Sabrina Carpenter arrived Thursday at Little Caesars Arena seemingly driven by a mission: to stake a place among the leading, talking-point pop tours of 2024.
In a fun, frothy, vivacious and occasionally risqué show, the 25-year-old managed to make a solid case for it as she played to a sellout crowd in downtown Detroit on the third night of her Short n’ Sweet Tour.
“Please Please Please,” “Taste” and “Espresso” are some of the most delectably catchy tunes to come through the pop pipeline in a while, and they became cornerstones of a Thursday set list that featured all 12 numbers from “Short n’ Sweet,” the chart-topping album that lends the new tour its name. On a crisp night outside LCA that reminded us autumn is officially here, Carpenter served a 1½-hour indoor dose of sunny summertime sounds.
The signature wavy blond hair and fluttery vibrato were accompanied by ample energy from the pint-sized singer-songwriter, a 5-foot-tall star for whom “a little goes a long way,” as one video-screen inscription cheekily put it Thursday night.
She may be the year’s hottest breakout pop star, but Carpenter is no rookie: Having come through the Disney system as a teen actress a decade ago, Carpenter spent four early albums with a music career stalled in second gear.
Then came a new record deal and an A-list batch of collaborators such as Amy Allen and Jack Antonoff — and with the 2022 album “Emails I Can’t Send,” Carpenter was emphatically on to the self-proclaimed “big girl” chapter of her story. With a series of plum opening spots on Taylor Swift’s Eras Tour, she was primed for another step up, and “Short n’ Sweet” delivered it in a potent way this summer.
Sabrina Carpenter remembers her first concert in Michigan
Sabrina Carpenter, making her Little Caesars Arena debut on Thursday, reflected on a far less flashy visit to metro Detroit in 2016.
After previous stops at venues such as the Fillmore Detroit and Masonic Temple Theatre — along with Pontiac’s cozy Pike Room in 2016, as she recounted onstage Thursday — Carpenter was going full-scale with this latest Motor City visit.
On a main stage designed as a two-story New York penthouse apartment, Carpenter spent the first stretch of her LCA show in a pink negligée, kicking things off with the lush textures of “Taste” and “Good Graces” while undergirding “Slim Pickins” and “Lie to Girls” with vintage pop chording that revealed the old-school inspirations that fuel her latest work.
The night unfolded as a turn-of-the-’80s TV program, complete with voiceovers, videotaped mock-commercials and a pair of oversized studio cameras onstage to drive home the point. Carpenter would later emerge in a black bodysuit for a cocktail party segment (with a jazzy take on “Feather”) and sparkling gown for an elegant “Dumb & Poetic,” and the live episode would include a roll of closing credits listing tour personnel.
Her lyrics are laced with sexual references — some upfront, some implicit — but Carpenter gives it all a self-aware wink that makes it more camp than coarse. On Thursday, “Bed Chem” had her briefly writhing in a plush bedroom suite, while the exuberant dance-pop of “Juno” came with a quick flash of panties following a round of flirting with a Brighton fan named Dakota down front. She led the mostly teenage, female crowd in a call-and-response spotlighting three words: “camaraderie,” “horny” and “friendship.”
But the Short n’ Sweet show was otherwise a standard pop extravaganza that stayed between the lines, with 11 dancers, a four-piece band, a pair of backing singers and a confetti-blasted finale supplementing the action. (Then again, not every standard pop concert includes a lengthy black-and-white clip from 1966 with Leonard Cohen musing on poetry — as Thursday’s show did — so maybe something a little deeper is afoot here.)
Carpenter is proficient as a live performer and serviceable as a singer, but her real power lies in the craftsmanship of her songs. They’re astutely crafted pop tunes, more sophisticated than they might seem at first listen, nodding to previous golden eras without lapsing into retro laziness.
The menu of preshow music that kept fans occupied before the 9:05 p.m. start helped tell that tale: selections of ’70s disco-pop (ABBA, Andy Gibb), ’80s power pop (the La’s) and ’90s melodic rock (the Cardigans), foreshadowing the blend of influences that would inform Carpenter’s own set.
At one point, gathered with her dance crew on a heart-shaped B-stage, Carpenter played musical spin-the-bottle — a game to determine one cover-song performance for the evening. Having tackled ABBA in Columbus and Shania Twain in Toronto, she gave Detroit a rendition of “Kiss Me,” the 1999 alt-rock-pop hit by Sixpence None the Richer.
A soft-lit “Don’t Smile” closed the regular set before Carpenter returned, a Detroit-branded coffee mug in hand, to kick into the inevitable encore of “Espresso,” the career-defining hit with the instantly memorable hooks.
In a pop era that includes the likes of Charlie XCX, Chappell Roan and Olivia Rodrigo, Carpenter may not be the most cutting-edge figure rocking the mainstream right now. But she’s clearly carving out a distinctive creative lane of her own — and we’ll see if Short n’ Sweet can grow into something long and lasting.
Contact Detroit Free Press music writer Brian McCollum: 313-223-4450 or bmccollum@freepress.com.
