Glasgow Women’s Aid blasts album cover showing singer on all fours as man pulls her hair.

Sabrina Carpenter’s latest album cover has sparked outrage, with Glasgow Women’s Aid condemning the image for promoting “violence and control.” The controversy erupted after the Espresso singer unveiled the artwork for her seventh studio album, Man’s Best Friend, set for release on August 29.

The provocative cover shows Carpenter posed on her hands and knees beside a man who appears to be pulling her hair. The imagery has divided fans and triggered sharp criticism from women’s rights groups, particularly Glasgow Women’s Aid, a charity that supports victims of domestic abuse.

In a scathing statement posted to Facebook, the charity accused Carpenter of reviving damaging and outdated gender stereotypes. “The image is a throwback to tired tropes that reduce women to pets, props, or possessions,” the charity stated. They labelled the cover “regressive” and accused the singer of promoting misogynistic messaging disguised as retro glamour.

A spokesperson added: “Picturing herself on all fours, with a man pulling her hair and calling it Man’s Best Friend isn’t subversion. We’ve fought too hard for this. Sabrina is pandering to the male gaze and promoting misogynistic stereotypes, which is ironic given the majority of her fans are young women.”

The charity’s condemnation echoes the concerns of many fans who expressed their discomfort directly under Carpenter’s social media announcement. One fan commented: “lol this cover art is so disgusting. as a fan I don’t like it.” Another wrote: “Love Sabrina – but this picture – why is the man in there like that? It’s not a very empowering image for women. I think it’s a mistake since most of her fans are women, and as a DV survivor, I find it uncomfortable, and I’d rather see her empowered than like that.”

While many voiced outrage, others expressed excitement about the album’s release, praising Carpenter’s musical trajectory. “Omg, thank you for this. My day is made,” one supporter commented. Another fan wrote enthusiastically: “Sabrina is coming for album of the year, artist of the year, pop vocal album, all of it, and I’m here for it.”

The album’s title and cover have ignited a broader debate over the intersection of pop culture, misogyny, and artistic freedom. Carpenter, who has cultivated a glamorous retro aesthetic in recent years, has not yet responded publicly to the criticism.

Glasgow Women’s Aid emphasised that the damage such imagery can inflict goes far beyond artistic expression. They argued that normalising power imbalances and portraying women in submissive roles perpetuates dangerous societal attitudes, particularly for victims and survivors of domestic abuse.

“This is about the broader message young women are absorbing,” the charity stated. “Images like this reinforce a narrative that it’s acceptable for men to exert power and control over women, whether physically or emotionally.”

Carpenter’s previous releases have often celebrated female empowerment, self-confidence, and independence, making this latest depiction particularly jarring for some supporters. The backlash underlines the tightrope many female pop stars walk as they attempt to balance artistic expression, commercial appeal, and social responsibility in an increasingly scrutinised industry.

As the controversy gathers momentum, many will now watch to see whether Carpenter addresses the concerns directly or allows the criticism to speak for itself as Man’s Best Friend gears up for its August debut.