Kesha’s Not Here For Your Entertainment on Bold ‘My Own Dance’ Single: Listen

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The trippy video takes place in the weirdest motel ever.

It’s a good Kesha video when the singer ends up taking a bath in a baby pool filled with cereal. It’s an even better one when the chorus features the phrase «Hey, I don’t do that dance/ Don’t circumcise my circumstance.» Luckily for all you Animals, the wild and wooly clip for the singer’s latest peek at her upcoming (Jan. 10) High Road album, «My Own Dance,» features all of that, plus a box of magic cereal, those creepy twins from The Shining doing their own dance, a room full of shirtless, oiled-up beefcakes in balaclavas, a party with furries featuring bikini women in gas masks and a middle aged man in a banana hammock shaking it in front of an America flag.

So, in other words, the perfect Kesha video. The singer dropped the new song and video on Thursday (Nov. 21) and it finds her speaking her mind and making it clear that she’s not going to dance for you because she’s here to dance for herself. «Hey, I don’t do that dance/ Hey, I don’t do that/ Hey, I don’t do that dance/ I only do my own dance,» she sings on the percussion-heavy track she wrote with John Hill, Justin Tranter and Dan Reynolds of Imagine Dragons.

A bold statement about not being the thing people expect, or demand, you to be, Kesha makes it crystal clear with the lines, «I don’t owe ‘em nothing, maybe I owe everything/ Grateful for the lovers and even the haters/ I feel like I’m nothing; somedays, I am everything/ Caught up in my feelings; b—h, shut up and sing.» «My Own Dance» follows on the heels of the album’s first single, the pop bomb «Raising Hell» featuring Big Freedia. The dynamic duo will perform the track at Sunday night’s (Nov. 24) American Music Awards.

Watch the Allie Avital-directed video below.

This article was originally published by: Billboard

Thanks and Praises, Kesha and Big Freedia Are ‘Raising Hell’ in Righteous Video: Watch

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‘We can always find the trouble, we don’t need no help.’

Kesha has served up some classic t-shirt worthy lines in the past. But the quotable in her latest single, «Raising Hell,» might be an all-time keeper. The praise-worthy pop track featuring Queen of Bounce Big Freedia dropped on Thursday morning (Oct. 24) and it features the so-Kesha refrain, «But I don’t wanna go to heaven without raising hell.»

The colorful video is a parody of a ripped-from-1987, fall-from-grace story of a fire and brimstone televangelist, with Kesha playing the role of the big-haired soul saver and Freedia providing spiritual support via the exhortation, «Drop it down low, hit it, hit the pole with it/ Drop it down low, drop it down low.» Over frantic handclaps, churchy organs and a banging beat, Kesha sings, «Hallelujah/ I’m still here, stilling bringing it to ya/ Oh, like Buddha/ Good girls know how to get hard too, ya.»

A teaser for the song promised some fire and brimstone, and Kesha brings it in the video, wearing a hot pink power suit and a face full of gaudy make-up as she fronts a gospel choir while giving thanks and praise, saving souls and soaking in her marble bathtub. «I’m all f—ed up in my Sunday best/ No one can shame me ‘cause I love this dress/ Hungover, how’d it go? Holy mess/ Doin’ my best, b—h, I’m blessed,» she sings on the pre-chorus as images of an abusive husband flash on the screen in the Luke Gilford-directed clip.

As the raising hell line swells up amid honking horns and Freedia’s urging, Kesha urges her Animals to shake what the good Lord gave ya, even as her preacher character strikes back at her abusive spouse with great vengeance and furious anger.

«Raising Hell,» co-written by Kesha with Wrabel, Sean Douglas and Stint and produced by Stint and Omega, is the first single from the singer’s upcoming album, High Road, which is due out on Jan. 10 on Kemosabe/RCA Records; the album is available for pre-order now here.

Watch the «Raising Hell» video and check out the High Road track list below.

High Road tracklist:

1) «Tonight»

2) «My Own Dance»

3) «Raising Hell» feat. Big Freedia

4) «High Road»

5) «Shadow»

6) «Honey»

7) «Cowboy Blues»

8) «Resentment» feat. Sturgill Simpson & Brian Wilson

9) «Little Bit Of Love»

10) «Birthday Suit»

11) «Kinky» feat. Ke$ha

12) «Potato Song (Cuz I Want To)»

13) «BFF» feat. Wrabel

14) «Father Daughter Dance»

15) «Chasing Thunder»

This article was originally published by: Billboard

Kesha Is Ready to ‘Inspire Joy’ — And Write Huge Pop Songs Again

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Singing about her personal trauma, Kesha became a #MeToo heroine and an industry symbol. But with a new album on the way, she’s focused firmly on the present — and on ‘writing the fuck out of some pop songs.’

«Follow me!” says Kesha, her long, newly brunette tresses blowing in the wind.

She’s biking a few feet ahead of me, leading us through a residential stretch of Venice, Calif. Every so often, she calls out a direction, pointing to the “killer palm trees” on one street we turn down — a human GPS wearing a fuzzy cheetah-print backpack with a tail that wags as she pedals. Ten minutes later, we arrive at a surprisingly empty stretch of Venice Beach that she calls her “secret hideaway.”

We lock up our bikes — hers is the same turquoise cruiser that paparazzi have photographed her on since at least 2017 — and walk toward the ocean, settling down on a blanket and towels she has brought. “I always have a bathing suit and a passport — always,” she says. “You never know when you’re going to find yourself wanting to go to a different country or a body of water.” The latter is, apparently, often: After she finished her most recent tour, Kesha went swimming with whales off the coast of a small island in the middle of nowhere.

When she’s home and has a rare day off, though, she’s usually here. “I just do this, pray for animals and jump in,” she says. Kicking off her slides and settling down on the sand, the artist born Kesha Rose Sebert looks much like any beachgoer, the tiger head on her one-piece peeking out from under a red Hawaiian shirt. “This is the only place I usually don’t get paparazzi,” she says — and over the hours we spend on the beach, and even on our ride later to her favorite dive bar near the fishing pier, no one seems to recognize her. Thanks in part to her decision to dye her signature wild blond waves, she can go incognito, “happy and free — no anxiety.”

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It’s a welcome and still unfamiliar feeling for Kesha, 32, who has spent the past decade in an often glaring spotlight. Her debut album, 2010’s Animal, established both her talent for churning out hits (it became Kesha’s first Billboard 200 No. 1, and she has earned 2.5 billion U.S. streams to date, according to Nielsen Music) and her brash wild-child image. As her bombastic pop bangers climbed the charts — she has scored 10 Billboard Hot 100 top 10s, including the No. 1s “We R Who We R,” “TikTok” and “Timber” — the media started to equate their lyrical content with Kesha herself, painting her as a perma-plastered party girl. “Men glorify going out, getting drunk and hooking up,” she says. “As a woman, I came out and did it, and I was like Satan’s little helper.”

By 2013, she had her own MTV show, Ke$ha: My Crazy Beautiful Life, directed by her older brother, Lagan. A year later, everything changed: On Oct. 14, 2014, Kesha filed a civil suit against Lukasz Gottwald — the mega-producer known as Dr. Luke with whom she had collaborated on her biggest hits — accusing him of abusing her physically, sexually, verbally and emotionally over a 10-year period. He, in turn, denied the accusations and sued her for more than $50 million, alleging defamation and breach of contract for failing to turn in recordings she owed him under her contract on his label, Kemosabe Records. (Kemosabe started out in 2011 as a joint venture with Sony Music Entertainment; though Sony won’t disclose specific financial details of that arrangement, major labels typically finance JVs and then, after expenses, split proceeds 50/50. SME now refers to Kemosabe, which in 2017 went dormant, as an imprint.)

It was only the beginning of what would become a lengthy, ugly legal battle. But in the crucible of that turmoil, Kesha experienced a creative transformation. Long before the explosion of the #MeToo and #TimesUp movements, artists like Taylor Swift and Kelly Clarkson expressed their support for her as part of #FreeKesha, an ongoing social media campaign aimed at getting her out of her contract. And then in 2017 — just months after news broke that Gottwald was no longer CEO at Kemosabe — she released Rainbow, an album of emotionally raw songs that showcased her stunning vocal range, no Animal-era Auto-Tune necessary. Though it still bore the Kemosabe imprint — and, at the time, a spokesman for Gottwald said it was “released with Dr. Luke’s approval” — Kesha says Rainbow was the first album on which she had full creative control, and it showed. The most poignant track, “Praying,” which chronicled how she overcame years of trauma, became an anthem for survivors of abuse and earned Kesha one of her first two Grammy Award nominations.

On Rainbow, a new Kesha emerged, and the industry embraced her. “I did the therapy,” she says on the beach today. And now, after this “huge purge of emotions,” she’s prepping her fourth album, due this December on Kemosabe/RCA, on which she revisits some of the big-pop sounds that launched her career. Largely co-written with her best friend and longtime collaborator, Wrabel (they met through Lagan when Kesha left rehab in 2014 after receiving treatment for an eating disorder — after which she also dropped the dollar sign from her name), as well as her songwriter mom, Pebe; Justin Tranter, Tayla Parx, Nate Ruess, and Imagine Dragons’ Dan Reynolds; with production from Jeff Bhasker and Ryan Lewis, “it’s the happiness that I began my career with,” says Kesha. “But it feels more earned and healthier than ever.”

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In going from good-time pop star to symbol for an industry — and a movement — Kesha made the kind of personal, and creative, pivot that few artists manage to accomplish intact. Remaining an artist on her own terms will be a different kind of challenge entirely, especially when a handful of tracks from her new album can’t help but call to mind the now-fraught sounds of her time working with Gottwald.

And with the trial date for his defamation and breach-of-contract suit not yet confirmed, a great deal of uncertainty still hangs over Kesha’s future. A jury will decide whether she is liable, and if so, how much she might owe Gottwald in damages for, as he sees it, irrevocably hurting his career.

“There are so many what-ifs, and quite honestly, I’m not allowed to talk about it,” says Kesha. “And I’m really not used to not being an open book about everything — but I do have to defer to my lawyers on this one, and they’re just like, ‘Focus on the music, focus on your happiness and mental health, and we’ll deal with this.’ Doing that has been greatly helpful.”

And right now, she says, “writing the fuck out of some pop songs” is precisely what she needs to stay focused on the present. “I dug through the emotional wreckage, and now…” She trails off, perhaps momentarily caught in the past. “I can go back to talking a little bit of shit. I really wanted to put a solid footprint back into pop music, like, ‘I can do this, and I can do this on my own.’ I don’t know if this is my last pop record, but I want to have one where I go out with a bang.”

The day before Kesha met with Reynolds at Los Angeles’ Village Studios, she planned to write a slow song with him. But when she told Lagan, he suggested something totally different: something “big and epic.” (This was the Imagine Dragons guy, after all.)

She took his advice and ended up writing one of the album’s most epically IDGAF pop-rock anthems — with lyrics that feel like a pointed rebuke of the world’s perception of her both before and after the Gottwald legal suits: “We get it that you’ve been through a lot of shit, but life’s a bitch, so come and shake your tits and fuck it/You’re the party girl, you’re the tragedy, but the funny thing is, I’m fucking everything.” (While the album goes through final mixing, Kesha and her team cannot disclose song titles.)

“She’s not taking the high road, which is kind of the point,” says Lagan. “That’s originally what people really noticed about her, and I felt like her fans wanted that from her right now, especially when the world is so fucked up.” Or, as Kesha more succinctly puts it: “I got my balls back, and they’re bigger than ever.”

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At first, Kesha was hesitant to return to her early sound — one reminiscent of the earwormy hits Gottwald had crafted alongside Max Martin for the likes of Clarkson and P!nk by the time he heard Kesha’s demo. In 2005, she signed with Gottwald’s production company, Kasz Money, and his publishing company, Prescription Songs. He landed her a feature on Flo Rida’s “Right Round,” a Hot 100 No. 1, and major labels came knocking. By 2009, she had signed a recording contract with RCA; in 2011, when Gottwald founded Kemosabe, she joined the Sony imprint.

Kesha says that her earlier hits’ connection to that time in her life hasn’t tainted them for her. “When I play some of the poppier songs, people lose their shit, and those songs are my babies too,” she says. “It brings me so much joy to see people boogie and have the best time with their friends, and I shouldn’t take that away from myself.” But songs like “Die Young” in particular — as she has claimed in a since-deleted tweet — she felt forced to record and include on her albums, often in place of ones she felt better aligned with her own vision.

Over the course of making the new album, Kesha says, she proved to herself that she could find a balance between her early style and her more recent, introspective inclinations. “Emotions are forever,” she says. “Part of this album is resurrecting the fact that you can be a fucking mess in your head one day, and then you can also be glittered-up and have the best night of your life.”

Speaking of which: Kesha may have matured beyond her early brush-my-teeth-with-a-bottle-of-Jack vibe, but she’s not entirely tamed. Since finishing the Rainbow tour, she has caught bucket-list shows by Neil Young and Willie Nelson (she calls both the “real deal”) and enjoyed the occasional night out. “They are more few and far between than they were, let’s say, at 21 years old,” she admits. “But I’m not dead.”

One night in particular, Kesha and her crew went to see Elton John’s farewell tour in Los Angeles. The experience inspired a song with a piano intro that morphs into a bass-thumping anthem for a girls’ night. “I, of course, stand for so many things,” says Kesha. “But sometimes you just want to escape into a happy motherfucking song. It’s like a three-minute vacation, and I want to give that to people because I know I need that sometimes. Every time I’m sad, I put on [Carly Rae Jepsen’s] ‘Call Me Maybe.’ Every single time.” Lately, she has been listening to “positive, badass women” like Cardi B, Lizzo, Ariana Grande and Swift, who in 2016 donated $250,000 to help Kesha with her legal fees. (The two remain close friends.) “She has amazing integrity,” says Kesha of Swift.

RCA president of A&R Keith Naftaly has worked with Kesha for her entire career, and he believes that she can easily return to the same pop stratosphere that these women currently rule. “Even in a hip-hop-dominated landscape, Kesha will strike a chord with a contemporary global pop audience because her lyrics are right on time,” he says, pointing to how honest and specific storytelling like hers has been crucial to the success of RCA artists like Khalid, SZA and H.E.R.Plus, notes Naftaly, Kesha’s audience is still incredibly young.

“When ‘Tik Tok’ and ‘Your Love Is My Drug’ and ‘Take It Off’ came out, her audience was like, 9,” he says. “So now, a lot of her die-hard fans are in their early 20s, while a lot of her peers and their audiences have shifted into more of an adult-contemporary context.” Kesha, for her part, admits that she’s “not a 21-year-old bitch anymore, [but] I can still go onstage in assless chaps because I want to. And maybe one day, when everything is sagging and I don’t want to wear assless chaps anymore, I can sit on a stool and play country music.”

This article was originally published by: Billboard

2 Chainz Proposes to Kesha Ward at the 2018 Met Gala

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Love is in the air at the 2018 Met Gala, and 2 Chainz contributed to the romance by proposing to his wife, Kesha Ward. Yes, they’ve been married since 2013 and have three kids together.

Regardless, the rapper made the day in their relationship one to remember by getting down on one knee on the red carpet and handing a sparkling diamond ring to Ward, who smiled from ear to ear as she slipped it on her finger.

2 Chainz proposes to girlfriend Nakesha Ward at the Heavenly Bodies: Fashion & The Catholic Imagination Costume Institute Gala at The Metropolitan Museum of Art on May 7, 2018 in New York City. 

Earlier in the day, 2 Chainz posted a photo on Instagram with the fitting caption, “Today a perfect day to be Great.”

Today a perfect day to be Great 🙏🏿

A post shared by 2 Chainz Aka Tity Boi (@2chainz) on

This article was originally publishex by: Billboard

Kesha Marries Fans In Emotional “I Need A Woman To Love” Video

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Kesha is one of six artists featured on Universal Love, a new EP that reinvents love songs and wedding anthems for the LGBTQ community. The “Learn To Let Go” hitmaker takes it straight to the bedroom on her hot and heavy interpretation of ’60s rock classic “I Need A Man To Love.” Only the pop star transforms the track, which is most closely associated with Janis Joplin, into “I Need A Woman To Love.” And it’s her gutsiest, rawest, most authentic rock moment to date.

The video for “I Need A Woman To Love” dropped today (April 9) and it finds Kesha on a road trip to Las Vegas. The purpose of her dusty drive? She is heading to the Bellagio to marry two of her fans, Dani and Lindsay. The emotional clip includes footage of the two women living it up in the luxury hotel as well as their actual wedding ceremony, which the former K$ presides over. It’s moving and celebratory and another reminder of the importance of songs (and EPs) like this, which promote love and inclusions. Watch up top.

This article was originally published by: Idolator 

Kesha Uploads Stunning Live Versions Of “Praying” & “We R Who We R”

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Earlier this week, Kesha was forced to postpone several dates of the Rainbow Tourdue an ACL injury. As a consolation to gutted fans, she kindly uploaded a couple of performances from her concert at the Hollywood Palladium on November 1, 2017. The 30-year-old started with a video of “Praying,” which sounds even more epic live than on record. Not only is it a vocal showcase, it has also been embrace a theme song for survivors. The former K$ then dusted off a classic, belting out “We R Who We R.”

“I’m heartbroken to be writing this right now,” Kesha revealed her surgery in a note to fans. “I am being forced to postpone some of my upcoming international dates due to a recent injury I sustained while performing. It’s my biggest joy in life to share my music with my fans all over the world, but I have to follow my doctors orders and undergo surgery to repair my torn ACL so I can get ready to give it all on my Summer tour and beyond. Moving these dates is making me sick with sadness, but I tried to will this injury away and unfortunately it didn’t work.”

“I love you all and I’ll work every single day as hard as I can to recover and get back on stage as soon as possible. I’m so sorry and sending love always.” Watch Kesha in action above and below while we wait for her return.

This article was originally published by: Idolator

Kesha, Miley Cyrus & More Set To Perform At The Grammy Salute To Elton John

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KeshaMiley CyrusMaren MorrisJohn Legend and more will pay tribute to the legendary Elton John next month. Today (December 15), CBS revealed the “Piano Man” singer is the star of their annual Grammy special, and he will be honored with a series of performances at Madison Square Garden on January 30. Titled Elton John: I’m Still Standing – A Grammy Salute, the event will highlight his iconic discography and lengthy career.

“Sir Elton John is an international music legend who has captivated audiences across generations for more than five decades,” Neil Portnow, President of the Recording Academy said in a statement. “His creativity, dynamic presence and melodic virtuosity have positioned him as a cultural icon, and the Recording Academy is pleased to honor his immeasurable contributions to the music community.”

With appearances from some of the year’s biggest names, the evening is already shaping up to be a star-studded event. More performers will be announced as the day looms closer. The Bee Gees were the inspiration for the last tribute, which featured performances from the likes fo Demi LovatoNick Jonas and Ed Sheeran. The Tell Me You Love Me siren joined a slew of hitmakers to perform a medley during the Grammy awards in February as a teaser before the show aired the following month. Hopefully we will receive a similarly incredible teaser this year.

This artilcle was originally published by: Idolator

Kesha Features On A New Macklemore Track Called “Good Old Days”

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Macklemore unveiled the cover and tracklist of his sophomore LP, Gemini, today (August 22) and there’s a special surprise for pop fans. Among the many features is an appearance by Kesha. She lends her pipes to a song called “Good Old Days,” which is destined to generate a lot of interest in the wake of her chart-conquering comeback with Rainbow. The pop star has strong ties with the rapper, teaming up with his long-time collaborator Ryan Lewis on power ballad “Praying.”

Apart from Kesha, Macklemore’s new LP boasts features from Skylar Grey(“Glorious” is shaping up to be a slowburn hit) as well as Eric NallyLil YachtyOffsetDan CaplenOtieno TerryReignwolfKing DrainoDonna MissalAbirDave BTravis ThompsonDan CaplanXperience and Saint Claire. In fact, there’s only one song without a feature (“Ten Million”). Check out the full tracklist and cover art below.

Macklemore’s Gemini tracklist:

1. “Ain’t Gonna Die Tonight” feat. Eric Nally

2. “Glorious” feat. Skylar Grey

3. “Marmalade” feat. Lil Yachty

4. “Willy Wonka” feat. Offset

5. “Intentions” feat. Dan Caplen

6. “Good Old Days” feat. Kesha

7. “Levitate” feat. Otieno Terry

8. “Firebreather” feat. Reignwolf

9. “How To Play the Flute” feat. King Draino

10. “Ten Million”

11. “Over It” feat. Donna Missal

12. “Zara” feat. Abir

13. “Corner Store” feat. Dave B and Travis Thompson

14. “Miracle” feat. Dan Caplen

15. “Church” feat. Xperience

16. “Excavate” feat. Saint Claire

This article was originally published by: Idolator 

Kesha Tweets Support For Taylor Swift During Her Sexual Assault Trial

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You’re probably aware that Taylor Swift is currently embroiled in a legal battle against a radio DJ who she alleges sexually assaulted her during a meet and greet in 2013.

Taylor originally reported the alleged assault to David Mueller’s employers, who fired him from his job at KYGO radio station. Two years later, he filed a lawsuit against Taylor, seeking up to $3 million in damages, denying that he assaulted her and claiming he was wrongfully fired. She responded by countersuing for $1, alleging sexual assault.

Taylor testified at the trial on Thursday, and let’s just say she came out with some seriously incredible one-liners. She maintained that the DJ grabbed her inappropriately, and (rightfully) refused to accept any victim-shaming.

The judge has since dismissed Mueller’s claim against Taylor, stating that he couldn’t prove she was the reason he was fired. Taylor’s sexual assault case against Mueller has yet to be resolved.

People have been praising Taylor for her «badassery» ever since she took the stand, including celebrities like Shonda Rhimes, Amber Heard, and Swift’s friends Lena Dunham and Jaime King.

And now Kesha has tweeted her support for Taylor, praising her «strength and fearlessness».

«Truth is always the answer,» she wrote.

Kesha recently returned to the music scene for the first time since her own legal battle with producer Dr Luke, who she sued in 2014 for sexual assault and verbal abuse. He then countersued for defamation, claiming she just wanted out of her multi-album contract with him.

Kesha dropped her lawsuit in August last year in order to focus on producing new music, but is still contractually obliged to produce two more albums with Dr Luke.

Many celebrities spoke out publicly in support of Kesha during her trial, but Taylor went one step further, donating a quarter of a million dollars to Kesha to help pay her legal fees.

And people are, of course, totally loving the display of love and support between the two women.

Closing arguments for Taylor’s sexual assault case against Mueller are expected to be read later today.

This article was originally published by: Buzzfeed

Kesha Introduces «Rainbow» Buzz Track “Learn To Let Go”

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After spending four years in legal limbo, Kesha is making up for lost time. Since returning to the music scene, the glitter goddess has been releasing new music every couple of weeks — blessing us with “Praying” and “Woman” in the last month. The latest Rainbow buzz track is called “Learn To Let Go” and I think it’s my favorite yet. “Learn to Let Go…. it’s my motto. I love you animals, hope you love this song too,” she captioned a photo on social media. The serene image finds the pop star smelling a rose.

Produced by Ricky Reed, the uplifting pop/rock anthem picks up where she left off on Warrior — only the sound is looser and more organic. She’s also firing off truth bombs. “Had a boogieman under my bed, putting crazy thoughts inside my head,” Kesha sings in a verse. “Always whispering, ‘It’s all your fault.’” (Take that, Dr. Luke). However, while the song is clearly cathartic for her, it’s also universal and infinitely relatable. “The past can’t haunt me if I don’t let it, live and learn and never forget it,” she belts on the chorus. “Gotta learn to let it go.”

Kesha has really come back swinging. She is taking no prisoners lyrically and bolding experimenting with different genres. And that bravery is paying off. “Praying” debuted at an impressive number 25 on the Billboard Hot 100, but it should climb higher in the weeks to go. The Ryan Lewis-produced ballad is exploding at pop radio and closing in on the top 10 on iTunes. All the comeback queens is a couple of performances (get her on Ellen or Today) and she could be soon celebrating her first top 10 hit since “Timber.”

Watch the hitmaker’s “Learn To Let Go” video, which literally reconnects Kesha with her childhood, up top.

This article was originally published by: Idolator