Pop music industry has seen many females struggling to protect their integrity, both as women and as artists. One of the most obvious images that comes to mind is Britney Spears shaving her head back in 2007. A more recent situation was the one with Kesha, when she found herself in predicament with her producer Dr.Luke. Kesha sued Dr.Luke for sexual abuse and asked the court to let her break the contract with his record label. Even though she didn’t succeed and simultaneously had to cope with eating disorder and being in public eye, Kesha returns with a triumphant third album.
When Kesha was still a dollar sign Kesha, she was a highly commercial recording artist and her debut single Tik Tok became the best selling digital song ever at one point. Her first album Animals spawned another huge hit titled We R Who We R that represented another self-love pro-lgbt anthem, a theme song popular in that era of pop music (just remember Lady Gaga’s Born This Way). I must admit I became her fan when she dropped Die Young. There was always something super trashy about Kesha that came off as thrilling. The music video for that song was everything, and the glitter queen saw herself at the top of the charts once again. Should I mention unicorns in Blow? Why not!
After almost five year hiatus, at least when it comes to full studio albums, Kesha is coming back with her best record yet. Rainbow offers raw, eclectic and vulnerably powerful Kesha, a thirty year old girl who changed dollar sign for powerhouse interpretations. What is striking about this album is that it represents Kesha as an incredible singer, a faculty we weren't able to notice from all the signature autotune she used. Not only that she sounds better and more candid than ever, she also dares to experiment with musicians such as Eagles of Death Metal and Ben Folds.
Rainbow unfolds with Bastards, an explicit middle finger in the air to all the people who screwed her over during her legal battle with Dr.Luke. Even though she sings about the past hardships, Kesha overcomes them along the way. Women is handclap funky masterpiece that shows what she can do as a pop country artist, while the first single Praying is nothing less but the best pure pop single of the year. The quality of her vocal, all the melismas and raw energy she put in Praying is perfectly congruent with salvation-themed video. I hope you’re somewhere praying, I hope your soul is changing. Kesha forgives all of her enemies, and decides to move on and have a blast.
In the best track on the record, the title track Rainbow, we have a chance to witness an artist who is self-actualizing to her fullest potential. The lyrics are very touching when you are aware of the singer’s biography, and the songs is something like Katy Perry’s Fireworks, only better and sincerely chatartic. I was especially surprised about the melodic twist in the last section of the song, as it is the most indie moment Kesha has ever given us.
The second half of the album is mostly upbeat garage rock pop country melting pop. What I see as a potential radio banger is Boots, while duet with Dolly Parton may get her some accolades. Kesha still nurtures traces of her past corky identity, and that is particularly conspicuous in Godzilla where she sings about bringing the monster home to meet her mother. Spaceship closes the album and makes you wonder whether dollar sign Kesha was ever on this planet. I can not believe how corky and alternative she can be.
When you find treasure in tragedy, you are a fighter. Furthermore, you are someone who deserves all the support in this crazy, exploitative type of industry. I found the rainbow, rainbow baby trust me I know life is scary. I am so happy for Kesha, and you should be too.
