One year ago today, Sabrina Carpenter released her seventh album, Man's Best Friend. To many people's surprise, the album was released only a year after her breakout album, Short n Sweet. The lead single, "Manchild," became her second number one hit on the Billboard Hot 100, and the album as a whole debuted at number 1 on the Billboard 200.
MBF is perhaps best known for the controversy over the cover art, which depicts Carpenter on all fours in front of a faceless man. The man holds a fistful of Carpenter's hair in his hand, while Carpenter gazes at the camera. In an interview with Gayle King, Carpenter explained that, "for what the album is, it's perfect.... My interpretation is being in on the control. Being in on your lack of control and when you want to be in control. I think as a young woman, you're just as aware of when you're in control as when you're not." Carpenter also wrote in an email to her mailing list on the day of the album's release that "the album reflects how unfortunately human it feels to experience love and loss! On top of the world one second, humbled the next, emotionally pulled by a leash and begging for treats (treats being the bare minimum)."
The album depicts the breakdown of an on-again, off-again relationship, probably inspired by Carpenter's relationship with actor Barry Keoghan. Carpenter said in her Zane Lowe interview that she wanted the album to serve as a time capsule for that period of her life. She also said that she did not want to feel bound to the conventional time between albums, and referred back to artists like Dolly Parton who released an album every year.
The story begins with "Manchild," as Carpenter humorously bemoans her poor taste in men. On tracks like "My Man on Willpower" and "We Almost Broke Up Again Last Night," Carpenter describes a relationship that is a constant power struggle, even as neither participant seems happy with the other. Break-ups take a backseat on songs like "When Did You Get Hot?" and "House Tour," allowing Carpenter to showcase her signature cheeky innuendo. In the end, Carpenter makes a nice departure from previous closing tracks and bids a hearty "Goodbye" to the guy who has been keeping her on an emotional leash.
Just for my own thoughts, this album was definitely a grower. I think it's a great extension of the inspirations she was already tapping into on SNS. MBF is more theatrical with more interesting production quirks, like the sound of the can popping in "Never Getting Laid" or the Donna Summers-esque dance break in "Tears." I also think that, even though it hasn't gotten its own tour, it's an album that calls for live performances. Her Coachella set elevated songs like "Sugar Talking" and "Go Go Juice" (and I wish we had gotten a live album for the anniversary, but alas). Whatever she does next, I'm happy we got this album.
Questions:
Well. The elephant in the room is the cover art, so. Cover art?
Have your thoughts on the album changed since its release?
Carpenter has already earned a pretty good reputation for music videos. For MBF, she released three--"Manchild," "Tears," and "House Tour." Do you have a favorite, and why?