In Sabrina Carpenter’s seventh studio album, “Man’s Best Friend,” she finds herself campier and more scandalous than ever. This style of songwriting has certainly helped her become one of modern pop’s best. Still, despite her A-list status, she isn’t without controversy. Recently, scrutiny has revolved around the cover art of her new LP, “Man’s Best Friend.” Picturing her on all fours with her hair held above her like a leash at the feet of a man, many people claimed that it was a step back for the representation of women in the media. As one Instagram user put it, “in this political climate with Trump as president and women’s control over their bodies being taken away in the US … This is kind of insensitive.”
Carpenter has since responded to these claims, arguing back that these critics “need to get out more.” While the critique of the album’s artwork is both scathing and meritable, Carpenter herself has discussed her feelings over it. She claimed, “My interpretation is being in on the control … As a young woman, I think you’re just as aware of when you’re in control and when you’re not. Those are choices.”
While the album cover was controversial, there’s no denying that its sexual themes bleed into the album—whether it’s in the amusing chorus to “Tears” or the implied actions of “When Did You Get Hot?.” While not for everyone, her humorously horny lyricism in this album is as constant as Carpenter herself. Because of this, “Man’s Best Friend” feels very much like a sequel to last year’s “Short n’ Sweet.” Both albums feature very polished retro style production, with “Man’s Best Friend” taking direct inspiration from disco in the banger, “House Tour.” Furthermore, evident in “Man’s Best Friend’s” debut single “Manchild,” some songs on this album tend to take a more americana-country approach. My favorite track on the album “Goodbye,” has a chorus that feels directly ripped from a 1960s Nashville recording.
As a holistic project, I think that “Man’s Best Friend” is a very solid album. It has many good songs with only a couple of skips. However, I find that it fails to meet the “hit” quota that “Short n’ Sweet” had us expecting. “Manchild” was great as a lead single, but it didn’t have the impact or groove of 2024’s smash hits. “Espresso” and “Juno” from “Short n’ Sweet” are, at this point in time, some of my favorite projects of hers. Tracks like “Sugar Talking” try to replicate the magic of the synth solo in “Juno” but sadly, just don’t reach the same heights. While I have gripes with this album, I do think that Carpenter still managed to make a very solid pop record—especially one that stands out in the context of 2025 and the barren landscape of the pop charts (I’m quite tired of Morgan Wallen).
This article also appears in our September 2025 print edition.
