Katy’s 143: Paging Love, But the Signal’s Mixed
Katy Perry’s latest album "143", titled after the pager code for “I love you,” marks her return to the pop scene after a four-year hiatus. Unfortunately, while the title nods to a classic gesture of affection, the album itself is a mixed bag, with missteps overshadowing the occasional moments of brilliance. Though Perry embraces high-energy pop and rhythmic beats, "143" ultimately struggles to find its footing in a rapidly evolving pop landscape dominated by boundary-pushing artists like Charli XCX, Sabrina Carpenter, and Chappell Roan.
From the outset, the album stumbles with its choice of opener, "Woman's World". On paper, a song about female empowerment sounds timely, but the involvement of Dr. Luke, who co-wrote and produced the track, sparked controversy. Given the high-profile allegations of abuse against Dr. Luke by his former collaborator Kesha, the decision to work with him undermines the message of the song. To make matters worse, the lyrics are disappointingly basic, with little of the depth or nuance expected from a track meant to uplift women. It’s baffling that it took five writers to pen what is easily one of the weakest songs of the year, leaving listeners questioning whether it should have been included on the album at all.
Despite its rocky start, "143" does contain standout moments that showcase Perry's undeniable talent. "Gimme Gimme", featuring 21 Savage, ventures into trap territory with a pulsating beat, while "Gorgeous", a collaboration with Kim Petras, channels the eerie allure of Petras' hit "Unholy". However, these tracks feel somewhat derivative, leaning too heavily on the star power of their features rather than offering anything distinctly fresh.
The interpolation of Crystal Waters' *Gypsy Woman* on *I’m His He’s Mine* featuring Doechii adds a welcome sense of nostalgia, and "Artificial" with JID stands out as one of the album's most successful collaborations, blending Perry's pop sensibilities with JID's smooth flow. Yet even here, the production, while solid, feels slightly dated, as if Perry is trying to reclaim the sound of her earlier hits without fully embracing the forward-thinking approach that today’s pop heavyweights have mastered.
Two of the strongest moments on "143" are "Crush" and "Nirvana". "Crush", with its lurid 80s tone and infectious energy, is a bona fide club banger that deserves to become a fan favorite. Meanwhile, "Nirvana" is a surreal slice of Euro-pop that feels both refreshing and perfectly placed within the album’s otherwise uneven tracklist. Both songs remind listeners of Perry’s ability to craft irresistible pop tunes when she taps into her creative potential.
But the album's true gem is "All the Love", an 80s-tinged track that references Perry's personal life, including her marriage to Orlando Bloom and her previous divorce from Russell Brand. The emotional resonance of the song is undeniable, and its smooth transition into "Nirvana" is one of the album's high points. It’s in moments like these that Perry seems most in touch with her artistry, blending vulnerability with catchiness in a way that truly works.
The dance ballad "Lifetimes", while beautifully opened by a piano riff, failed to make much of a splash, thanks in part to an ill-fated music video shoot that attracted environmental controversy and a government investigation. Adding to Perry's list of bad luck, the song didn’t even chart in the U.S., leaving one to wonder if the negative press sealed its fate.
The album closes with "Wonder", featuring Perry's baby daughter Daisy, a childlike, EDM-influenced empowerment anthem. While it’s sweet and very “Katy” in its essence, it doesn’t quite hit the emotional depth or power of similar tracks from her earlier albums. It feels more like a charming but forgettable footnote rather than a standout finale.
Ultimately, "143" suffers from a fatal flaw: timing. Released amid a pop scene that has already been redefined by forward-thinking artists, the album feels out of step. The singles, particularly "Woman's World", failed to resonate, and Perry’s marketing strategy left much to be desired. By the time the album dropped, it seemed fans and critics alike had already written it off, despite there being moments that could have had greater impact under different circumstances.
Production-wise, "143" offers catchy beats and polished soundscapes, but the lyrical content too often falls flat, lacking the sharpness or emotional weight that could have elevated the album. Perry, known for her playful yet poignant pop anthems, seems bogged down by commercial aspirations, trying too hard to create hits rather than simply having fun with her music. And while there are glimpses of the creative force behind "Teenage Dream" and "Prism", they’re not enough to save "143" from feeling like a missed opportunity.
In a time where pop albums are pushing boundaries and setting new standards, "143" feels like a pager message from a different era—brief, sweet, but ultimately lost in translation.
