Sabrina Carpenter brings ‘Short n’ Sweet’ — and special guest Christina Aguilera — to Crypto.com Arena
As a film enthusiast who has been following the trajectory of pop stars for decades, I can confidently say that Sabrina Carpenter’s meteoric rise is nothing short of astonishing. From her humble beginnings on Disney Channel to her current Grammy-nominated status, she has proven that persistence and a touch of pageantry can indeed take you places.
By late 2022, Sabrina Carpenter was diligently making her way through her career with Disney Channel, trying to shake off the stigma of being known as the “evil blonde girl” in Olivia Rodrigo’s popular Gen Z breakup anthem, “Driver’s License.
Two years on, Carpenter graced Crypto.com Arena on a Friday evening, accompanied by one of the most anticipated albums of 2024 (“Short n’ Sweet”), two of its catchiest tunes (“Espresso” and the whimsical “Please Please Please”), and a stack of fresh Grammy nominations totaling six, including recognition for album, record, song of the year, as well as best new artist.
If you had considered commenting that Carpenter ruled the world, it was unnecessary: The lively, playful concert in a fictional mid-century bachelorette apartment perched atop the city – a penthouse on the 69th floor, as she playfully disclosed – clearly demonstrated this fact all by itself.
Similar to Chappell Roan and Charli XCX who emerged as pop sensations this year, 25-year-old Carpenter’s rise to stardom was largely due to a fun and theatrical appeal that resonated with audiences following an extended period marked by more somber artists like Lorde and Billie Eilish. “Short n’ Sweet” is filled with catchy hooks, humor, and over-the-top vocal performances; this concert, the first of three sold-out shows in Los Angeles to conclude Carpenter’s North American tour, was almost entirely bedazzled.
During the show, there were multiple costume changes, with each outfit becoming more glittery as time passed. A group of male and female dancers performed energetic choreography throughout. Approximately halfway through the 9-hour performance, Christina Aguilera – one of several earlier pop stars who embodied the blonde bombshell persona – suddenly appeared onstage to deliver vibrant performances of her popular songs “Ain’t No Other Man” and “What a Girl Wants” from the late ’90s and early ’00s.
After Aguilera left, Carpenter expressed surprise, whether it was feigned or not, by saying, “Wow, I can’t believe that just happened!” Yet, amazingly, the performance went on as planned.
Despite the vintage elegance and flashiness in Carpenter’s performance, her music possesses a contemporary flair – a raw emotional authenticity and an open exploration of sexual themes – which contributes significantly to her popularity amidst today’s culture of excessive social media disclosure.
In her songwriting, she enjoys expressing subtle truths explicitly. For instance, in the song “Lie to Girls,” she warns disrespectful men not to waste their time because “if they like you, they’ll just lie to themselves.” Similarly, in “Juno,” she explores a prolonged personal fantasy that culminates with what could be one of the most straightforward lyrics this year: “I’m so unabashedly horny!
As a devoted fan at the Crypto event, Carpenter’s lines echoed like a battle cry, resonating in a sea of girls and young women. Some parents might have seen it as a nightmare, but for us fans, it was the raw honesty of her confessions that we cherished. One of her unique talents is turning the very glitz and glamour of her show on its head. For instance, during “Sharpest Tool,” an intricate acoustic number about a crumbling relationship, she darted into the bathroom (much like one might during a party they wished they hadn’t attended) and sang from atop a toilet seat; for “Opposite,” she performed while gazing intently into a prop mirror, projecting an uncomfortably intimate close-up onto the massive video screens flanking the stage.
At the finale of the performance, she sang “Please Please Please,” a number that portrays a famous figure pleading with her partner not to humiliate her in public settings. To wrap up, she delivered “Espresso,” a song expressing the awkwardness and discomfort one feels when being desired initially.
“I can’t relate to desperation,” she sang — a lie, of course, but a perfect rhyme for “My give-a-f—s are on vacation.”
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2024-11-17 02:31