I, CoA’s listener-in-chief, am back with a review of Man’s Best Friend, Sabrina Carpenter’s seventh full-length album. Released on Aug. 29, it’s a cheeky, infectious diss to the myriad of frustrations associated with dating.
Manchild: Funky synths, sliding vocals and an addictively catchy “Manchiiiiiiiiild” — this song won’t escape your head. With an upbeat, simple and almost teasing vibe, Carpenter playfully and covertly insults men. Highlight: Her melodically spoken “stupid? or is it slow?” effectively breaks up the otherwise repetitive track. However, the song itself wasn’t anything unlike what I’d expect her to release: safe, bland and somewhat repetitive.
Tears: Sensual adlibs lead smoothly into a piano-drum melody. The intro crescendoes into a dramatic entrance as we’re hit by a seriously not-safe-for-school line. “Tears” is both raunchy and groovy. Overall, the beat is swingy and touched with bass, and the piano key changes from D minor to F dorian give the song an irresistible jazzy feel. Highlight: The penultimate chorus is spoken, almost whispered, upping the song’s tension and leaving listeners wanting more.
My Man on Willpower: This track better highlights Carpenter’s vocal range. Contrast is used very well in this song — the verses are quiet and the chorus is full of heavy instrumentals, coupled with an F-major key that gives a bittersweet feeling to the song. Highlight: The last chorus’s hook at the end, “my man on his willpower is something I don’t understand,” is the moment where the instruments swell highest. The major key brightness contrasts with the lyric’s bite, making it really pop.
Sugar Talking: Slower and swingier, this song makes you want to sway. Carpenter sings from a deeper register in an almost ballad-like way. This song blends pop and the warmth of R&B, making it feel vulnerable and sultry all at once. Highlight: The slow, deep bassline under the vocals adds so much dimension to the song, contributing to an overall dreamy feel. The almost autotuned adlibs are wistful and yearning. This is one of my favorite tracks on the album.
We Almost Broke Up Again: Sensitive, melodic and soft. This feels like an up-tempo ballad. The lyrics are especially relatable in this one: I’m sure a lot of people have dealt with the exhausting cycle of ending and re-entering a relationship, only to end it again. Highlight: The instrumental stays warm but understated throughout the whole track, letting the vocals shine and allowing Carpenter’s voice to carry the fragility. It feels like a late-night yearning that’s a little weary, but swaying between comfort and collapse.
Nobody’s Son: Like a carousel, the chorus seems to spin round and round. It feels like a vicious cycle (evident through her “here we go again” lyric) of experiencing the letdown that comes with trusting lovers not to break your heart. Highlight: The amount of layers this peppy instrumental has — some sort of string instrument, synth pulses, drums and I swear I heard the trombone, too. With sugary sweet vocals and a happy instrumental, it probably sounds more like a euphoric love song than anything else.
Never Getting Laid: Are we allowed to publish this title? Similar to “We Almost Broke Up Again,” it has a chill R&B groove. What’s different is that it oscillates between that feeling and a brighter, bouncier chorus. That contrast makes the song feel breezy and cheeky. Highlight: The crazy tonal shift at the end. I almost thought it was the start of the next song upon first listen. The soft, melancholic lyrics are drawn-out and effortlessly delivered.
When Did You Get Hot?: This is two minutes and 15 seconds of temptation and allure. It’s playful, yet elevated at the same time, accentuated by the witty lyrics and laid back percussion. Too bad this song isn’t longer! Highlight: The verses. The tone with which she delivers the lyrics is like a speaking and singing hybrid, like she’s teasing her song’s audience, drawing them in directly.
Go Go Juice: Campy and country-tinged, the choruses almost feel similar to Chappell Roan’s vibe. But the verses are distinctive — airy vocals with a minor chord progression that feels melancholy yet frisky. Highlight: The fiddle-filled instrumental break that fades into the slow, chanted “ba-da-das” and slurred lyrics in the bridge. Oops, it seems like she really did drink too much Go Go Juice… whatever that might mean.
Don’t Worry I’ll Make You Worry: Another ballad filled with major chords, this song feels warm and candle-lit. The light, sweet adlibs throughout give it a major late-night feel, accentuated by the acoustic guitar. The sound of the song contrasts the lyrics; they’re cutting, dominant and slightly cruel. Highlight: Her beautiful vocals. Her tone is so soft and pleasant on the ears. There’s a reason Sabrina is a singer and not, well, a carpenter.
House Tour: The retro vibes are strong with this one. Bubblegum pink and upbeat, it’s reminiscent of 80s music and songs like Madonna’s “Material Girl.” Carpenter’s lyrics are full of playful innuendoes. She promises “none of this is a metaphor,” but we can see right through. Highlight: The bridge, where Carpenter is borderline chanting, is fun to sing along to.
Goodbye: Sonically, it feels like a more vibrant older sibling to “Slim Pickins” from Short n’ Sweet. The subject matter is obviously a breakup, but it’s not regretful or sad in the slightest. It’s as if she’s saying good riddance instead. Highlight: The farewells in different languages. From arrivederci to au
revoir, those lyrics are a fun move that prevents the repetition of “goodbye” a million times.
Final thoughts: “Man’s Best Friend” is full of different energies, jumping from cheeky pop bops, to moody ballads to smooth R&B grooves. I can’t get enough. “Manchild” can take a step back, though.
