When Katy Perry debuted her platinum-blonde pixie cut in 2017, something shifted in pop culture. The once pop-superstar had fallen out of favor with the American public, and her subsequent album, “Witness,” failed to produce the same level of critical or cultural relevance as her previous works. She took a step back, joining Luke Bryan and Lionel Richie on the “American Idol” judging panel, where she remained for seven seasons.

Now, Perry’s ready for her comeback. In the lead-up to her single “WOMAN’S WORLD,” excitement for Perry’s return to the pop culture spotlight erupted on social media. Clips from her 2015 Super Bowl Halftime Show went viral, and some of her older hits started trending again. The world was anxiously waiting for a new Katy Perry song to hit the charts.

But then, that single dropped. Its opening verse, set over a pulsing synth-bass and uptempo snare, boasts lyrics that are somehow both overly-simplistic and utter nonsense. Sings Perry, “Sexy, confident / So intelligent / She is heaven-sent / So soft / So strong.”  Her vocal delivery, sounds robotic, with auto tuned vocals and a clear lack of emotional attachment to the lyrics. It feels like a B-side off the “Barbie” movie soundtrack generated entirely by ChatGPT.

This was the first sign that Perry’s comeback album, “143,” released Sept. 20, wouldn’t live up to the high standards set by fans on social media. Unfortunately for Perry, “WOMAN’S WORLD,” despite its disappointing quality, is a stand-out moment on an album that is ultimately soulless, dated and out of touch with reality.

“143,” a numerical representation of “I Love You,” is Perry’s seventh studio album, as well as her shortest, at just 33 minutes. At the time of this article’s publishing, “143” is the lowest-rated album of 2024 by Metacritic, receiving a mere 35/100. It is a love letter to the early 2010s, the era when Perry ruled the charts. It uses the same techniques as back then, with maximalist production, featured artists on the third verse and ever-optimistic lyrics. Combining elements of dance-pop, Europop and club music, Perry hopes this album will get you on the dancefloor.

This is perhaps seen best on track three, “I’M HIS, HE’S MINE (feat. Doechii).” Sampling Crystal Waters’ iconic 1991 house anthem “Gypsy Woman (She’s Homeless),” Perry confidently proclaims her security and happiness in a relationship. The sampled beat works overtime to salvage Perry’s questionable vocal performance and even more questionable lyrics, such as “I can see you flirtin’ / Why you overworkin’? / On him like a suntan / Go and get your own man.”

Of course, it’s important to acknowledge that for most house or club tracks, the lyrics aren’t typically the focus. However, Perry’s vocal melodies don’t add enough color to make the song interesting independent of the beat. Doechii, in her dreadfully-short verse, adds some much-needed life to the track. Her lyrics, too, are mostly nonsensical, but her vocal delivery is well-executed. You can’t help but bop your head to the beat when she comes on.

This is to say, some of the best parts of “143” are the featured artists. Whereas Perry’s unconvincing vocals and repetitive production elements blend from song to song, the featured artists offer some well-needed perspective and sonic differentials. 21 Savage spits a verse on the second track, “GIMME GIMME,” complete with his iconic “21” adlibs. JID joins Perry for a rap verse on “ARTIFICIAL,” in which he delivers a genuinely great performance. The beat is switched, the drums are intensified and JID demolishes the verse going rapid-fire, bar after bar.

Each time a featured artist comes on, it’s a little disappointing when Perry comes back. This isn’t to say that there are no good moments by Perry on the album. “ALL THE LOVE,” for example, instantly transports the listener back to 2012 – it’s practically begging to be played with the car windows down.

The album’s final track, “WONDER,” is another stand-out. It starts and ends with vocals from Perry’s 4-year-old daughter Daisy Bloom. Bloom sings “One day, when we’re older / Will we still look up in wonder?” Perry echoes Bloom’s melody in a touching moment between mother and daughter. It’s Perry’s most powerful vocal delivery by far, as you can genuinely feel the emotions conveyed through her voice. If “143” contained half as much genuine love as Perry expresses on “WONDER,” its quality would improve ten-fold.

Of course, we must acknowledge the elephant in the room: Dr. Luke. A major collaborator on this album, Łukasz Gottwald, or Dr. Luke, was a highly-sought after music producer in the early-to-mid 2000s and 2010s. He’s responsiblefor 18 Billboard number one hits, the third-most of all producers and fifth-most for a songwriter. He co-produced some of Perry’s biggest hits, from “California Gurls” to “Hot N Cold” to “Dark Horse.” But, that was over a decade ago, and his reputation is not what it used to be.

In 2014, Kesha, a former friend of Perry who appeared in the “I Kissed a Girl” music video, sued Dr. Luke for allegedly drugging and sexually assaulting her. Gottwald counter-sued for defamation, sparking an almost-decade-long legal battle. Dr. Luke is credited as a co-producer on all tracks except for “WONDER,” which feels entirely hypocritical and disingenuous when you consider the feminist intentions on many “143” tracks. Sure, Dr. Luke was around in the era of Katy Perry’s biggest hits, but that era is long gone.

This year is a shining moment in the history of pop music. It’s the year of Chappell Roan, Sabrina Carpenter and Charli XCX – artists who authentically have brought unique sounds and ideas to the forefront of popular culture. “143,” on the other hand, isn’t actively trying to experiment or break any boundaries. In a crowded musical scene, it’s time to look forward, and stop dwelling on the past.

Nathan Legare can be reached at [email protected] or followed on X @Legare_Nathan.