Katy Perry’s peak is long gone, and her newest project “143,” which was released in September 2024, only further puts that truth in focus. A deadly combination of ill-timing, a controversial collaboration and mediocre music has created a flop album for the history books. “143” is Perry’s seventh album, and perhaps her worst yet. Especially when compared to her witty and exciting third album, “Teenage Dream,” whose re-release in 2012 set a record for the most multi-platinum songs in a single album, “143” pales evermore in comparison.
Throughout her career, Perry has defined pop music with magnetic dance-pop hits. Her legacy will remain a pop-culture influence for years to come through hit songs like “Roar,” “Fireworks” and “T.G.I.F”. However, in recent years she has taken a step back from her identity as a pop star, by being a judge on American Idol and becoming a mother. Evidently, her new lifestyle is not conducive to creating these mega-hits. Sadly, “143” does not add any value to her already impressive discography.
On the album itself, the music is lackluster. “WOMAN’S WORLD” was one of three singles that preceded the album’s release, and did fairly well on the charts at number 63 on the Billboard 100. However, this success was premature, and only a result of Perry’s enduring fame. Pre-released singles are meant to generate excitement and buzz for a new album, but “WOMAN’S WORLD” somehow accomplished the opposite of this by presenting another dull, repetitive “girl power” song. Despite the impressive features on “143” like Kim Petras, 21 Savage, JID and the up-and-coming Doechii; these talented artists could not salvage this album. “143” is full of repetitive pop-feminist songs and “WOMAN’S WORLD” is just the tip of an iceberg of disappointment.
The album debuted at number six on the US Billboard 200 chart, but this is not necessarily an accurate measure of its quality. Every song presents a confusing and uninspired mix of synthesizers, unenergetic vocals and dull lyrics. Even distinguishing each song from another becomes an exercise in boredom for listeners. “143” is an oxymoron: a dance-pop album that is unforgivably boring.
“I’M HIS, HE’S MINE” featuring Doechii, adds some excitement to a tedious listen-through, but ultimately comes in one ear and out the other. On the other hand, “LIFETIMES” might be the only song on the album that would inspire even a nod to its beat. It manages to utilize an instrumental performance that would not be unwelcome in the background on a generic YouTube video remarkably well.
When listening to “NO TEARS FOR NEW YEARS,” it is nearly so instinctive to reach for the skip button, that the song could not possibly be the creation of such a seasoned pop-hit maker. “ALL THE LOVE” might have been a hit if it had been released 10 years ago; Now, it just feels like a poor imitation of Perry’s greatest success. Ultimately, when listening to “143,” it would be surprising if a listener could find meaning in the mess it creates.
Another essential contributing factor to the unpopularity of her latest album is rooted in its morality. Dr. Luke is a music producer and problematic figure in the music industry due to a lawsuit filed against him by another pop star, Kesha, that alleged sexual assault. However, despite his controversial career, he has remained an important influence on Perry’s music since her career began. He is a key collaborator on Perry’s latest album, and his presence has contributed to its negative reception among fans. As consumers become more aware and reactive about the ethical quality of their content, separating the art from the artist becomes more difficult. Perry defended Dr. Luke’s involvement in her album, and her response has not endeared her or “143” to her audience.
Finally, a major reason for the failure of “143” was simply ill-timing. After the release of major hits like Sabrina Carpenter’s “Short n’ Sweet,” Charli XCX’s “Brat” and Chappel Roan’s
“Downfall of a Midwest Princess” the market for female pop music comebacks is already oversaturated. Perry’s album was always going to have a difficult time in comparison to these new young female artists, no matter its quality.
Additionally, Perry has released her album at a time when the music industry is coming under fire. When popular figures like rapper P-Diddy (Sean Combs) have their alleged crimes revealed to the public, people’s trust in the music industry is shaken. Perry’s album is only adding to this major upset and has become a scapegoat for unsettled fans. Ultimately, “143” is a product of circumstance and poor quality and is simply unlovable.
