Once a star who amassed a total of 115 billion online streams, sold over 70 million albums worldwide with 143 million records, Katy Perry’s new song “Woman’s World” fell flat on its debut, landing at a dismal #58 on Spotify’s global chart, garnering just 2.25 million streams.

In her home turf of the USA, the situation was even worse with a ranking of #110, failing to crack the top 100 with just over 500,000 streams.

Despite significant promotional efforts, Katy Perry’s comeback failed to resonate with audiences.

Meanwhile, Sabrina Carpenter’s song “Please Please Please” set a record with 6.3 million global streams last month, tripling the plays of “Woman’s World” despite being written by just three people: Sabrina Carpenter, music producer Jack Antonoff, and Amy Allen.

Various prominent media outlets have given the first reviews of Katy Perry’s comeback song, and predictably, they are critical. The Guardian gave “Woman’s World” a mere 20/100, equivalent to 1 out of 5 stars, describing it as a retrogressive comeback effort in its attempt to address women’s rights.

Laura Snapes commented that despite Katy Perry’s assertions about the empowerment bestowed upon her by the “women’s deity,” “Woman’s World” makes her feel more foolish every time she listens to it.

Despite producing a music video celebrating women, Katy Perry is ironically accused of being a moral hypocrite by music critics.

The song is likened to a reheated Lady Gaga track, with its “shallow” music part reminiscent of Chappell Roan’s “Super Graphic Ultra Modern Girl.” In the final scene of the music video, the singer shouts in slow motion, “I am Katy Perry!” which the female author likened to not the triumphant roar of victory, but rather the helpless cry of someone falling down a ravine.

The page also noted that the majority of online comments on “Woman’s World” emphasize the absurdity of a song about women’s empowerment involving a music producer with past allegations of mistreating women, namely Dr. Luke.

Pitchfork, renowned for its sharp and critical reviews, also expressed discomfort with the single “Woman’s World”: “It challenges every perception of taste,” “so exhausted that it couldn’t even make me a little excited.”

Once again, comparisons to Lady Gaga’s house dance-pop song are drawn, but unlike the success of “Stupid Love,” Katy Perry’s song has had a reverse effect by overusing phrases like “foolish” for a song that is supposed to rally in support of women but ends up being too outdated. Lines like “Sexy, confident. And very smart. She’s the winner. Extraordinary, number one!” sung by Katy Perry with a halting rhythm also make the author feel as if she is mocking women.

“If Katy Perry is ready to endure criticism when composing a song about liberating women with someone accused of abusing women, shouldn’t the song at least be a hit? Instead, it’s incredibly bland and even corny enough to make me shiver,” said a Pitchfork reviewer.

Immediately after returning to work with Dr. Luke, fans and music critics immediately questioned Katy. Kesha herself included the word “lol” to “mock” the female artist.

Cut magazine called Katy Perry’s new album “143” a “desperate” move, adding that the song makes her seem trapped in 2016, “in a timeless space where women need to stand up against men.”

This page also stated that Katy Perry is like a Barbie doll in Barbie Land, trapped in a timeless space where Hillary Clinton has been the Democratic presidential candidate since 2016. Even though it’s 2024, she still wants to sing about rallying cries like the song “Chained to the Rhythm,” and with “Woman’s World,” all of the singer’s efforts under the label of “supporting women” are even more foolish, to the point where her blatant moral hypocrisy inviting Dr. Luke into the song couldn’t be more embarrassing.

“Chained To The Rhythm” was a milestone in Katy Perry’s music change and also when she officially declined in fame.

Vulture magazine summed up the series of reviews with a “cold water” for Woman’s World, stating that Dr. Luke’s presence “denies the entire message” of the song’s feminism, and fans can hear “more interesting viewpoints on women” from other artists like Billie Eilish, Chappel Roan, Sabrina Carpenter, and Ariana Grande.

With a series of straightforward negative reviews aimed at the song’s musical quality, as well as discomfort with its message and the producer of “Woman’s World,” it seems that not only the audience but also the professional community cannot deny the failure of the artist’s true talent.