If 2024 had a definitive song of the summer, there’s a good argument to be made that it was ‘Espresso’— the song was positively inescapable, launching Sabrina Carpenter into superstardom almost single-handedly. The singer seems keen to capitalise on that success, following up breakout record ‘Short n’ Sweet’ just a year later. New album ‘Man’s Best Friend’ may have stirred up some controversy upon its announcement, but don’t let that fool you: it’s hardly worth the pitchforks, coasting as it does on the charming wit of Carpenter herself.

At times, ‘Man’s Best Friend’ seems less interested in setting the pop world on fire, and more focused on securing Carpenter’s salacious image: more than ever, the singer stands at the forefront of her latest release, injecting her signature style into every cut. Vocally, Carpenter is in absolute top form— though no track here is particularly demanding, you’d be hard pressed to ignore just how much life and energy is lent to these songs by the performer. The happy-go-lucky ramblings of ‘Go Go Juice’ would fall flat on their face if delivered by someone with an iota less character and confidence, as would the majority of the innuendos and flirtatious remarks that become a running theme across the record. It seems clear that any fans of Sabrina Carpenter, as a brand, will find a lot to love throughout ‘Man’s Best Friend’— she is, inarguably, the star.

It’s a good thing that the album celebrates its central character so much, given how barren the arrangements are otherwise. Amy Allen and Jack Antonoff have credits all over this record, and it’s a decidedly safe showing from a duo as ubiquitous as these two. Across ‘Man’s Best Friend,’ the intent seems to have been that no element should ever distract from Carpenter’s vocals— the resulting palate of inoffensive electric pianos, sparse guitar accompaniments and steady drum machines is easy-listening, but it’s also really quite hard to get too attached to. Besides the prominent synth solo on ‘We Almost Broke Up Again Last Night’ and the celebratory brass swells of closer ‘Goodbye,’ ‘Man’s Best Friend’ is not an album to be enjoyed on its presentation alone: in this respect, Carpenter and crew pretty much played their hand in its entirety with single ‘Manchild.’

Now, let it be known that not all modern pop releases need to be some Laufey-esque orchestral wonder: there’s an efficacy to this album’s arrangements that places the sole focus on the artist, and on the songs she’s bringing us this time around. As you might expect from a woman of her character, Carpenter shines brightest whenever the record’s disco influences rear their heads: ‘Tears’ is the obvious example (and standout), refusing to let its simple yet endearing groove go for even a second. If the singer’s enjoyment of the creative process was ever in doubt, just listen to the track’s suggestive chorus and get back to us— you can practically hear the smile on her face.

“I get wet at the thought of you

Being a responsible guy

Treating me like you're supposed to do

Tears run down my thighs”

‘When Did You Get So Hot?’ doubles down on this successful approach, letting Carpenter’s penchant for innuendo run absolutely wild: it’s in moments like this, as well as in the the similarly lighthearted ‘House Tour,’ that ‘Man’s Best Friend’ feels most at home. That’s not to say that disco is the LP’s only winning ticket though, as Carpenter also sees fit to add a light touch of country twang into some few moments— though this is hardly a bold reinvention akin to Beyoncé’s ‘COWBOY CARTER,’ there is nonetheless something charming about cuts like ‘Manchild’ and ‘Goodbye’ that excuses some otherwise lacklustre writing.

Every coin has two sides though: while fans will undoubtedly flock to those aforementioned high-energy numbers, the various ballads and slow moments on ‘Man’s Best Friend’ are lacking an adoring audience of their own. ‘Sugar Talking’ is the obvious exception, with its playful lyrical content and hook-centric melodies working just enough magic to get by.

“Put your loving where your mouth is

Your sugar talking isn't working tonight

Say you're a big changed man, I doubt it

Yeah, your paragraphs mean sh*t to me: get your sorry *ss to mine”

Outside of that choice example, way, way too many other bad apples spoil the crop. There’s an unfortunate sluggishness to the likes of ‘Don’t Worry I’ll Make You Worry’ and ‘We Almost Broke Up Again Last Night’ that really sucks all the joy out of the album: in these moments, it becomes clear just how essential Carpenter’s character is to the record’s appeal. The barebones writing and forgettable arrangements of ‘My Man on Willpower,’ ‘Nobody’s Son’ and ‘Go Go Juice’ aren’t winning any awards: truthfully, ‘Man’s Best Friend’s probably houses about an EP’s worth of notable material at best.

Whether someone does or does not enjoy this new Sabrina Carpenter LP is entirely interlinked with their thoughts on her as a performer. Fans of Carpenter’s confident vocal style and flirty persona will probably find their fair share of highlights across the record, as we have: at the end of the day, there’s some good laughs and hooks to be found here. Even looking through the eyes of said fans though, ‘Man’s Best Friend’ is not the sharpest crop of tracks you’ll hear in 2025: when the cheeky facade slips, the album shows itself to be a passable, if bland, affair.