Maria Arozamena, Illustrations Editor

“Bland.” “Uninspired.” Katy Perry is back with her latest album, “143,” but the response has been underwhelming. Debuting to a dismal Metacritic score of 35, it’s the lowest-rated album by a female artist in the site’s history. Critics describe it as a spectacular flop, lacking the sparkle of her iconic “Teenage Dream” album. Social media has lit up with criticism, turning Perry into a convenient target for broader frustrations with the music industry. To put it lightly, Perry’s days of iconic releases are well behind her. 

Her collaboration with the controversial producer Dr. Luke raises ethical questions, adding to the scrutiny she faces. Nearly a decade after Kesha accused the producer of rape, Katy Perry has continued to dismiss Kesha’s allegations, framing them as fabrications and rejecting her truth. Amid a cultural shift demanding accountability, fans are grappling with their support for artists entangled in moral dilemmas. 

Yet, how bad can Perry’s album actually be?

The answer: pretty terrible. 

Here’s a breakdown, song by song.

Woman’s World: 

“It’s a woman’s world, and you’re lucky to be living in it.” The opening song of “143” belongs in the “Barbie” movie — a fun, catchy, yet cringy feminist anthem. If you’re looking for a pump-up song to boost your confidence as you strut into your midterm, “Woman’s World” is a solid choice; otherwise, I’d advise steering clear.

The song feels heavily edited and uninspired, lacking the uniquely engaging voice that Perry was known for. While it evokes similar themes to Beyoncé’s “Formation,” Perry’s track comes off as a derivative and unsuccessful nod to older feminist anthems. When I played “Woman’s World” aloud during Organic Chemistry study hall, my study partner Morgan Goldstrom ’28 remarked, “This song is the reason headphones were invented and I don’t want to be subjected to this travesty any longer.” Her opinion seems to echo the broader negative consensus in the music industry. 

On a contextual level, the lyrics are a striking contradiction, considering that Perry hired Kesha’s accused rapist to produce a song about feminist empowerment.

Gimme Gimme (feat. 21 Savage):

The song’s lyrics speak for themselves, unfortunately. “I’m like Amazon cuz I got what you need…Kitty, kitty wanna come party tonight. Trippy, trippy, Daddy take me on a ride.” The tempo of “Gimme Gimme” is far too slow to distract from its superficial lyrics, leaving listeners baffled. 

While the song’s modern reclaim of sexual pride illustrates an attempt to resonate with today’s music industry, Perry simply fails to create a track that her longtime fans would tune in to. 

Gorgeous (feat. Kim Petras):

At best, “Gorgeous” is a lackluster imitation of Tate McRae. With its silly lyrics and bouncy musical backdrop, the song almost feels like it should belong in a club — with almost being the imperative word. “Gorgeous” has a tempo that’s far too slow for dancing.

While I appreciate Perry’s attempt to branch out and feature Kim Petras, the vocals of both artists are so heavily edited that they blend together indistinguishably. It becomes nearly impossible to tell where Perry’s part ends and Petras’ begins. For me, “Gorgeous” stands out as one of the weakest tracks on “143.”

I’m His, He’s Mine (feat. Doechii):

“I’m His, He’s Mine” is the album’s third major flop in a row, further plummeting its reputation after the disasters of “Gimme Gimme” and “Gorgeous.” During our first listen of the track together, Gabrielle Williams ’28 couldn’t contain her reaction. After just 30 seconds, she exclaimed, “This is so cheesy; I can’t listen anymore” — and I felt the same. 

In the chorus, Perry declares, “Don’t even try.” Perhaps she should have heeded her own advice. A horrific attempt of house-music revival that’s insulting to Charli XCX, “I’m His, He’s Mine” truly leaves me wondering: where has Perry’s self-awareness gone?

Crush:

“Crush” is a solid manifestation of the old Perry — its light, upbeat nature is complemented by a catchy tune and enjoyable tempo. While the singer isn’t taking risks, it’s far more palatable than the previous three songs. Much like “Pearl” from “Teenage Dream,” “Crush” is the kind of song you probably would have skipped when it appeared in the queue of Perry’s earlier albums. 

Lifetimes:

“Lifetimes” is my personal favorite on “143.” The track is entertaining and incredibly upbeat, perfectly capturing that signature Katy Perry style that brings back memories of her peak stardom. “I know you feel it,” the singer announces, and I actually do feel the Perry magic with this song. It’s definitely a track you can dance to, even if it might wear thin after a few plays. While I can’t see myself loving this song for “lifetimes,” it stands out as a semi-successful bop on an album that has faced heavy criticism. Sure, Perry isn’t being adventurous or trying something new, but she’s sticking to what works — no complaints here. 

All The Love:

For some, this song represents a glimmer of redemption for an underwhelming album. However,  “All The Love” feels like a watered-down version of one of Katy Perry’s top hits. 

To put it simply, “All The Love” is Walmart “Fireworks.”

Is this song awful? No. 

Has my life improved now that this song exists? Also no.

Enough said. 

Nirvana:

“Take me to Nirvana,” Perry pleads. Yet I can assure you, this song will not take her there. 

The catchy intro of “Nirvana” raises high expectations for the rest of the song. But ultimately, the track fails to deliver a fun climax. Instead of building momentum toward an upbeat chorus, the song loses its steam as it progresses. The false hope “Nirvana” provides in its intro makes it all that more frustrating once listeners reach the disappointment of its dull “peak.”

Artificial (feat. JID):

“Artificial” certainly lives up to its name, as it’s the most edited track on “143.” Perry’s voice feels nearly robotic throughout the song, and the feature from JID certainly doesn’t do her any favors. The randomly inserted raps confuse the song’s rhythm, making the transitions feel incredibly forced and awkward. 

While Perry seems to be attempting something a bit different with this collaboration, it ultimately falls flat, leaving listeners feeling disoriented rather than intrigued. The unsuited combination of Perry’s former pop sensibility and JID’s style creates a jarring experience. Instead of innovation, “Artificial” results in a musical mishmash that fails to resonate. 

Truth:

“I want to know the truth, even if it hurts me.” It’s ironic to hear those words from a musician who has been notably unkind to those who question her decision to collaborate with an accused rapist. “Truth” feels lackluster, with a lifeless melody that struggles to engage and lyrics that come across as disingenuous. It ultimately leaves listeners feeling tired and disconnected, mirroring the music industry’s discomfort surrounding Perry’s choices.

Wonder:

While “Wonder” was designed to be a moving sentiment to the loss of childhood innocence, the song falls short of moving its audience. The track’s intro — a heavily auto-tuned sound bite of Perry’s daughter, Daisy, singing — is frankly quite creepy. With lyrics like “Can somebody promise me our innocence doesn’t get lost in a cynical world,” and “one day when we’re older, will we still look up and wonder,” “Wonder” is strikingly different from other songs on “143.” Yet, in an album about sex and power, “Wonder” is an out of place conclusion. 

There will always be a part of me that adores Katy Perry for the wild music she used to create. From her bold anthem of bisexual pride, “I Kissed a Girl,” to her unforgettable performance of “Roar” at the 2015 Super Bowl, Perry’s spirit remains a defining phenomenon of my childhood. 

Unfortunately, “143” fails to showcase the creative Katy Perry I grew up with; she not only retreats to her old style but does so poorly. In an age where constant musical reinvention is essential for prolonged career success, Perry simply doesn’t live up to the expectations of her time. To avoid diluting her legacy with failed albums, I believe it’s time for both Katy Perry and me to move on from her attempts at a musical comeback.