In Defense of Sabrina Carpenter (Again)

Two months ago, I wrote an article for ShelfMAG titled “In Defense of Sabrina Carpenter.” In it, I asked whether we can critique an entire album without listening to the music. This was in relation to the controversial album cover for Man’s Best Friend, Sabrina Carpenter’s latest LP where she’s pictured down on her knees, hair pulled by an anonymous male figure. 

The internet took it as face value, ridiculing Carpenter for setting feminism back a generation, while the rest of us argued the cover as ironic. Even so, the controversy then was rooted in some truth—if Sabrina is catering to the male gaze, is the message effective? The album is now here, so we can discuss the cover in relation to the music. What’s clear now is not a single song on the album specifically addresses the dynamic pictured on the cover. The album, however, is sonically cohesive, and in my opinion, well done. 

Man’s Best Friend opens with “Manchild,” a song mocking immature men, and despite their foolishness, still claiming that man as your own. This segues into “Tears” and “My Man on Willpower,” tracks about being enamored with a sexual partner, and the loss of sexual chemistry within a relationship. By track 12, we reach “Goodbye,” where, in ABBA style, Carpenter closes the chapter on an unhealthy relationship. Every song lingers somewhere between the lines of sexual attraction, breaking up, making up, and deliberately choosing to remain in a bad situation because the chemistry is that strong. 

In her CBS Mornings interview, Carpenter explains, “This whole album was about the humanity of allowing yourself to make those mistakes.” Recognizing Carpenter’s choices as deliberate, it becomes clear why Man’s Best Friend depicts her in a submissive position. Carpenter is offering space for listeners to explore dynamics that “will probably end up poorly,” but through these mistakes, one is able to grow as an individual. 

The irony is, despite the illusion of control that Carpenter feels, the viewer sees a situation where a woman is taken advantage of by a man and is left frustrated. It is a commentary on control; Who has it? And does it matter if Carpenter thinks she has control if she is still the one on all fours?

It is premature for the internet to entirely dismiss the project because most of the songs on Man’s Best Friend revolve around sex and the album cover is provocative. All it takes is one glance at Carpenter’s career to understand how she explores both the role of pop star and individual. Much of her work centers around the act of performance—her Short N’Sweet Tour stage was literally a dollhouse. 

I defend Carpenter, not because I love the album cover—I don’t—but because it is so exhausting to see a body of work dismissed on the basis of rightfulness. Art is supposed to make you feel something. It also sometimes requires a little bit of context to be understood. Do your research before reaching such an absolute conclusion. In the wise words of Sabrina Carpenter, “Y’all need to get out more.”

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