‘Espresso’ Single Review: Unremarkable, Yet Oh So Infectious

Following the major success of her 2022 album, “emails i can’t send,” and the recognition she amassed from opening for Taylor Swift on the international leg of the “Eras Tour,” Sabrina Carpenter has set some high standards for herself. Since her last mainstream project, she has put out a holiday EP, “fruitcake,” and featured on various tracks, and now she has recently released her next big hit, “Espresso,” just in time for the summer.

The song is all about being the object of someone’s addiction, as the caffeine-based name suggests. Throughout the track, Carpenter displays unapologetic, tongue-in-cheek cockiness. She sings “And now he’s thinking ‘bout me every night, oh / Isn’t that sweet? I guess so / Say you can’t sleep, baby, I know / That’s that me espresso.” Her apathy is refreshing and allows listeners to see infatuation through a comedic, witty lens.

While the lyrics may be playful, they are not exactly mind-blowing. Carpenter sings, “Walked in and dream-came-trued it for ya” and “One touch and I brand-newed it for ya.” Adding the suffix allows for good-natured wordplay, yet it comes off as a bit simplistic. Not every song needs to have complex lyrics to make it compelling, but it doesn’t feel as though this one is enhanced by her verbiage; instead, it feels like a missed opportunity to add something more enticing.

What Carpenter lacks in lyricism, though, she makes up for in delivery. One of the most addicting lines in “Espresso” is “I’m working late ‘cause I’m a singer,” where she extends her pronunciation of the “R,” making it seem as though she’s mocking herself. This self-awareness translates as charm, contributing to the light-hearted atmosphere of the song and its appeal to listeners.

The backing track is similarly fun, but nothing new. The only standout contribution is the keyboard, which introduces the song and later has a creative riff in the pre-chorus. Its synth initially adds a unique, retro attitude to the tune; however, the instrument’s inclusion falls short when it leads into a generic pop instrumental. Consequently, the choice very easily fits in with Carpenter’s traditional sound, not making any moves to push boundaries or explore new sonic territory.

This song is not revolutionary. However, it’s obvious that it isn’t supposed to be. Artists don’t have to constantly raise the standards of music to make enjoyable songs. Though “Espresso” could have benefitted from some more depth or experimentation, it still ends up being an incredibly catchy tune saturated with charismatic frivolity, guaranteed to repeatedly play in one’s head.