Even before its release on Sept. 20, Katy Perry’s latest album, “143,” was already the subject of intense and widespread online scrutiny.
The album’s rollout was riddled with scandal. Singles “WOMAN’S WORLD” and “LIFETIMES” were poorly received by audiences. The former was deemed to be “out of touch” and “dated,” especially in light of Perry’s highly criticized decision to work with controversial producer Dr. Luke. The latter’s music video also sparked disapproval from many after an investigation into possible environmental damages during its production.
Despite Perry doubling down on her producer and attempting to write off her failed feminist anthem as satire, her efforts weren’t enough to fix the damage. “143” debuted on Metacritic at 35 out of 100 — the lowest score the site has seen since 2011 — and received a barrage of poor reviews. The overwhelming consensus: the album was, at best, not a total catastrophe.
Even looking past the bad press it received before its release, “143” still falls flat due to its musical monotony. Nearly every song follows the same structure: dry and lackluster trap beats coupled with clunky lyrics on exhaustingly repetitive melodies. What’s especially frustrating about this formula is how easily the songs could be improved with simply a bit more energy and direction. Tracks like “GIMME GIMME,” “GORGEOUS” and “LIFETIMES” all have potential but lack the driving beats and catchy hooks characteristic of a hit.
This unoriginality is puzzling, almost as if Perry intended to crank out songs as fast as possible without worrying about quality. Given the extreme popularity and success she wielded in the 2010s, it’s hard to believe that Perry could have ever fallen so far. Her 2010 album, “Teenage Dream,” was the first since Michael Jackson’s “Bad” in 1987 to have five of its singles hit the top of the US charts. Songs like “Firework” and “California Gurls” quickly became pop classics.
Perhaps the most fatal flaw of “143” is its lack of critical self-awareness. Aside from the hypocrisy of promoting “WOMAN’S WORLD” as the lead single of an album primarily produced by an alleged perpetrator of assault, those same notes of watered-down white feminism also pervade the entire album and have been the subject of much of its surrounding criticism.
Though the album may have been doomed from the start due to its messy rollout and surrounding controversy, a persistent and unfair double standard has also played a major role in how “143” has been received. For years, the music industry has held women to a higher and more rigorous standard for artistry, requiring that they constantly reinvent and reimagine themselves to remain relevant — and Perry is no exception.
Yes, “143” is divinely uninspired and lacks energy and character, but this does not mean Perry’s cause is fully lost. Simply put, the problem is that she lacks direction in the music industry. While artists like Chappell Roan, Charli XCX or Sabrina Carpenter have settled comfortably into their niches as of late in a recent resurgence of pop music, Perry has struggled to find a new place for herself since the bubblegum pop genre she is best known for has mostly faded in relevancy.
In “143,” Perry attempts to coast back to prior stardom by surfing along the recent pop wave, but without the proper footing, she ultimately wipes out before even catching anything. It’s clear that to realize born-again pop stardom, Perry must reconsider her trajectory and solidify a vision for the artist she wants to be.
Campbell Loi, a senior staff writer and copy editor for The Herald, is a junior from Syracuse, NY studying Public Health and International and Public Affairs. Outside of academics, she loves all things music and enjoys performing, arranging, and constantly listening to songs in her free time.
