Effective branding and marketing are widely recognised as decisive factors in shaping an artist’s success within the world of popular music. This essay will critically examine Sabrina Carpenter’s branding and marketing strategies, specifically in the time of her fifth studio album, Emails I can’t send (2022), delving into two theoretical frameworks: Seth Godin’s (2003) ‘Purple Cow Theory’ and Kapferer’s (1986) Brand Identity Prism. Through the Lens of these frameworks, I will evaluate how Carpenter’s transformation from Disney teen star to globally recognised pop artist highlights the importance of branding and marketing theory.
I have chosen Sabrina Carpenter as my case study because after the reinvention of her artist/ brand identity she has had a noticeable change in her commercial status. Despite releasing music for over ten years, we only began to see widespread success after the album emails I can’t send. This trajectory suggests how theoretical branding principles are commonly used when marketing music.
Later, I will analyse her marketing tactics; however, first, I must introduce the ideas of the two key theories.
Seth Godin’s Purple Cow theory
Godin (2003) argues that we can “no longer market to the masses” (p. 3) and brands must be “remarkable” to stand out. The metaphor Godin uses of a ‘Purple Cow’ symbolises products that deviate from established expectations, drawing in consumers’ attention. For example, if you saw a purple cow in a sea of brown cows, it would stand out prominently because of its remarkable difference. This is particularly relevant to the contemporary pop market, as music artists must consider their visual identity in conjunction with their music, while also engaging new fans. Therefore, Godin’s model is a useful lens to analyse Sabrina Carpenter’s branding strategies.
Kapferer’s Brand Identity Prism.
Kapferer (1986) conceptualises brand identity as having six characteristics that all link together (Bodel 2025):
- Physique- tangible characteristics
- Personality- tone of communication
- Relationship- the connection a consumer has
- Culture- foundational values
- Reflection- brand’s perceived ideal customer
- Self-image- customers’ perception of themselves while involved in the brand.
Kapferer states that “brands cannot exist without support” (2008) and that they must embody their identities across all these characteristics. For a consumer to form a relationship and connect to a brand, the brand must create an understanding of who they are, what they stand for, and how are they perceived, so an audience can grasp what it means for them to openly consume your product/ work. This model provides a multi-dimensional analysis of the carpenter’s transition from her Disney-influenced image to a mature, cohesive brand.
Early career- limiting identity
Sabrina Carpenter’s early releases were under Hollywood Records, a Disney Channel-associated label. This was over five years, from 2014 to 2019, though in January of 2021, she signed with Island Records.
Carpenter’s original perceived audience (reflection) consisted of young teenage girls (Gil, 2025), leaning on the idea that Carpenter herself was young and immature. Musically, at the start of her career, her music adhered to typical features of mainstream pop music and contained themes of adolescence. This did little to distinguish her as unique among the many young child actor-singers of the time. As explained through Godin’s Purple Cow theory, this period in her career lacked remarkability (Godin 2003). In the context of Kapferer’s model, her personality, culture and self-image were tarnished by the stereotypes of mass-produced Disney Channel artists.
The rebrand- Emails I can’t send:
Emails I can’t send, Sabrina Carpenter’s fifth album is where we first see this strategic reinvention of her artist identity, music and branding.
Artist identity:
To counter the public perception of ‘child Disney star’, Carpenter had to create a clear contrast in her brand identity to differentiate herself from this earlier image. Carpenter’s artist persona conveys a departure from naivety through the themes and tone in her music. Described by Vogue as marked with “frankness and Candour” (Hess, 2022), indicating that this new identity was translated to consumers.
The album cover for emails I can’t send presents Carpenter seated in a bedroom setting, dressed in a low-cut garment with hair and makeup styled as though she were preparing for an evening out. Positioned with her laptop, she appears immersed in a private moment, a visual choice that aligns closely with her description of the album as a “deeply personal project born from writing unsent emails to herself” (Carpenter, 2022). The imagery constructs an atmosphere of intimacy, inviting the viewer into a space typically reserved for someone’s most private reflections. In doing so, the cover communicates an accessible, relatable persona, one that invites vulnerability rather than celebrity. This sense of authenticity facilitates an immediate connection with audiences, who may see aspects of their own experiences mirrored in the scene. By contrast, had the visual aesthetic depicted a luxurious environment marked by designer branding, the message would shift towards inaccessibility, potentially distancing the artist from listeners whose lives do not reflect such affluence.
This rebrand strongly aligns with the ideas from Kapferer’s prism:
- Physique- narrative storyteller
- Personality- witty, candid, emotional
- Relationship- intimate, connected through the confessional lyrical style.
- Culture- values independence, emotionally aware
- Reflection- expressive, social people
- Self-image- fans see themselves as a part of a community.
This cohesion across all of Kapferer’s model reinforces the success of this rebrand and shows that, once implemented correctly, it directly leads to fan loyalty.
Live Performances and remarkable marketing- ‘Nonsense’ and Godin’s Purple Cow:
In Sabrina Carpenter’s Live performances of Nonsense, it clearly showcases how Godin’s theory of ‘the purple cow’ works.
Nonsense (2022)- track nine on emails I can’t send, is an upbeat pop song that utilises Sabrina’s signature tongue-in-cheek, flirtatious, comical writing style, often using sexual innuendos. Vulture describes the song as a “one-time deep cut turned viral hit” (Frank 2024). Carpenter amplifies this playful persona further in her live performances of the song by incorporating an extended outro where she improvises lyrics and tailors them to the city she is in. Within the fandom and outside it, this generated significant engagement following the multitude of videos of these performances posted on social media following each show.
One comment on a video compilation of outros (Condur, 2023), a fan writes, ‘I’m going to her concert tonight!!! So excited for the outro!’ in Capital letters. This shows how Sabrina Carpenter has created an exclusive experience at her concerts; to be the first to witness this experience, you had to be there live. Each night was unique, as you could only experience it once, which then escalated the desire for a fan to join the experience. If fans are unable to attend, online videos provide a means of engaging with the experience remotely, simultaneously enhancing carpenter’s presence on social media. To quote Godin’s theory, ‘before advertising there was word of mouth’ (p. 4). Though online, this is a type of word-of-mouth retelling of the experience that comes from trusted people, other members of the fandom who are therefore a part of the same community.
Exclusivity is crucial for a brand, and further links back to Godin’s idea of being ‘remarkable’; a brand cannot be remarkable if the concept is indistinguishable from others. Exclusivity means you are creating experiences that can only be accessed by a chosen group of people. In this case, the biggest fans who can get tickets to your show. By fostering this sense of privileged participation, carpenter’s brand encourages engagement that enhances a fan’s social credibility, whilst also reinforcing their self-concept as integral members of the fan community, having access to experiences unavailable to the general public.
Live Performance Controversy:
However, Sabrina Carpenter did receive some criticism for the adult content in her shows, particularly from parents of younger fans unaware of the mature themes in her music. More recently, in her Brit Awards performance, there were over 800 Ofcom complaints relating to Carpenter’s choreography and costumes (Rackham, 2025). Online, there was also some discourse around her own live performances and how they were showcasing inappropriate imagery. However, both theoretical models rebut this criticism, as neither state that criticism undermines a brand. Instead, they imply that some degree of controversy may be an inevitable consequence of maintaining an authentic and distinctive identity. Godin suggests that ‘the people who have projects that are never criticised who ultimately fail’, highlighting how remarkability can also invite scrutiny.
Sabrina Carpenter’s brand is intentionally constructed around wit, candour, and flirtatiousness; these characteristics are reflected consistently in her live performances and music. Therefore, these elements remain aligned with her identity as an artist that she has created. Carpenter addressed these critiques in a 2024 interview, noting that individuals who object to her performance style are not obligated to attend shows (Carpenter, 2024). The backlash, however, did little to destabilise her brand, as her core fan base had already developed clear expectations of her artistic persona. Because her performances did not violate the established norms of her existing audience, the criticism gradually dissipated from public discourse.
Unique Market position:
(Billboard 2024) (Paine 2023)
The chart I have made (shown above) compares six popular music artists based on two factors: the mainstream appeal of their music and the desirability of being a fan. For example, Taylor Swift is one of the most commercially dominant pop artists worldwide; yet being a “Swiftie” is often viewed as undesirable due to public attitudes toward her fan base (Strimpel, 2024). In contrast, the chart shows that, although Sabrina Carpenter’s music is mainstream, her fans are seen more positively.
The distinction is worth noting because mainstream artists often find it hard to maintain this desirable perception. This challenge arises for several reasons, such as how pop music is often marked as inauthentic and mass-produced (Atton, 2019). However, Sabrina Carpenter manages to change this pattern, which sets her apart from her mainstream peers. Her perceived desirability could be due to her fearlessness in showing her candid self, which listeners of her music suggest contributes to an authenticity in her branding (Ahmed, 2024). This then plays to her advantage when she begins her marketing campaigns.
Building on the previous point, Ewens (2019) explores the idea of how being a fan (fangirl) of an artist reflects your own identity, aspirations, and values. Sabrina Carpenter’s brand is unique because she has created a desirable identity for fans to emulate and align with. This sets her apart from others in her field and demonstrates how deliberate application of marketing and branding theories can strategically highlight positive traits for audiences to find and therefore connect with.
Conclusion:
Sabrina Carpenter’s career progression, specifically around the album of emails I can’t send, demonstrates how important it is to utilise branding theory when defining your brand. Through Godin’s model of the purple cow, highlighting strategic differentiation, and Kapferer’s prism, highlighting consistent cohesion throughout your product, it explains how she could begin to transform from Disney child star to globally renowned artist.
As I now begin to analyse my own artist image and how I can set myself apart from the crowd, I want to implement these three key ideas from Sabrina Carpenter:
- Embodying brand values
- Clear definition of brand
- Perceived desirability
These three points highlight why, after her album ‘emails I can send’, she continues to propel into global stardom. This album acts as a foundation that she builds upon in her later albums. Showing that these marketing theories are deemed useless without sustained consistency, an artist’s brand must continue to be “remarkable” for audiences to keep engaged. Ultimately, it is ongoing engagement from listeners who actively interact with music and artistry that fuels an artist’s career and secures their long-term relevance.
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