The ‘Teenage Dream’ singer reconnects with her old collaborators for her seventh album, but fails to recreate the magic It’s a shame that Katy Perry’s new album opens with ‘Woman’s World’, arguably the most disastrous comeback single in recent memory. This mechanical-sounding female empowerment anthem was partly sunk by poor optics: Perry was widely criticised for crafting it with Dr Luke, the producer who was accused (though never convicted) of emotional abuse and sexual assault by Kesha . But at the same time, ‘Woman’s World’ was also torpedoed by its hopelessly vague, dated lyrics.
When Perry sings “she’s a flower, she’s a thorn, superhuman, number one”, it’s hard not to wonder whether ChatGPT should have been credited alongside Perry’s five co-writers. READ MORE: Katy Perry: every single ranked in order of greatness It would be easier to forget about ‘Woman’s World’ if it were buried at the end, but at least ‘143’ improves when it’s over. When this album was announced in July, it was billed as a “sexy, fearless, return to form.
.. jam packed with the empowering, sexy and provocative pop anthems you’ve come to love”.
In recent years, Perry has been more prominent as an American Idol judge, but clearly she wants to be a massive pop star again. This, presumably, is why she has decided to reconnect with her main ‘Teenage Dream’ collaborators here: Dr Luke is credited on each of this album’s first ten tracks, while Norwegi.