2/10
Whether she roared, kissed a girl, belted out the perfect 4th of July anthem, or lured us into her California candy land, Katy Perry was undeniably one of the biggest pop stars of the 2010s. But after chart-topping albums Teenage Dream and Prism, her popularity majorly waned, and her recent LPs have failed to connect with listeners. Perry released her seventh studio album, 143, in an effort to reclaim her throne as pop-star royalty last Friday. Instead, 143 comes across as a try-hard attempt to return to her carefree vibes. Maybe Perry’s reign as a pop icon is finally over.
143, referring to the number of letters in “I love you,” seeks to fulfill the promise of its name: professing eternal love. It ends up professing generic, forgettable lyrics over disjointed melodies.
This year’s revitalized wave of pop music, with over-the-top hits from the likes of Chappell Roan and Charli xcx, holds an appetite for Perry’s vocal power and 2010s nostalgia. Just nine days before her album’s release, Perry received the VMA’s Video Vanguard Award, and her 10-minute lively performance reminded us why this hit-maker was plotting a comeback. Unfortunately, Perry sounds nothing like the star she claims to be on 143. Tracks range from tolerable to disorientingly awful and ultimately leave listeners humming nothing after 33 minutes.
The album opens with lead single “WOMAN’S WORLD,” a socially conscious, feminist song that aims to achieve the battle-cry empowerment Perry is known for. Instead, she conveys a superficial and vague view of womanhood that is simply outdated. “She is heaven-sent / So soft, so strong / She’s a winner, champion,” Perry sings, generalizing women into a one-size-fits-all mold and suggesting unrealistic standards of perfection. The chorus, “It’s a woman’s world and you’re lucky to be livin’ in it,” can’t compete with Beyoncé’s iconic “Who run the world? Girls.” It’s no wonder the song peaked at No. 63 on Billboard’s Hot 100, one of Perry’s weakest drops ever.
Mid-album tracks “LIFETIMES” and “ALL THE LOVE” have a cavity-inducing sweetness. “LIFETIMES” features a promising house beat and a solid, catchy hook but lacks lyrical depth. With a three-minute run time, Perry fails to say anything more than “I’m gonna love you ’til the end / And then repeat it.” “ALL THE LOVE” is a wholesome song about Perry’s family bringing her joy. “All the love that I ever lost came back to me / I was frozen / I was hopeless / Now there’s poetry in every moment,” she belts in the chorus. Both songs are meant to convey immense love, but with bland, surface-level lyrics, listeners are left disconnected and dissatisfied.
Both songs are meant to convey immense love, but with bland, surface-level lyrics, listeners are left disconnected and dissatisfied.
Perry has enough clout to attract many A-list collaborators. “GIMME GIMME” features British hip-hop artist 21 Savage, one of today’s most sought-after rappers, and the song’s rap lead-in followed by Perry’s upfront vocals are reminiscent of her 2010 hit “E.T.” Unlike “E.T.,” “GIMME GIMME” feels soulless; 21 Savage and Perry sound disconnected both from the underlying trap beat and each other. Even if there was chemistry, rhyming “gimme” with “kitty” and “trippy” was enough to kill this song.
“GORGEOUS” features recent dance-pop princess Kim Petras, whose 2022 collaboration with Sam Smith, “Unholy,” topped the year’s charts. Petras’ voice meshes beautifully with Perry’s as they sing, “We comin’ out tonight / Grab your man and hold him tight,” but the resulting song is still a vague commentary on empowerment as 143 continues to lack a meaningful vision.
Even if there was chemistry, rhyming “gimme” with “kitty” and “trippy” was enough to kill this song.
Singer and rapper JID’s quick-paced contribution to the R&B-leaning “ARTIFICIAL” stands out with a more dramatic beat and intense vocals, finally showcasing Perry’s vocal range. Unfortunately, like all the album’s guest artists, JID overshines Perry’s lackluster verses. Perry is joined by singer and rapper Doechii on the album’s fourth track, “I’M HIS, HE’S MINE,” which samples Crystal Waters’ 1991 dance-pop track “Gypsy Woman.” Doechii’s dynamic voice makes this the best collaboration on the album, but the track falls flat with an overused, uncreative post-chorus: “La-da-dee, la-da-da.”
On final track “WONDER,” Perry speaks directly to her four-year-old daughter Daisy in what feels like an optimistic, modern lullaby. Daisy adorably begins the track, singing, “One day, when we’re older / Will we still look up in wonder?” Perry takes over the vocals and pleads for her daughter to stay pure, singing, “Can somebody promise me / Our innocence doesn’t get lost in a cynical world?” “WONDER” is surely the sweetest and most authentic song on the record.
While Perry’s decades-long career has placed her in the pop hall of fame, her latest album finds itself lost in a maze of uninventive writing and muddled sounds. One can only hope Perry has a new era in the works to save her legacy.
