Sabrina Carpenter, the pop star known for her hit song “Espresso,” released her seventh studio album last month, featuring provocative cover art and thirty-eight minutes of disco infused pop. Several of my peers in the music critique business have lauded it as a high point in Carpenter’s career, representing a culmination of stylistic exploration.
However, I find that Carpenter still has a long way to go as an artist. Despite having released seven (count them, seven) albums now, Carpenter has yet to write one single funeral march. Composing a funeral march, perhaps in memory of a fellow musician, is an essential milestone in an artists career.
A funeral march proves that an artist has the ability to transform grief into a poignant and powerful instrumental piece. It proves the artist’s ability to dive and explore the ocean of emotional depths. Edvard Grief’s Funeral March in Memory of Rikard Nordraak is a prime example of the type of artistic achievement that Carpenter should be aiming for at this stage in her life.
The fact that Carpenter chooses to embrace retro disco-funk rhythms over sweeping brass build-ups in A minor is a testament to her ineptitude as a cultural musical icon. Perhaps if she were to incorporate tender brass lamentations, she would actually be able to speak to the soul of the young women she targets with her music. Imagine if she applied that skilled soprano voice to a keening lament!
Grieg’s composition was so moving that he requested it be played at his own funeral. I can’t imagine a single song off of Man’s Best Friend being played at Carpenter’s funeral, let alone anyone else’s. Until Carpenter manages to complete a fully orchestrated funeral march, I cannot fully endorse her as a musical artist.
Two stars.
Clarissa McDermott Shepherd-Smith
McDermott Shepherd-Smith is one of the most experienced critics in the modern art scene. She has spent decades covering music and is proud to be the newest addition to the Traffic Jam’s team.
Leave a Reply