Sabrina Carpenter Has Waited Her Whole Life for This
As I delve deeper into Sabrina Carpenter‘s captivating journey, it strikes me that she embodies resilience and determination. Her story is a testament to the power of staying true to oneself amidst a world that often seeks to mold artists into preconceived molds.
This entry showcases an individual on our TIME 100 Rising Stars list, honoring 100 influential figures worldwide who are helping to mold tomorrow.
Sabrina Carpenter is comfortably seated on a petite bench, one leg crossed over and resting on the cushion, as she requests a… cappuccino. A witty remark hovers between us. “I’ve deliberately avoided them this time,” the singer of “Espresso” remarks. Previously, at this very French eatery in downtown New York, they unexpectedly served her espresso martinis.
As a devoted fan, I can’t help but marvel at the extraordinary rise of this vibrant 25-year-old artist whose radiant blonde curls and petite stature are as unforgettable as her talent. It’s no exaggeration to say that she has swiftly become one of the most influential figures in pop culture today.
Carpenter is everywhere. Swift, Beyoncé, Adele, Christina Aguilera, and Selena Gomez have all sung her praises. If you didn’t catch her on the season finale of Saturday Night Live, you probably saw her on The Tonight Show With Jimmy Fallon. If you didn’t see her at Coachella, you definitely tuned in for her performance at the VMAs. And if you missed her opening for Swift on 25 stops of the Eras tour, you cannot be helped. The moment Carpenter herself says she knew she’d reached a new level: when there was a joke about her in Dan and Eugene Levy’s opening monologue for the 2024 Emmys. “That was probably the first time I was like, Oh, I’m not even there.”
After about a month since her album’s release, we’ll catch up over an afternoon coffee break. During this time, Carpenter has been quite busy. She’s just returned home to New York after the initial three shows of her sold-out 33-date Short n’ Sweet tour. Following an 11-hour bus journey from Detroit, she could really use a caffeine boost. She also mentions, “Too Much Information,” but she’s currently in her luteal phase and feeling quite intense. When the waiter brings our coffee, she orders a shared chocolate mousse as well.
Carpenter may appear to have materialized from nowhere as a fully formed pop star, but she has been grinding for 16 years. Growing up in East Greenville, Pa., she started posting videos of herself singing on YouTube when she was 9. Her big break came at 13, when she landed a role in Girl Meets World, a reboot of the classic ’90s series Boy Meets World. Carpenter makes a point to note that she signed with her first label, Disney’s Hollywood Records, at 12—before she booked the TV show. “I knew that I wouldn’t be able to thrive as a recording artist the same way I would have been able to working on a show as a child actor,” she says, “which I know sounds weird to have that perspective at 12, but I was really lucky to.”
Between 2015 and 2019, the carpenter put out four albums under a label owned by Disney. During this time, she also appeared in movies such as “Adventures in Babysitting”, “The Hate U Give”, and “Tall Girl”. However, her music career didn’t quite reach mainstream success. Reflecting on her journey, she notes, “For a while, I was both guided and misguided. I’m thankful for all those instances where I was steered off course, as it has made me better prepared to handle situations that require me to rely on my own intuition.
In 2022, her album titled “Emails I Can’t Send” – her debut mature project under a new label – provided the perfect platform for her to express herself honestly. She released a series of songs that delved into themes of heartache, desire, and judgment, stripping away Disney’s idealistic polish. As Carpenter puts it, “My last album was downright sad.” She recalls the early days of the pandemic, when she was 21, as a period when she decided she wanted to “make some mistakes” or at least learn to be easier on herself. “I wanted to ensure I remained young while I am young… To live your life like a little robotic angel, you’ll have many regrets later,” she says. “That’s also why during that time of my life, I was quite emotional.
The album included tracks that fans associated with intriguing rumors, as they speculated that Carpenter could have been the “blonde girl” mentioned in “Driver’s License” by Olivia Rodrigo’s supposed love interest, Joshua Bassett. One of Carpenter’s songs, “Because I Liked a Boy,” seemed to address this situation with lyrics such as: “Now I’m a homewrecker, I’m a slut / I got death threats filling up semi-trucks.
During Carpenter’s tour performances alongside Swift, the song “Because I Liked a Boy” left an impact, but it was another tune, “Nonsense,” about being tongue-tied around a crush, that won over new fans with its playful spirit. Carpenter shares that the tour without a set, dancers, or props for her performance taught her to captivate an audience all by herself. This sparked anticipation for a tradition that originated on her Emails tour, where she would deliver a different, often witty, outro for “Nonsense” every night, creating viral moments as the lines became increasingly suggestive and humorous. One memorable instance was in Australia: “Broke up ’cause the size was underwhelming/ Tried to give him pointers, wasn’t helping/ Maybe I just need a boy from Melbourne.” She admits that she has retired this bit for now, but hints at its possible return should the mood strike her. “The extreme ‘it’s over forever’ isn’t my style. Perhaps I’ll feel spontaneous one day and bring it back,” she says, but, “that was for that album, for that era. One must know when to keep a good thing going.
At just 25 years old, the carpenter is rapidly finding her unique identity, backed by the self-assuredness of an experienced professional. She has a knack for delivering exactly what her audience desires. Her personal brand – quirky, humorous, and bold – strikes a balance between authenticity and broad appeal. She doesn’t shy away from poking fun at herself. In her words, “If you want to label me as a Polly Pocket or a Bratz doll, go ahead. You’ll soon realize I talk a lot more than the dolls do.” It takes resilience under pressure to cultivate the self-awareness that this carpenter embodies, and we’ve seen similar transformations this year with artists like Chappell Roan and Charli XCX. Even Taylor Swift, now a household name, was once an aspiring country artist aiming for mainstream success.
Jack Antonoff, who had been tracking Sabrina Carpenter’s career even before they started working together on various “Short n’ Sweet” tracks, has always been a fan of her work. In a recent interview with TIME, he shared his thoughts, saying, “I observe all of Sabrina’s creations, and I see that she’s only become more refined over time.” Essentially, he implied that there was no need for concern or change; it was simply about remaining dedicated to one’s art. In other words, that’s what it truly means to be an artist.
The carpenter is enjoying the fruits of her determination. “It’s amazing to see so many things I dreamt about as a child coming true this year,” she expresses. “I was literally sick when I heard about SNL. Not to be too descriptive.” Her performance at the VMAs was another aspiration fulfilled. “I used to watch those performances and think, I want to do that,” she recalls. “But it all just seemed so… not even unattainable, just not according to my own timeline in my mind.” However, now that things have turned out as they have, the carpenter can appreciate the benefits. “I feel so ready for these moments,” she says. “If I were 17 or 18, I think I would have been incredibly anxious and overawed.
If she receives a call tomorrow about performing at the Grammys, it’s likely to cause such an overwhelming surge of excitement in her that she might be on the verge of vomiting. In simpler terms, hearing the news could make her extremely ecstatic.
As polished and well-packaged as the Sabrina Carpenter brand is, it’s her willingness to be messy that really makes it all work. In Short n’ Sweet, she’s in turns cocky, desperate, petty, brutal, deliriously horny, and not all that pressed. The effect is that, no matter the drama at hand, Carpenter refuses to take herself too seriously. “I like the fact that I just put out a song that starts with ‘I can’t relate to desperation,’ and then I’m putting out the most desperate possible sounding chorus I could in my life,” she says, of “Espresso” and “Please Please Please.” “The idea is like: if everything is super calculated, then the second you make a statement, that’s who you are for the rest of your life—as opposed to it being like: or you can be super confident one day and then the most emotional wreck the next day.”
The carpenter refers to Short n’ Sweet as a “time capsule,” capturing a specific phase in her life. Several songs within this album appear to directly reference her relationship with Shawn Mendes, particularly during periods when he was on-again off-again with Camila Cabello. This is suggested by the analysis of the lyrics in songs like “Coincidence” and “Dumb & Poetic,” as well as the tracks “Taste” and a pointed line in “Slim Pickins.” Additionally, casting Keoghan in the music video for “Please Please Please,” a song about pleading with her actor boyfriend not to embarrass her, strongly hints that this song is indeed about him.
Carpenter refuses to identify who inspired her songs; such discretion is common among skilled pop artists. However, she’s open to discussing the emotions portrayed in them. “I might regret it someday,” she cautiously adds, tapping on the wooden table for good luck, “but this album has been incredibly therapeutic as I express my thoughts openly.” For instance, “Please Please Please” encapsulates a love-hate dynamic that many can relate to, having found themselves questioning the health of their relationship. “I’m direct and frank,” she explains. “I sometimes wonder why we all hide our true feelings when these are just genuine emotions. Sometimes men can be awkward, and that’s perfectly normal.
As her fans join in singing her specific song during concerts, she’s coming to realize its universal resonance. “It truly strikes a chord with women who find themselves returning to someone unhealthy for them,” she says, savoring a bite of chocolate mousse, “knowing that those mistakes are all too human and can happen again and again.” She adds, “I think we’ve all been in relationships we shouldn’t have been in, learning the hard way or somehow miraculously ending up married to them.
Two nights after Carpenter performs at Madison Square Garden, the crowd’s scream before her entrance is deafening. She bursts onto the stage, toweling herself, then casually revealing a sparkling yellow Victoria’s Secret bodysuit beneath. The performance unfolds from there, featuring glamorous group dance numbers, tender ballads, and playful double entendres all set in a lavish two-story New York City penthouse. There’s a fireplace in the lounge, a dimly lit balcony, a satin pink bedroom, and even a bathroom, where Carpenter humorously reflects on her songs during an unusual show moment. “For me, some songs are like thoughts you have in the bathroom, like when you’re at a party and go to cry or evaluate yourself in the mirror,” she explains. “It’s amusing but also adds a touch of reality to the performance.
Despite Carpenter having years of experience, including opening for Swift on the Eras tour, the challenge of performing her own arena shows is still fresh and overwhelming. “The first two shows had enough technical glitches to make my life miserable,” she confesses. There’s a moment when she gets lifted 18 feet in the air on a giant heart – on the opening night, she got stuck at the top. “I was up there longer than I was supposed to be,” she recalls, reminding us why she initially thought performing with heights on tour would be too nerve-wracking. Hanging above the crowd in Columbus, Ohio, she kept singing and hoped someone backstage was fixing the issue. (They were.) “If one thing malfunctions, it can affect the entire show,” she acknowledges. “So I’ve been learning to adapt, rewiring my brain to handle such situations.” Besides technical issues, the most challenging aspect is avoiding falls – Carpenter is always running up and down stairs. There was no rigorous pre-tour training program, and her body is feeling the strain. “I’ve taken to doing ice baths like a spiritual practice,” she admits, a bit sheepishly.
During the concert, Carpenter expressively showcases her femininity through various outfits. She explains, “I’ve always embraced my femininity, and if that means corsets, garter belts, or any other outfit, then so be it.” Throughout the performance, she layers a babydoll negligee over her bodysuit in the first act, transitions into a black lace catsuit by Patou in the second, and dons a slinky robe also by Patou. In the final set, she appears in an ultra-sparkly two-piece halter top and skirt from Ludovic de Saint Sernin, embellished with crystals donated by Swarovski. Carpenter’s stylist, Jared Ellner, hints that lyrics will be printed on her tights during the tour; for instance, “Taste me” was used for the first night and “I’m working late” for Madison Square Garden. The singer mentions this is the first tour where she has duplicates of her outfits to avoid any issues with stains from sweat in previous tours, especially with some of the pale-colored corset dresses worn on the Eras tour.
In reference to the suggestive themes and connotations in her work, I pose a question to Carpenter: Has she experienced less backlash than performers such as Britney Spears and Christina Aguilera did, for expressing their sexuality through their artistry, decades later? “No,” she replies, “I’ve faced similar criticism.” She recalls the advice someone gave her when she felt singled out by criticism: Social media amplifies negative comments, so “Remember that I’m the one who is exposed to all the harsh criticisms about myself. My friends don’t see that.
Artists such as Madonna, Aguilera, Spears, Beyoncé, and Rihanna have been key figures in shaping the path, claims Carpenter. However, he acknowledges that there are still mothers who express strong opinions about an artist’s attire. To those individuals, he simply advises, “If you don’t wish to attend the performance, that’s perfectly fine. It’s regrettable when one’s appearance is subject to criticism, but let me assure you, the most terrifying thing in the world is standing on stage in front of such a large crowd and having to deliver a flawless performance as if it’s routine. If your chosen outfit helps boost your confidence, then by all means, that’s what you should wear.
The method she’s using appears to be effective. A captivating pop song titled “Juno,” inspired by the 2007 teen-pregnancy film, provides a mesmerizing moment when Carpenter adopts a hinting posture and sings, “Ever given this a try?” followed by a rise into the air on a heart-shaped platform. At Madison Square Garden, she kneels, tosses her hair, and jumps up and down amidst the audience, radiating energy.
In the auditorium sits Carpenter’s mother, attending the performance for the very first time. Her husband and 94-year-old grandfather were present at the premiere in Columbus. “My online followers can’t believe it when I stoop in front of my grandparents,” Carpenter comments. “I respond by saying, they’re not even looking at that. They’re simply amazed by all these people being here.
It feels a little absurd to ask Carpenter what’s next—she’ll be on the road through March, and isn’t that enough? But she’s already tinkering with new songs (a constant practice) and she hints that there are “a few projects” she’s working on for after the tour. In the nearer term, Halloween is coming up; she’ll go big, and she’ll take it as a massive compliment if you choose to dress up as her. And in December, she’ll release a holiday special on Netflix. “It’s an hour of literal nonsense,” she says. “If people are expecting boring, me singing by a tree, it’s not that. It’s so fun, so chaotic. There are so many guests that I’m excited about.”
To Carpenter, it’s all still a bit surreal. She says she’s been looking out at the crowds at night, checking to make sure they’re really all there to hear her songs. It makes her easy to root for: the girl who found her way into this world before she knew who she was, finally finding the success she’s worked so hard for only now that she can trust herself to do it all her way.
Instead of emphasizing her youth despite her experience, Carpenter humorously notes that people often make her feel old in this line of work, but she’s consciously reminding herself that she’s actually quite young.
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2024-10-02 15:07