To say Katy Perry’s comeback attempt with “143” is a disaster is an understatement. The album, filled with lackluster lyrics and boring synths, fails to live up to her previous work.
Perry was once a pop juggernaut. Her 2010 album, “Teenage Dream,” defined an era of pop music and solidified Perry as one of the most successful artists in the 21st century. Perry is one of only seven artists to have five consecutive songs on the Hot 100. The other six include the likes of Elvis Presley, The Beatles, and Michael Jackson.
Her two most recent records, “Witness” and “Smile,” both failed spectacularly, and it seemed as though Perry had one more chance to regain credibility in the pop sphere. When “143” was announced, longtime “KatyCats” were thrilled about a possible comeback.
Unfortunately, reviews have been anything but kind upon the album’s release.
Her initial single, titled “Woman’s World,” was a dumpster fire in both production and visuals. The lyrics feel AI-generated, and the collaboration with Dr. Luke came under fire almost immediately.
Dr. Luke is a music producer who has worked with Rihanna, Miley Cyrus, and Pink. However, he’s most infamously known for sexual assault allegations against artist Kesha.
Having an alleged sexual predator help produce a track about women’s empowerment isn’t the greatest PR move, and the irony wasn’t lost on those listening to the song. Many commented that the song and music video felt like it was performed for the male gaze, which starkly contrasts the “empowering” lyrics.
The rest of the album doesn’t fare much better. “Gimme Gimme” bores, with the 21 Savage verse being uncharacteristically terrible. “Gorgeous,” featuring Kim Petras, continues with the seemingly AI-written lyrics and lackluster synths. “Artificial” is merely a 2024 version of Perry’s “E.T.,” but unfortunately this version doesn’t even touch its predecessor.
Each song seems to run into the next, and it takes a certain level of focus to figure out where one ends and the next begins.
Chalked full of stellar artist features, one thing becomes apparent — it doesn’t matter who jumps on the track when the song is terrible. The only redeeming piece on the album is “Lifetimes,” which Perry wrote about her daughter Daisy, over whom she shares custody with actor Orlando Bloom. Influenced by early 2010s dance-pop, the song is outdated, but the only one on the album even worth listening to.
Overall, “143” fails to make a lasting impression. With Perry’s previous work filled with danceable beats and catchy earworms, her newest album fails to maintain these qualities. After yet another attempt to reclaim her throne, it seems official: the old Katy is dead, and she’s not returning.