On “House Tour,” the penultimate track on Sabrina Carpenter’s new album “Man’s Best Friend,”  the pop singer prances through her imaginary house, describing homely utilities like waxed floors, home insurance and even her back door while passionately promising that “none of this is a metaphor” — and to be frank, she could not be lying any harder.  

Her quippy, cheeky songwriting in “Espresso” and “Please Please Please” brought Carpenter to global pop stardom, and in “Man’s Best Friend,” she has even more fun with the music. Coming off of a busy year of two number-one hits on the Billboard Hot 100, two Grammy Awards and a completely sold out world tour, the announcement of this new album prompted questions surrounding Carpenter’s ability to create an album that lives up to its predecessor, “Short n’ Sweet,” in such a short period of time — but she delivered. 

Carpenter released only one single prior to the album’s announcement, “Manchild,” which debuted at number one on the Billboard Hot 100. The album has many overarching themes spanning heartbreak, failed relationships, sexuality and control — the latter two becoming controversial topics among fans. 

After releasing the album cover, featuring Carpenter on her hands and knees while an unidentified man pulls her hair, fans criticized the singer for its overly sexualized nature and pull for the male gaze. This sparked online discourse with some claiming that the cover was misogynistic and others, Carpenter included, claiming that it demonstrated autonomy. 

Regardless of how the album art was critically received, the album’s twelve tracks leave no wiggle room for the meaning to be misconstrued. Carpenter boldly chooses to express what control means to her solely — there isn’t an agenda, there’s a personal story.  

Carpenter’s songwriting throughout the record is a return to her smart, punny and flippant prose — she is tastefully deceptive. On the track “Tears,” she takes an unexpected approach, claiming that “a little respect for women can get you very, very far” and cause “tears” to “run down [her] thighs.” At every turn, the writing is witty, exploring lust and attraction through sarcasm and sensuality. 

But Carpenter’s lyrics are not confined to sexual puns. In “We Almost Broke Up Again Last Night,” she combines her wit with emotion, singing, “When I reach to pull the plug / I swear he starts working out.” The lyric, though simplistic, manages to express the despair and unease of ending a relationship. Even with heartfelt lyrics, though, she can’t allow herself to be too serious, ending the song with, “Gave me his whole heart, then I gave him head.” Carpenter’s blunt songwriting doesn’t concern itself with being profound or possessing hidden meaning. Her candid language is what authentically portrays experiences with physical pleasure and emotional pain in a way contemporary audiences can connect with.

At times, Carpenter’s words blur the line between cheeky and cringey. On the track “Goodbye,” she runs through words translating to “goodbye” in a cacophony of different languages: “sayonara, adiós” and “arrivederci, au revoir,” creating an experience comparable to the end of “It’s a Small World.” Though they are intentionally playful, these lyrics fall short of her otherwise uniquely brazen quips.

If Sabrina is a Carpenter, then this album is a nicely constructed, wooden coffee table with a few dings around the edges. “Man’s Best Friend” may not outperform “Short n’ Sweet,” but the imperfections on the record give the album character, making the listener’s experience all the more fun.

Contact Dylan Henschen at [email protected].