After years toiling within the post-Disney-star pop ecosystem, Sabrina Carpenter lastly broke by final yr with Quick n’ Candy, her sixth album, which rode to pop ubiquity (and powerful Grammys recognition) off the again of “Espresso,” “Please Please Please” and “Style” its three catchy, sharply written megahit singles. Since then, she’s staged a huge world enviornment tour and, someway, discovered time to report a follow-up: Man’s Greatest Pal, which as soon as once more finds her working with Jack Antonoff, John Ryan, and the songwriter Amy Allen.
Like its predecessor, Man’s Greatest Pal positions Carpenter as a type of TikTok-era Mae West: a intercourse image who’s in on the joke, and who can flick between candy and savage in milliseconds. This time round, there’s just a little extra disappointment and frustration within the combine—Quick n’ Candy might need made frequent reference to the irresistible nature of Carpenter, however this report pokes some holes in that self-confidence as she sings about males who’re disinterested, impolite, or simply plain annoying. Listed here are 5 key takeaways.
Provocation with Objective
Man’s Greatest Pal was already a media sensation earlier than it even got here out, due to its vaguely provocative cowl—Carpenter, on all fours, with a person in a go well with grabbing her hair—and its title, which some followers assumed was being introduced actually and uncritically. In fact, the presentation of the album makes numerous sense once you hearken to it: Many of those songs, like “My Man on Willpower” and “We Virtually Broke Up Once more,” middle on Carpenter’s incapability to chop herself off from males who trifle together with her feelings or make her really feel undervalued. (On her being handled, in different phrases, like a canine.)
Euro Swag
One of many songs on Sabrina Carpenter’s pre-show playlist is ABBA’s “If It Wasn’t For The Nights,” an underrated and comparatively obscure from 1979’s Voulez-Vous, written by Björn Ulvaeus about how his personal sense of workaholism was the one factor getting him by his divorce from Agnetha Faltskog. Carpenter’s ABBA standom comes into full bloom on Man’s Greatest Pal, which pulls distinct affect from the luxurious white European pop of the ’70s and ’80s. There are shades of “I’ve Been Ready For You” on “We Virtually Broke Up Once more Final Night time,” whereas “No one’s Son” performs like a love letter to the Swedish pop trade, someway nodding to “Considered one of Us,” Ace of Base’s “The Signal” and Jens Lekman’s “The Reverse of Hallelujah” in equal measure.
Then there’s “Goodbye,” the album’s triumphantly acerbic nearer, which channels “Voulez-Vous” and the hearty chug of “Take a Likelihood on Me.” If Carpenter desires to remain on this lane for some time, there’s nonetheless loads of bizarre ABBA music from which to mine inspiration: personally, I’d love to listen to her tackle “Guests”-esque paranoid coldwave.
