June alongside an accompanying music video the following day, the track describes the annoyance of dealing with an immature man delivered through an upbeat melody. She even pokes fun at her habit of choosing emotionally unavailable partners, singing “Oh, I like my boys playing hard to get / And I like my men all incompetent.”
On Aug. 1, Carpenter revealed the title of the album’s second track and single, “Tears,” with an Instagram post featuring a photo of her standing next to a puppy on a white director’s chair. Through provocative metaphors, the song expresses a desire for a partner who is polite and respectful, essentially the opposite of a man-child. A music video for “Tears” coincided with the drop of the album.
“My Man on Willpower” complements the previous track. It describes a man who has become self-restraining and is no longer as “obsessed” with Carpenter as he once was, which causes her to feel unwanted. In “Sugar Talking,” Carpenter continues airing her grievances, declaring she’s ready to take control. She twists the idiom “put your money where your mouth is” into “Put your loving where your mouth is,” implying that her partner should back up his words with affection.
Similarly, “We Almost Broke Up Again” centers on another imperfect relationship, recalling the cycle of falling in and out of love and using intimacy to make up after fights. Despite the pair knowing they aren’t right for each other, they return to the same toxic behaviors and continue their relationship.
Carpenter leans into her signature contrast between upbeat melodies and cutting lyrics on the sixth track, “Nobody’s Son.” The lyrics critique a man’s upbringing as the source of his behavior, a theme she also touches on in the album’s opener.
In “Never Getting Laid,” Carpenter insists she isn’t angry after a breakup and wishes her ex a lifetime of happiness. At the same time, she hopes he develops agoraphobia, an anxiety disorder that makes people fearful of leaving safe spaces, so his “sunny days” are seen only from a window inside. Ultimately, Carpenter wishes him a forever of never finding the satisfaction that she once gave him.
The next song on the album, “When Did You Get Hot?” is a personal favorite of mine. It has some of the funniest lyrics on the album, paired with a flirty pop/hip-hop sound.
When I first saw “Go Go Juice” listed as a track name, I was immediately reminded of Carpenter’s hit song “Espresso.” However, it doesn’t refer to coffee – or juice at all. In the context of this song, “Go Go Juice” refers to alcohol. Parts of the chorus serve as a clapback to her ex-boyfriend, Irish actor Barry Keoghan.
Keoghan and Carpenter began dating in December 2023, and confirmed their relationship when they made a public appearance together at the W Magazine Grammys after-party in Feb. 2024.
Keoghan starred in the music video for Carpenter’s song “Please Please Please” last summer, playing a criminal that she keeps bailing out of jail. The couple reportedly broke up in December 2024 after about a year of dating.
The singer shows off her range in the closing stretch of the album, both as a vocalist and storyteller. “Don’t Worry I’ll Make You Worry” has elements of Taylor Swift’s album “Folklore,” in addition to beautiful vocal layering and cheeky lyrics. This isn’t surprising, as producer Jack Antonoff worked on both records.
“House Tour” seems to be quickly growing as a fan favorite. It first appears to be a song about inviting someone home after a date. Despite her claim that “None of this is a metaphor,” it becomes apparent that Carpenter uses the idea of touring a house as a sexual innuendo.
Although she never names Keoghan by name, the twelfth and final song on the album is a clear anthem for her recent breakup. “Goodbye” serves as a closing to the album and a farewell to her past relationship, with Carpenter even saying goodbye in multiple languages. The song carries an ABBA-esque sound and a bittersweet ending to the record.
“Man’s Best Friend” once again showcases Carpenter’s talent for pairing catchy pop with sharp, witty lyrics. This record feels like an extension of her last — many of the tracks sound similar, which can make the album feel underwhelming at first. Still, the record is solid overall and grows on you the more you listen.
