The New York Times published on its online edition today (Oct. 25) a lengthy article titled “Kesha, Interrupted” about the singer’s legal battle against Dr. Luke for alleged rape and against Sony for not letting her leave the label in peace. The article has been written by NY Times journalist Taffy Brodesser-Akner who has spent a few days with the “Tik Tok” star, following her to different concerts and events, as well as with representatives of RCA/Sony, and also she’s had the chance to share a few intimate, alone minutes with Kesha and her team in a room.
Throughout the article Taffy Brodesser-Akner narrates in detail everything that has happened in the Kesha vs. Dr. Luke and Sony case, she mentions how Kesha has tried to move on with her life despite the hurdles put on her road (Sony still holding her captive), and also how she’s begun to write songs again. For better or worse, Kesha’s found inspiration in the latest events of her life, but also in other positive chapters. The question is, though, what producers is she going to work with and what label will release her new material? Will she wait until Sony lets her go? Unfortunately the answer isn’t very optimistic. Kesha will be forced to release her new material via RCA, Sony if she doesn’t want her fans to wait a million years till a very-difficult bye-bye agreement with Sony is reached. And with respect to producers, her label has offered her to work with other producers and they’ve promised her that she won’t have to hear about Dr. Luke ever again when it comes to her music. However, Kesha’s team’s told Taffy that this isn’t true, for the “last word” in any new Kesha release must be approved by Dr. Luke. What a complication situation, right? We’ll see how it all unfolds.
In any case, one of the interesting parts of the article (besides Kesha's interview quotes) and the most positive one for sure is when Taffy Brodesser-Akner reveals that she has had the opportunity to hear FOUR NEW KESHA SONGS during a one-on-one moment with Kesha. These four are titled “Hunt You Down”, “Learn To Let It Go”, “Rosé”, and “Rainbow”.
With respect to each song, here’s a brief description Taffy has been able to come up with for each of them:
At last, I was able to hear four of Kesha’s new songs. I went to an office in Manhattan and sat in a room and listened while two of her representatives looked on. Kesha told me that when the inspiration hits her with a song — a lyric, a hook, a melody, anything — she is struck dumb with it until she puts it down on paper, that the inspiration itself feels like a divine act. I heard “Hunt You Down,” which was a real country song with banjo and some real country sentiments: “If you [expletive] around, I’ll hunt you down.” I heard “Learn to Let It Go,” which sounded like something you’d hear in heavy rotation on radio with Kesha’s beautiful, low voice singing that a happy ending is up to you. I heard “Rosé,” a toast to an old boyfriend who has married. “The good things never last,” she sings.
But the song I want to tell you about most is “Rainbow.” If it ever emerges from private listenings, it will be your favorite Kesha song. It’s big and sweeping, and you can hear every instrument that Ben Folds and his associates played — it does recall a Beach Boys vibe, just as she wanted it to. And as Folds said, the way she sings the song is so rich and so real that it jerks you out of your expectation of a pop song. “I found a rainbow, rainbow, baby,” she sings. “Trust me, I know life is scary, but just put those colors on, girl, and come and paint the world with me tonight.” In the final section, her voice becomes stronger and more strained, and the effect is devastating. I asked to hear it three more times.
They all sound very interesting concept-wise. But definitely the key question here is if Kesha fans will truly welcome this less commercial, more indie sound of hers with open arms? I hope this is the case, and that there won’t be many haters. I personally will do with ANY new Kesha song, whatever genre it is, if it’s real quality music, that's what's important. The “hits” will come next. We all know Lady Gaga's next album won’t be like “Joanne”, hello. Anyhow, I’ve always thought that Kesha has an underrated voice, with so much potential, and that she has been forced to play it safe to meet the pop music standards. I feel like these new songs will finally be her vocal liberation.
Thoughts on Kesha's upcoming era?
thank you to the New York Times for shedding light on my life and legal situation. there's nothing harder than dreaming and working and fighting for something your whole entire life, since you were 3 years old, since you could speak. and you FINALLY achieve it. and then have someone else take it away from you. my heart has a giant hole in it and is literally aching and throbbing from sadness and loss. imagine someone owning your voice... and not letting you sing. singing is how I have dealt with everything in my life. and my right has been taken away.
UPDATE: Meow. Dr. Luke just responded to everything that was written on this NY Times article. He says it contains many "inaccuracies". The letter below was sent to Direct Lyrics, and many other websites, by Dr. Luke's lawyers.
"The New York Times Magazine profile piece that ran today unfortunately has many inaccuracies.
This article is part of a continuing coordinated press campaign by Kesha to mislead the public, mischaracterize what has transpired over the last two years, and gain unwarranted sympathy.
Kesha filed a shock and awe complaint of alleged abuse against Luke Gottwald in 2014 -- for contract negotiation leverage. It backfired.
She never intended to prove her claims. She has voluntarily withdrawn her California complaint, after having her counterclaims in New York for alleged abuse dismissed.
Nevertheless, she continues to maliciously level false accusations in the press to attack our client.
The reality is that for well over two years, Kesha chose—and it was entirely her choice—not to provide her label with any music.
Kesha was always free to move forward with her music, and an album could have been released long ago had she done so.
She exiled herself.
It was not until months after the denial of her injunction motion – for the first time in June and July 2016--that Kesha started to provide the label with music.
She provided 22 recordings created without any label consultation which were not in compliance with her contract, were in various stages of development, and which Kesha’s own team acknowledged needed work. Then, and for the last several months, the label has been in discussions with Kesha and her team to choose the best music, create additional music, and work on the tracks created.
A&R representatives of both Kemosabe and RCA have provided Kesha with detailed feedback in writing and in person on the tracks she provided to help her further develop the material. Kesha has also agreed with Kemosabe and RCA on a list of producers who will work with her on these tracks, a studio has been reserved for these sessions, and a budget for certain work provided.
The creation of an album is a process, however what has clearly been communicated is that the aim is for a release date as early as possible. It is in the economic best interest of the label and Mr. Gottwald to put out a top selling album, and that takes time. In fact, the label suggested an early release of an advance Kesha track. It was Kesha’s team who rejected this proposal.
Kesha’s claim in the article that she has no ability to earn money outside of touring is completely rebutted by well documented public court records which apparently escaped the article’s attention."
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