Katy Perry’s ‘Woman’s World’ and what it means to have a failed comeback

Katy Perry’s ‘Woman’s World’ was met with an unending storm of confusion and scepticism. The music video, released on 11 July, seemed to play an instrumental part in this reception as it was unclear as to whether Perry was hailing or mocking feminism. This confusion was conveyed in a comment under the music video on YouTube: “This feels like a parody of feminism, gone wrong.”

On one hand, the lyrics are straightforward: “It’s a woman’s world and you’re lucky to be living in it.” They do not veer away from this sentiment at any point. There seems to be no hidden irony we are meant to parse. However, the music video does seem to, in contrast, include some sense of irony. The world depicted in the music video is dominated by women, but it is chaos. Women are now performing traditionally masculine tasks; there are a lot of cars, construction sites, and urinals. Trisha Paytas drives a particularly humongous truck while Perry fuels herself up at the petrol pump. Then, it’s juxtaposed with “feminine” tasks, like watering plants, for some reason. The video ends with Perry stealing someone’s TikTok dance set-up, flying off in a chopper, and screaming down from the skies, “I am Katy Perry!”

What is Perry parodying? It is difficult to understand or locate any witty commentary or hard-hitting satire.

Failed comebacks are nothing new, especially as far as Perry is concerned

Publications like The Cut question if Perry is stuck in 2016. Not even a glimmer of positivity can be grasped from scrolling through the YouTube comments for fifteen minutes. In ‘Woman’s World’, the sound feels tried and tested, and right now, we’re listening to a new sound with female pop musicians. Be it Chappell Roan’s nostalgic synth-pop-inspired sound, Charli XCX’s experimental electronic style, or Sabrina Carpenter’s catchy beats and dreamy vocals. Perry’s sound, in comparison, is still stuck in the past.

Failed comebacks are nothing new, especially as far as Perry is concerned. Her 2020 album Smile flew under the radar. Even for other artists, critically panned albums are part and parcel of a musical career. Not every album will resonate with its listeners, not every album has to.

There was a similar sentiment when twenty one pilots released Scaled and Icy in 2021. It felt strange, that after having looked forward to it for so long, it did not feel ‘right’. It wasn’t what a lot of people wanted. However, this raises an important question—one of artists’ intentions and their want to be experimental.

Many times, new albums may not fare well because they do not match what fans expect. Perhaps this is why Arctic Monkeys’ Tranquility Base Hotel and Casino divided fans, they were not expecting the newer sound but rather the pensive notes of ‘505’, the upbeat interrogation of ‘Do Me a Favour’, or the lovesick romance of ‘I Wanna Be Yours’. The question then comes back to the intent of these artists—to make music. Music can, and often is, profoundly personal to its composer. Comebacks don’t have to work. Albums can fail. Expectations can be let down.

Artist comebacks have failed and will fail

Of course, experiments may be received well. A current example is Billie Eilish—her different sounds in HIT ME HARD AND SOFT (2024), Happier than Ever (2021), and WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? (2019) are apparent and noticeable, yet, well received. A track like ‘bury a friend’ from her 2019 album has a gothic, yet fast-paced sound, well-accentuated with bass, and intriguing electronic effects. The recent ‘BIRDS OF A FEATHER’ on the other hand, is reminiscent of a melancholic ballad—sweet and simple. The differences are welcome and even celebrated.

If Perry felt empowered by ‘Woman’s World’, or ‘Bon Appetit’, that is commendable. When her album is released on 20 September, people will feel how they wish to feel. Despite this, it is up to Perry, and to the artists in general, to do with their sounds however they please. Experimentation can be empowering and helpful. It can help artists discover a new sound, break out of labels, and connect with music on an inherently deep scale.

Artist comebacks have failed and will fail. Art will continue to be subjective. Hopefully, amidst the chaos, confusion, and conflict, Perry feels confident and content. If not, this would truly be a failed comeback.