I never knew it was possible to toast and roast yourself on an album simultaneously. But this is where Sabrina Carpenter comes in and says that not only is it possible, she can do it flawlessly across 12 tracks.
In her latest album “Short N’ Sweet,” she does “leave quite an impression,” as she says so in her opening track Taste, which has a hilariously campy music video co-starring the lovely Jenna Ortega. Death becomes them in the Dave Meyers-directed film, cementing Carpenter’s signature twisted humor that makes people laugh so often.
As a fan of her emotionally charged predecessor “Emails I Can’t Send,” this record is a solid declaration that she’s done with that era. Cup of espresso in hand, she is the dog meme with the flames in the back, saying, “this is fine,” and knowing that she’s neck-deep in the mess and loving it. The album, as a whole, plays between synth-pop (a Jack Antonoff signature) and a little bit country but it is the lyrics, the wordplay, and the deadpan humor that got to me the most.
Taste is one of my favorite album openers to date. It is this cheeky, R&B-laced ditty that warns her ex-lover that whatever he does, she’ll think of him. Likened by listeners to Olivia Rodrigo’s Deja vu, the song could be a parallel but the take is very different. While Rodrigo’s is more angst-ridden, Carpenter’s is a “tee-hee, thinking of me will ruin your life” coupled with skipping across the way.
Espresso is the girl to be, and the single that catapulted Carpenter to socially impacting the music sphere. There is no one quite like that song, Mountain Dew and all. Though it is no longer a favorite of mine when the album came out, the respect I have for that song is insurmountable. She is that moment.
Please Please Please is both a prayer and a persecution of Carpenter and her lover. She declares her good taste and judgment, all the while begging her lover to be on his best behavior. “I know you’re craving some fresh air, but the ceiling fan is so nice!” Country-rooted Slim Pickins can also be a partner song to this one, especially where she talks about not finding anyone good enough to have by her side. “Oh, it’s slim pickins! If I can’t have the one I love, I guess it’s you I’ll be kissin’.” In both scenarios, she’s settling and ensuring that her choice is clean-cut for the world to leave them alone. But at the same time, she’s wondering if there’s still anyone better out there.
Bed Chem is a standout for me, especially since it’s a mix of steamy, NSFW brazenness and baby girl anthem. “Where art thou, why not uponeth me?” is – to me – one of the best lines there (only because I cannot spell the entire camaraderie line out loud). The R&B influence is an elite choice too, and Carpenter was able to deliver smooth pillow talk with a little yearning. Pair this with Juno, where she drives the raunch home amid ‘80s-influenced dance beats. “Hold me and explore me!” she begs.
Good Graces is another song that I love, and belongs to the Please Please Please and Slim Pickins group. But this time, she takes full command and tells her lover that she doesn’t give a flying you-know-what about leaving if he acts “suspect.” Her spoken word is so satisfying to hear, especially when the line “Baby, you say you really like it being mine” and “I don’t give a f— about you,” over and over. Sharpest Tool rounds it out and hints that her lover may not be the smartest, but still played her in the end, and is something that she does not bring up.
Coincidence is a song that lets the rumor mill run loose. Allegedly talking about the Shawn Mendes-Camila Cabello affair, Carpenter talks about being left in the dust by her lover in favor of another “bird.” While Taste describes the deja vu aspect, this song points out the reality that she was only second best.
Dumb and Poetic is her most emotionally driven track out of the 12 tracks, but the Leonard Cohen reference takes the seriousness down a notch. Her exploration of her feelings without the explicitly written lyrics also showcases her vulnerability in the best way possible.
Lie to Girls and Don’t Smile end the album with nostalgic truths. They are both thesis statements about the dangers of lying and eventually losing. In Lie to Girls, she croons that “you don’t have to lie to girls, if they like you enough, they’ll lie to themselves.” On the other hand, Don’t Smile is a sad display of forced acceptance where she says, “Oh you’re supposed to think about me, every time you hold her.”
Overall, “Short N’ Sweet” is a mess and an exploration of “romantic roadkill,” as an article I browsed through declared. It is a brave shift for Carpenter as she is coming into her own. Think of that what you will.
“Short N’ Sweet” is available to stream across all music platforms.
