17 hours ago
By Ayla Kruse Lawson |
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In a summer teeming with charting pop hits, Sabrina Carpenter reigns above all with the witty, raunchy and oh-so-cheeky Short n’ Sweet. Her sixth studio album chronicles the disaster that is the modern dating scene, artfully blending fun, dirty-minded humor with not-so-subtle jabs at bad boyfriends and fakes. She is merciless and withering behind her sweet façade, showing everyone her confidence and strength. Short n’ Sweet has set Carpenter apart as her own autonomous artist defined by catchy, retro pop riddled with clever, giggle-inducing innuendos. Short n’ Sweet showcases that she has found her voice, and listeners are loving it.
Released ahead of the album, “Espresso” was the spark that ignited her ascent to the upper echelons of the music industry. The groovy disco-pop tune immediately grabbed onto our minds, begging to be replayed again and again (and it has yet to release its hold). Following “Espresso,” the release of “Please, Please, Please” cemented the fact that summer 2024 belonged to Sabrina Carpenter far before the release of Short n’ Sweet. Even with the bar set incredibly high, the album exceeded expectations, delivering a vintage sun-soaked array of songs that are a refreshingly upbeat take on failed love. Carpenter experiences ups and downs, but emerges from these moments of pain a little bit funnier and a little bit smarter and is all too glad to share it with the world.
The first song on the album, “Taste,” leaves quite an impression. Electric beats and breathless honeyed vocals create an immersive song that attacks a partner’s ex after they get back together. Carpenter follows statements like “if you want forever […] just know you’ll taste me too” with an innocent “la-la-la-la-la-la-la,” making the song light and funny. But the slasher-esque music video that accompanies the album’s release gives listeners a new, more vicious lens through which to view the song. Her cheery tone signifies that she is no longer hurting, but still wants to have her say. “Taste” along with “Espresso” and “Please, Please, Please,” sets up the album as something to empower people to let go, be confident and feel free to get mad and a little bit feral.
Following the theme of the album, “Good Graces” reminds us that Carpenter “won’t give a f*ck about you.” Taking on a more R&B feel, the song warns people that she is done with the hypocrites and cheats of the world and will simply leave without a second thought at the sign of a red flag. “Sharpest Tool,” “Coincidence” and “Slim Pickins” shift genres slightly as well with a country twang, all telling stories of men and their stupidity. She mourns that some of these men don’t even know the “difference between their, there and they are.” While these guys may be fun at the moment, Carpenter sardonically suggests that they should “just stay inside.” She’s sick and she’s tired, but she does it all with a smile and plenty of blunt jokes.
“Bed Chem” and “Juno” emerge as the two most suggestive, raunchy and silly songs on the album with upbeat tunes conducive to sing-alongs and dance parties. Hidden beneath the sheen of girlie-pop soundtracks, Carpenter casually drops lyrics like “come right on me, I mean camaraderie.” Batted eyelashes and blushes conceal dagger-sharp wit and creativity which only escalate in “Juno.” The title itself could be a reference to mythology as Juno is the Roman goddess of marriage and childbirth. Referencing pregnancy, freaky positions and fuzzy handcuffs, Carpenter shrugs it off saying “can’t help myself, hormones are high.” She enthralls with a catchy chorus and perfectly articulated double meanings building up to the bridge where she steps away from suggestions, proclaiming, “I’m so f*ckin’ horny!” Both “Bed Chem” and “Juno” are simply so bright and fun and will never fail to bring a smile to people’s faces.
Carpenter’s “give a f*cks” may be on vacation, but they make occasional appearances throughout the album despite her claim that “singin’ ’bout it don’t mean I care.” The final two songs on the album, “Lie to Girls” and “Don’t Smile” are more vulnerable and heavy-hearted. “Don’t Smile” flips a common cliche on its head where she laments “don’t smile because it happened, baby, cry because it’s over.” “Lie to Girls” exposes Carpenter herself as a source of some of her own heartbreak. But she doesn’t stop there, calling out all girls who give one too many chances or excuses. Lousy partners don’t even need to make excuses because girls “love to read the cold, hard facts and swear they’re incorrect.” The song is a reminder that sometimes the one with the most power to break your heart is yourself.
Short n’ Sweet is built from moments which all fit together to illustrate a chapter of Carpenter’s life. The album jumps genres from country to R&B to pop rock which creates a unique amalgamation of songs and moments that Carpenter artfully pulls together to produce a strongly cohesive album. She chooses moments that stood out to her choosing not to focus on the fights and the hurt, but the funny moments. After all, humor and moments of joy are timeless. So, while the album may initially appear lighthearted, the softness and saccharinity hold weight. The album may be called Short n’ Sweet in reference to Carpenter’s short relationships that ironically seem to hit the hardest, but it also alludes to the sweetness of ephemerality. It could also be a nod to the album’s 36-minute duration or the pocket-sized singer herself.
Overall, Short n’ Sweet is an incredibly fun ride that is unforgivably girly and forward without a single skip. Carpenter’s cheeky humor will have listeners pausing to ask, “did she really just say what I think she did?” Yes, she did. As she said on Instagram the morning of the release, “not a serious thought was thunk yet somehow they were.” Lyrics like “Your car drove itself from LA to her thighs” (“Coincidence”), “Where art thou? Why not uponeth me?” (“Bed Chem”), “I like the way you fit, God bless your dad’s genetics” (“Juno”) “Try to come off like you’re soft and well-spoken / Jack off to lyrics by Leonard Cohen” (“Dumb and Poetic”) and “I showed my friends, then we high-fived / Sorry if you feel objectified” (“Juno”) all say that she may be sweet, but Carpenter bites back with no remorse. Maybe listeners will feel empowered to do the same.
Ayla Kruse Lawson is a sophom*ore in the College of Human Ecology. She can be reached at [emailprotected].
