kesha high road critique

Her new album, High Road, picks up where the lighter ending of Rainbow left off.

This lack of a singular identity seems to be highlighted by another problem that is present on bunches most of its ballads on the second half of the album, and while this isn’t necessarily a bad thing in and of itself, it does seem to accentuate the artistic dissonance that plagues the album. If 2017’s ‘Rainbow’ saw Kesha reclaiming her voice after a particularly difficult couple of years - marked by a stint in rehab and a highly-publicised lawsuit against producer Dr Luke - fourth album ‘High Road’ sees her defiantly giving two fingers up to haters and … As has print employee Ryan Walker-Hartshorn.

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On Kesha's "High Road", we start off with "Tonight".

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Kesha does an equally solid job of balancing various musical ideas on . Claes Bang and Elizabeth Debicki star in a suspenseless noir that’s worth watching mainly for how luxurious everyone and everything in it is.

[ June 18, 2020 ]

“Raising Hell” strikes the perfect musical and lyrical balance between the Kesha of 2009 and the Kesha of 2017 with its mixture of playfulness and dramatic introspection as evidenced by lines like “we can always find the trouble, we don’t need no help” and “I don’t wanna go to Heaven without raising Hell”.

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It delivers a sense of joy that is sustained for much of the album; a sense of joy that’s infectious enough for me to ignore many of my musical biases.

“What, am I gonna get expelled? With ‘High Road’, Kesha has said she is “fighting for her right to party”, but yet she stumbles somewhat in attempting to achieve her mission statement. Experiencing that drum fill for the first time is like seeing a new color. Not only is it an album that allowed Kesha to pursue new musical directions, it’s a work that is heavily influenced by her road to recovering from the abuse she suffered at the hands of was all doom and gloom; after all, it too had moments of fun and levity. Kesha and her cohort — primarily Wrabel, who cowrote almost every song — work hard to shore up High Road’s pop appeal by multiplying both hooks and slogans. My qualms with the song stem not from a lack of quality on Kesha’s part, but from my general distaste for rap and hip-hop that dominate the verses, something that I can’t help. On High Road, Kesha finds herself stuck between the carefree revelry of her past and the optimism of her recent music, often missing the mark in both efforts.

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