Recommended Tracks: “Nobody’s Son,” “Go Go Juice,” “We Almost Broke Up Again Last Night”
Artists You Might Like: Chappell Roan, Taylor Swift, Dua Lipa
While most artists take two to four years between albums, Sabrina Carpenter clearly plays by her own rules. Just over a year after releasing her Grammy-winning album Short n’ Sweet, she returns with Man’s Best Friend. It’s an album that doesn’t just keep the momentum going; it also raises the bar. Simply put: this is her best work yet.
Carpenter is more than a pop star—she’s a personality. Over the years, she’s built a reputation for her quick wit, sharp humor, and a self-aware charm that sets her apart in an often overly polished industry. That same energy shines through in her music, where clever lyrics and effortless vocals meet a wink and a smirk. It’s that unique blend of confidence and playfulness that makes Man’s Best Friend feel so distinctly her. It’s authentic, unapologetic, and endlessly fun.
Kicking off the album is “Manchild,” the first single Carpenter dropped, catching everyone off guard with the surprise announcement of a new record. From day one, this song felt undeniably Sabrina: playful, honest, and insanely catchy. It’s been out since June, yet I’m still enthusiastically singing along to the bridge even as someone who’s never been in a relationship. The track perfectly sets the tone and lets you know exactly what this album has in store.
“Tears” follows suit, and it’s nothing like I expected in the best way. The track feels cinematic, like something you’d hear during a cheeky montage in a romantic comedy. It’s very ABBA-coded, blending sexual desire with small, meaningful acts of love, all wrapped in a glittery, tongue-in-cheek delivery. “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,” Carpenter sings in the chorus, turning basic decency into a full-on fantasy. It’s hot and weirdly relatable. Who knew IKEA furniture and emotional intelligence could be foreplay?
The next run of tracks, “My Man on Willpower,” “Sugar Talking,” and “We Almost Broke Up Again Last Night,” takes you on a whirlwind ride through emotional unavailability, love bombing, and messy makeup sex. With lines like “He used to be literally obsessed with me / I’m suddenly the least sought-after girl in the land” and “Gave me his whole heart / And I gave him head,” Carpenter flexes her sharp, playful lyricism without losing emotional depth. The production across these tracks is just as strong — it’s layered, confident, and perfectly matched to the storytelling. It’s a stretch of the album that feels both chaotic and intentional, setting the stage for what’s still to come.
My favorite track on the album hands down is “Nobody’s Son.” When I first listened to the record all the way through, it was the one I kept coming back to. The synth-heavy production is pure pop heaven, but it’s the storytelling that really hits. Right from the opening line (“’Hi. I hope you’re great / I think it’s time we took a break / So I can grow emotionally.’” / That’s what he said to me.”), it feels like she’s sitting you down and telling you exactly what happened. The track is raw and brutally honest in a way that’s rare in pop music right now. It’s a heartbreak anthem for the girls who keep falling for emotionally unavailable, immature men — and it doesn’t sugarcoat a thing.
If you told me “When Did You Get Hot?” was an early 2000s R&B hit, I’d believe you. It’s amazing to watch someone as young and sharp as Carpenter weave older styles into her sound so seamlessly. Then she pivots to “Go Go Juice,” a country singalong that shows off her range even more, not just vocally, but in how effortlessly she plays with genre. The bridge alone is brilliant: it feels like she’s drunkenly mumbling to some guy at a bar: “Ba-da-da, da-da-da / How’s yous been? What’s up? / … / Ba-da-da, da-da-da / Should we hooks up?” It’s unfiltered and half-coherent in exactly right way, like she’s not performing the moment, but living in it.
As we get toward the end of the record, Carpenter brings the party one last time with “House Tour,” a track about wanting your date to stay the night and make themselves at home. It’s like if Barbie had a little fun and decided to let someone crash at her dreamhouse, especially in the bridge: “My house is on Pretty Girl Avenue / My house was especially built for you / Some say it’s a place where your dreams come true / My house could be your house too.” The lyrics are deceptively simple, and that’s what makes them brilliant.
“Goodbye” fittingly closes the album, leaning into the unmistakable ‘80s influence that runs throughout the record. With lush strings and bold horns, the track nods to ABBA’s grand, emotional pop style while still carving out its own space. It’s a powerful anthem about owning your pain and refusing to let someone else control the narrative, especially in lines like “Can’t have your cake and eat it too” and the boldly carefree “Arrivederci, au revoir… but fuck you, ta-ta.” With one last hit of sharp honesty, Carpenter concludes the record in a way that sticks with you.
Man’s Best Friend is proof that Sabrina Carpenter refuses to be boxed in or overlooked. She digs deep, gets real, and still manages to have fun with it all. The album feels like a conversation you want to have over drinks: honest, a little messy, and impossible to turn away from. If you thought she was just another pop act, this record makes it clear — she’s here to stay, and she’s doing it on her own terms.
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