The Peter Pan Effect: Sabrina, Sex and Infantilisation

Jess Cooper on 6 December 2024

Let the record show that Sabrina Annlyn Carpenter is a grown woman, at the age of 25 years old. She may look small, “five feet to be exact”, but despite her size, Sabrina Carpenter is an adult who we can confidently assume lives an adult lifestyle. So why are people so disgusted that she is singing about said lifestyle?

Sabrina Carpenter has been in the music game for ten long years; and for at least the past five of those, she has been singing songs with explicit adult themes. Songs from her earlier sister albums Singular Act I (2018) and Singular Act II (2019), including ‘Almost Love’, ‘prfct’, and ‘Looking At Me’ can all be heralded as confident explorations of the female sexual experience. Safe to say, the themes of romance, mature relationships and more notably sex aren’t new for Carpenter. However, since her sudden boom in popularity this past year with playfully naughty smash hits ‘Nonsense’ and ‘Espresso’, the praising of her innuendo heavy lyricism and blunt lack of subtlety in these songs has correlated in a rise of criticism against the pop star. It has left many asking why she is performing such explicit songs to her young female audience.

This negativity reached its peak in the past few months, as Sabrina embarked on the tour for her sixth studio album ‘Short ‘N’ Sweet’, and attendees with young children were shocked at the overtly sexual nature of her performances. From wearing lingerie to perform in, to arresting an audience member with fuzzy handcuffs and acting out various sex positions during the bridge of her least subtle track ‘Juno’, many people, including parents and wider industry critics, have questioned whether Carpenter’s performances are suitable for her audience and whether she has taken it too far.

It is important to note that since the singer’s most recent chart toppers have gone viral on platforms like TikTok, Carpenter has gained younger fans than before and some of these can be as young as seven or eight; prior to this social media boom, Sabrina Carpenter listeners tended to be women aged between sixteen to twenty five, which is the age demographic that grew up watching her acting on the Disney Channel (more on that later). The question is though: is it up to Carpenter to change the themes of her self-expression and art in order to cater to younger audiences or is it inevitably up to the parents to audit concerts beforehand to ensure they are suitable for their children?

One of the most plaguing (and to me, the most ridiculous) reasons that people are horrified at Sabrina’s seemingly sudden embrace of sexuality is because of her childhood acting on the Disney Channel show, Girl Meets World. For the critics, they believe that she has a responsibility to cater to this Disney Channel audience, which would be young children between the ages of seven and eleven. This would be a rational argument, if Carpenter had been on Disney Channel recently and her appearance warranted her having this young fan base. But her Disney Channel career was ten years ago when I was a young child. I’m almost nineteen now and cannot fathom how people believe a relatively short (three years) Disney stint would cause Carpenter to be a perfect role model for children over a decade later. The children that watched Carpenter on television have now grown up and are the perfect target audience for Sabrina’s new music. Somehow, people believe that once a child star, means always a child star.

Sabrina, unfortunately, is not the only former child star that has been attacked for embracing all facets of being an adult. Olivia Rodrigo, another ex-Disney star, was constantly critiqued by parents on social media for what they were quick to call “excessive” swearing in her songs as well as acting out sexual behaviours in her song ‘obsessed’ during her most recent tour. When Miley Cyrus had her ‘Bangerz’ era, people freaked out, watching a former Disney golden child cut off all her hair and grind on Robin Thicke in live performances. Britney Spears, Dove Cameron, Ariana Grande, Demi Lovato. The list is endless. Even artists like Taylor Swift, who wasn’t a traditional child star but did start her singing career at an incredibly young age with an infantilised image, have faced criticism for behaving too ‘sexual’ and ‘adult’. We seem to be obsessed with our female pop stars, especially when we feel we have known them since they were young, staying pure, innocent and never growing up. Simply put, we want Peter Pans.

Peter Pan Syndrome is a pop-psychology term that describes adults who are socially immature. Adults who reach the grown-up ages, but can’t cope or deal with adult sensations, emotions and responsibilities. In a way, we want our female pop stars to develop this state of mind; we want them to look adult and mature so we can sexualise them as and when we please, but they cannot have the emotional capability to sexualise themselves. We, as an audience, seem to desire a strange paradox that can never exist and wonder why women in the spotlight have public breakdowns when we demand this impossibility from them.

Sabrina Carpenter seems to be coping quite well with the pressure though, only doubling down on her overt sexuality. Hopefully, we don’t see a 2007 style Britney meltdown, or a Demi Lovato crash-and-burn or one of the many explosions when female pop stars are refused and denied their own freedom to express themselves. My only wish for Sabrina: she continues to climb all over that tour stage, doing whatever the hell she wants.

Words by Jessica Cooper

Kneecap at Leeds Irish Centre: an explosive night of party and protest

Ruby Smith on 5 December 2024

The Belfast hip-hop trio bring a raucous, riotous, rowdy night of infectious energy to Leeds Irish Centre. 

Pint of gorgeously creamy Guinness in hand, I weave through a sea of GAA jerseys and tricolour flags. A melodic mosaic of different Irish accents hang in the air, bubbling in anticipation of what we are about to witness. There is no venue in this city more appropriate for a Kneecap gig than Leeds Irish Centre. 

DJ Provai, sporting his trademark tricolour balaclava and custom boilersuit, is the first to emerge onto stage and take his place behind the decks amidst the atmospheric ‘3CAG’ – the opening track to the group’s latest album Fine Art. Hushed excitement simmers throughout the room, fizzing with expectation and then erupting into boiling point when the throbbing beat of ‘Its Been Ages’ explodes through the soundsystem. Mo Chara and Moglai Bap bounce onto stage and jump straight into a confident flow. The final night of a sold out two-night stand is off to a strong start.  

A high energy riot ensues as the trio bulldoze through banger after banger. ‘Sick in the Head’ sees a pit half the size of the venue open up and subsequently implode under the weight of fervent moshing. The intensity of ‘I bhFiacha Linne’ and unrelenting throb of ‘Your Sniffer Dogs are Shite’ have the crowd leaping with unbounded energy, ‘Fenian Cunts’ obliges the audience to sway and sing as one, and ‘C.E.A.R.T.A’ sees friends, lovers, and strangers on each other’s shoulders shouting along in unison. 

A deeply political atmosphere of resistance permeates the crowd and stage alike: most notably in support for Palestine. Amongst the fans are Palestine flags, T-shirts, and frequent impassioned chants of “Free Free Palestine”. The show itself starts with a graphic on the screen behind the stage stating “Israel is committing a genocide against Palestine” followed by a series of harrowing facts and figures. The Palestinian cause is important to the group: Moglai Bap has been running 10km everyday of the tour to raise funds for Food Parcels for Gaza – a feat he encourages the audience to join in with, donate to, and be impressed by given the extra challenge of “the hangovers and the cocaine”. 

This is unsurprising given the political nature of Kneecap. Their lyrics blend both Irish with English and the sharply political with the deeply funny. Vocal in their support for a united Ireland, and of course advocates for the Irish language, they are simultaneously thoughtfully unapologetic and hedonistically fun: rapping as much about civil rights as about drugs. Throughout the show they encourage the crowd to sing the anti-Thatcher tune “In a box, in a box, Maggie’s in a box!” – a task we take up enthusiastically. On brand for a Kneecap audience I spot a fan wearing a Che Guevara t-shirt, and one man even shouts out for an independent Yorkshire (Moglai Bap responds by admitting the band know shit all about British geography). Kneecap are divisive and offensive in the most inclusive and loving way. Their track ‘Parful’ celebrates how nightlife culture brings together historically divided Catholic and Protestant communities in the North of Ireland. Such an atmosphere of protest and party is in full force tonight. The colourful strobe lighting, contagious energy, pulsating bass, and hypnotic beats, elicit the euphoria of a really fucking good rave, and something else too.

The gig hurtles on at breakneck speed. Fans barely have time to catch their breath before launching back into the mosh pit to ‘Rhino Ket’ – a song Mo Chara declares is his granny’s favourite (anyone else’s nan love to yell “I’m k-holed off my head, this shit puts rhinos to bed”?). It certainly seems a favourite of the crowd who threaten to blow the roof when the end of the track crescendos into chaos. My personal favourite ‘I’m Flush’ does not disappoint; I’m actively giddy from the stellar performance and surprisingly lush sound system which does the blaring bassline justice. There is not a soul in sight who does not dance to ‘Get Your Brits Out’ – the punchy tune featuring the BBC news theme song and tongue in cheek lyrics that envision a messy night out with the DUP. By the time Kneecap reach their final song, the electrifying ‘H.O.O.D’, the room is dripping with enough sweat to fill the Irish Sea. 

Each person lucky enough to be here will undoubtedly look back with gratitude at experiencing Kneecap perform in such an intimate setting: the band are already snowballing to mainstream fame and balance on the precipice of commercial success. Their self-titled semi-fictionalised biopic, which was met with both critical acclaim and a triumphant theatre release earlier this year, is now available on Amazon Prime (Mo Chara encourages the audience to watch it on dodgy boxes or illegal websites – “fuck Jeff Bezos”). The band already have their sights set on some immense performances, having booked international festival appearances including Coachella and a headline slot at Wide Awake, as well as supporting fellow Irishmen Fontaines DC at their huge Finsbury Park show next summer. There is no denying that Kneecap are on the upside of the see-saw. They will not be coming down anytime soon. 

Words by Ruby Smith

From Greasy Boy to Number One: FEET’s Unforgettable Night at Brudenell

George Bolger on 5 December 2024

On Tuesday 12th November I was lucky enough to go down to Leeds’ best music venue, the Brudenell Social Club to see FEET on their UK tour. As soon as I walked in and saw the venue packed with the typical Leeds indie kid musos, I knew it was going to be a good night. The gig promised a stellar lineup and I was particularly excited to catch local bands Gravy and L’objectif on the support slots.

Gravy kicked things off with an energetic set that had the crowd hooked from the instant. As a young band they already show remarkable energy and promise. Their latest single ‘Five to One’ translated well live, brimming with raw energy and a contagious groove. It’s clear this band has a bright future ahead of them. Lead singer Harrison stood out not just for his vocals, but also for the way he worked the crowd. As a local band, his banter and connection with the audience made their set feel especially personal. His confidence and wit gave their performance an extra spark, turning curious attendees into instant fans – also have to mention, I rate the Stella themed merch idea too lads. 

Next up was L’Objectif, another Leeds-based band that has steadily been building momentum, especially since the release of their March 2024 EP, The Left Side. Their tight musicianship and blend of post-punk, synth pop and indie influences had the audience swaying along. I first saw these guys supporting Alfie Templeman back in 2022 at Beckett’s Student Union and had been a fan ever since. Tracks from their EP such as ‘The Dance You Sell’ and ‘ITSA’ stood out for their emotional depth and strong vocal hooks which paired with the heavier side of some of their older material such as Drive in Mind – my personal favourite – proved why they’ve become one of the city’s standout acts. There’s something special about seeing a local band play on home turf, and L’Objectif delivered a performance that felt equal parts captivating and polished.

Then came FEET, the band I’d been waiting to see live for years. I’ve been a fan since their quirky, genre-blending debut album, What’s Inside is More Than Just Ham (2019). Their humor, energy, and unique take on guitar music hooked me back then, and with the release of their second album, Make It Up, in June 2024, they’ve only grown more dynamic and interesting. Finally witnessing them in person felt like a long-time coming event for me. FEET launched into the night with Good Richard’s Crash Landing, the opening track from their debut album. It was a perfect start, full of the chaotic, psychedelic charm that defines the band’s sound, and the crowd erupted. Without missing a beat, they dove straight into Changing My Mind Again, a personal favourite of mine. Hearing it live brought a whole new energy to the track—it was raw, infectious, and irresistibly fun. The band’s ability to seamlessly blend nostalgic nods to their early material with the evolution of their newer work was impressive, making their set both a journey through their discography and a celebration of their growth.

From there, they expertly balanced their setlist, weaving together old fan favourites and standout tracks from Make It Up. High-energy numbers like Greasy Boy had the crowd bouncing and shouting along, their anthemic quality proving they were made for live performance. But it wasn’t all fast-paced indie rock chaos. Tracks like Why Would I Lie and Dog Walking offered a welcome pause, showcasing the band’s more introspective side. The slower pace and poignant lyrics highlighted FEET’s lyrical depth and musicianship, providing a refreshing contrast to the more frantic moments. These quieter interludes gave the set an added layer of sophistication, proving that FEET can do more than just get a crowd moving. 

FEET’s recently released single, Number One, which dropped earlier this month, was a standout moment of the set. Its infectious synth hook had the crowd grooving from the first note, and hearing it live added an extra layer of energy and excitement. The track’s polished production translated perfectly on stage, blending seamlessly with their newer and older material. Near the end of the set, they pulled out fan-favourite Petty Thieving, a moment of pure chaos. Frontman George took it to the next level by diving into the crowd, surfing over a sea of moshing fans while belting out the lyrics—a fitting climax to an unforgettable performance.

FEET closed the night with Chalet 47, a perfect finale that captured their inherent energy and left the crowd on a high. The song’s infectious rhythm and singalong vibe had everyone dancing as the set came to an end. It was the ideal way to wrap up an evening of class bands, with FEET once again proving why they’re such an exciting and versatile group. From start to finish, the night at Brude was a celebration of live music at its best whilst showcasing the talent from local bands here in the Leeds scene too.

Words by George Bolger

Three Was Never a Crowd – In Conversation with Honeyglaze

Charlotte Trenbath on 4 December 2024

The glitz and glamour of the touring artist nowadays seems to consist of multiple jobs, last minute trains, and Travelodge’s that come with a vague, lingering smell of bananas. At least, that’s how it’s been for
Honeyglaze, who spoke to Charlotte Trenbath about their last 24 hours in Leeds with real humour and light-heartedness. Made up of vocalist & guitarist Anouska Sokolow, bassist Tim Curtis and drummer Yuri Shibuichi, Honeyglaze made a fleeting appearance in Leeds to perform in the Dark Arts all- dayer at Belgrave.

You’ve just played a gig in Leeds, how did you find that?
Y – It was lively, yeah, there was a bunch of people. Every time we come to Leeds it’s quite vibrant.
T – People here seem to already be a friend, which is nice. Even if they’re quiet, they’re just chilling with you. We just came here on the train. Sometimes you just get given a tour, today I woke up and saw ‘Leeds Dark Arts’ on my calendar and then suddenly I’m on the train. It’s quite nice, in a way, but also a bit
dissociative.
A – We’ve been staying in a Travelodge and the room smells like bananas, for some reason.
Y – When we’re travelling, which is most of the time, things don’t make as much sense. But when we do come to play the show, we remember why we’re doing it, and it makes sense. And we’re just really good
friends, and we love each other.


How did you all meet?
A – I knew Tim and Yuri separately through different musical escapades and friends and then was asked to play a show solo. I asked them to join me, we played one show, and it was good, and it never ended.
T – It did end, we started before lockdown. So, it started and then it ended. And then it started again, but for real that time.


So, you’ve just released a new album, Real Deal, and from what I’ve seen the reception has been good. Are you happy with how it’s been received?

A – I feel like it’s hard to tell because it’s all online at the minute. I think when we go on this headline tour, we’ll be able to feel the vibe and the excitement a little bit more.
T – But also, even if you start responding to the messages you don’t have the number of messages written out. And it’s difficult to tell how much of it is positive. But there have been a couple of things that I didn’t expect, like sellouts and the Joe Jonas thing.

The Joe Jonas thing?
A – Yeah, so, he DM’ed us and I was on my phone at the time and saw the message come through saying ‘Joe Jonas messaged you’ and I thought it was a spam account, but it was real. He said he loved the new
record and that Ghost was his ‘jam’.
T – I didn’t find out for a couple of days. I went to meet some friends, and they were like, ‘So, that Joe Jonas thing’. And I was like, ‘What are you talking about?’
A – I literally had a period in my life where no one would ask me how I was, people would only ask about Joe Jonas. They’d say, ‘Oh my God, how’s Joe Jonas?’ and I’d be like, ‘I’m fine, thank you for asking, and Joe is also fine.’


How did you want your new album to be different or progress from your first release?
A – We wanted to go bigger. As much as we love the first one, we’re quite ambitious and we wanted to push ourselves and see how much we could do.
Y – I think a lot of the second album is influenced from the experience we had touring the first album. There’s a certain level of aggression, or loudness, or presence that you can have on stage. I think we understood what was possible. The first album’s songs were on the mellower side compared to these songs, so I think in terms of the arrangements we were going for a more dynamic and larger range. So that when we go hard its mega hard and when we go soft its way softer than in the first record.
T – Yeah. A dynamic range is something that you get on a stage so much more. When we were preparing for our first album there was a period where we didn’t have a practice space, so we were in Nous’s house, and it was cool because it just an acoustic kind of thing. But it also meant that everyone had to be as quiet as possible. So that was nice, because we got to explore that range, and then you get on stage and you wonder, ‘Is this boring, is this too quiet?’ And then you can explore the other end. I think a lot of it is just realising your freedom. You can be as quiet or loud as possible, you can be as aggressive or gentle and people don’t think that’s weird.


There’s quite a big math rock influence in the album, are you all fans of the genre?
T – Yeah, we are. We like Tortoise and American Football and Pinback. It’s just so enjoyable to play and to fit in between each other. I think if you have more than three people it become harder to find the spaces,
and it’s really nice to find that space.
A – I think writing the first album was more singer-songwriter, acoustic, strumming vibes. But then as soon as we started writing for the second one, we realised we can do other stuff. And I was writing more for the band, to experiment and see what we can do together.

What are you all listening to right now?
Y – The Smile’s new record is a big one for me, and the red Tortoise record, Standards, I was listening to that on our way to Amsterdam last week.
A – I’ve come back round to SASAMI, I saw her the other day and her first album was such a huge inspiration when I started writing. I like her new album too, she’s going pop-world, which is interesting to hear a very indie singer-songwriter do pop.

What about you, Tim, are you looking at your Spotify?
T – Yeah, I haven’t listened to too much new music recently but a few days ago someone told me about Magdalena Bay. Their music is so catchy, it’s been in my head all the time. Also, a lot of David Bowie has
been in my head. When I wake up in the morning, and there’s a song in my head, I put it in this playlist, and the same with my girlfriend. We collect them. And it’s just mad differences sometimes. I’ll wake up and there’s a hard techno song in my head and she’ll say, ‘I thought of Adrienne Lenker today’.

Are you all playlist people, do you make a lot of playlists?
A – I think I’m a playlist person and then I add like 2 songs. I have millions of playlists that only have one or two songs.
Y – Yeah, I think I prefer albums. But I discovered how you can use the ‘like’ function on Spotify about half a year ago and I love just hitting shuffle on liked songs and listening to that. That’s my one playlist.
T – I think I have, like, 200 playlists. So yeah, I’m a playlist person.
A – Actually I listen to your [Tim’s] playlists quite a lot. You’re quite good at making playlists.
T – Yeah, I didn’t even realise I had followers on Spotify.
A – And they’re very niche. You have a really good ‘sleep’ one that I listen to. And there’s one called ‘bleep bloop’ which is electronic stuff.

Listening to the trio converse was much like listening to their music – individual sections, interesting and engaging in their own way, that fit together perfectly. There was nothing forced about them; it was clear
that their music, and their friendship, came from the heart. Honeyglaze, it was a pleasure chatting with you. If you’re reading this, please send me Tim’s Spotify. I need a ‘bleep bloop’ playlist ASAP.