Sabrina Carpenter faced backlash from PETA following her performance at the 2026 Grammy Awards on February 1, where she included a live dove during her rendition of “Manchild.” The pop star, 26, took to the stage at the Crypto.com Arena in Los Angeles, captivating the audience with an airport-themed performance that featured the bird as a central element.
PETA condemned Carpenter’s choice through a post on their official X account, stating, “Hey Sabrina, bringing a live bird onto the Grammys stage is stupid, slow, useless … and cruel!” The organization emphasized the distress caused to the bird by the bright lights and loud noises of the event, asserting that animals belong in their natural environments rather than on a stage.
The dove made its appearance during the climax of Carpenter’s performance as she sat in a prop airplane, symbolically preparing for takeoff. As she held the bird, it was observed flapping its wings, a moment that many found concerning. This year, Carpenter was nominated for six Grammy Awards, including Song of the Year for “Manchild,” making her one of the most recognized artists of the night.
PETA representatives attended the event, where they staged a separate initiative featuring a “walking, talking robo-chicken” that distributed vegan food samples to attendees, including renowned artists such as Reba McEntire and Sheryl Lee Ralph. According to PETA, their presence aimed to encourage celebrities to advocate for animal welfare during the awards season.
Carpenter has a history of facing criticism related to her artistic choices. Her album, Man’s Best Friend, released in August 2025, sparked debate over its lyrics and cover art. The song “Manchild” includes lines that some interpreted as ableist, with critics pointing to the use of the word “slow.” One commenter remarked on X, “The word ‘slow’ in manchild … is a historically ableist term,” highlighting the need for sensitivity toward disabled individuals.
The album’s cover also attracted attention for its controversial imagery, depicting Carpenter in a compromising position. Critics expressed concern that it trivialized issues of domestic violence, with one user stating, “Women face horrific domestic abuse… but she wants to profit off of imagery of herself being degraded.”
In response to the backlash surrounding her album, Carpenter addressed the reactions during an interview with Interview magazine in September 2025. “You can be sure that anything I do and say has a little bit of a wink to it,” she explained. “I only do things that speak to me, that feel right, and make sense when you hear the music.” She acknowledged the varied responses to her work, noting the intrigue of watching public reactions unfold.
As the discussion around her performance and artistic choices continues, Carpenter remains a figure of both admiration and scrutiny in the entertainment industry. Her ability to provoke thought and conversation reflects her complex relationship with her audience and the broader cultural landscape.
