Tag: Hyperpop

Reminding the corporate overlords that Pride Month is never really over (no Katy Perry reference intended), Kesha has brought us a balls-to-the-wall queer anthem for what marks her Independence Day far more than it does America’s at this moment in time. In fact, this musical release is just about the only thing to celebrate in the U.S. right now, with Kesha never disappointing in terms of the musical offerings she delivers (particularly in times of darkness—which seem to be all the time now). Mainly because, although each new song/album might take fans further and further away from the Dr. Luke-orchestrated sound they first came to love on her 2010 debut, Animal, she always maintains a core element of her original musical identity. Fourteen years on, Kesha has cultivated a sound all her own—something between psychedelia and electro dance-pop. This being established on her 2023 album, Gag Order.

The title of that particular record was a nod to her ongoing legal entanglements with Dr. Luke, which were “resolved” (as much as such a thing could be)/settled in June of 2023. One year on, Kesha is finally releasing music that is independent of her unwanted Svengali. Thus, it was only right that she should wait until July 4th to poetically release her inaugural single from Kesha Records. That’s right, Kesha’s not making the mistake of releasing music through any other channels but her own again. Enter “Joyride,” a moody, almost Tove Lo-sounding (musically and lyrically) song that establishes the jubilance Kesha feels over her liberation.

So while the U.S. as a whole has little to celebrate this “Independence Day,” at least Kesha can revel in her own liberty after decades spent under the thumb of a relentless oppressor. Especially creatively speaking. At last, without having to defer to Dr. Luke or his Kemosabe label any longer, Kesha truly is what Lady Gaga would call a “Free Woman.” Because if Britney could be freed from her conservatorship, then surely Kesha’s ability to release her music as she wanted to wasn’t far behind.

Having teased the “Joyride” promo photos on June 30th with a photo of her seductively pumping gas into a white Porsche while wearing a skin-tight red number (this combination of colors being peak “America”) in front of a station labeled “Joyride,” Kesha continued the Lana Del Rey-but-gayer gas station/7-Eleven-esque aesthetics over the next few days leading up to her independence anthem. And, in the spirit of anthems, it is unabashed and unapologetic, with Kesha proclaiming, “Don’t, don’t, don’t, don’t even try to gi-give me shit/I’ve earned the right to b-be like this/Oh, you say you love me? (that’s funny)/Well, so do I.” The immediate sense of braggadocio established on the song is indicative of Kesha’s love of hanging out with drag queens (that’s right, she was doing so before Chappell Roan laid primary claim to the “practice”).

As a matter of fact, Kesha chose to celebrate the single’s release into the world by posting a video of her and two drag queens singing along to it before her mother entered the frame to add to the overall campiness. And yes, Kesha has long been a provider and appreciator of camp (for one can’t provide it without also appreciating it). “Joyride” fits that very description with its zany, frenetic sonic landscape.

An automatic earworm, Kesha proves, once again, that she’s never needed someone else pulling the strings to create her own hits. Her producer on this particular track, Zhone, also specializes in the hyperpop genre, citing Charli XCX and PC Music in general as major influences. But Kesha was doing a “beta version” of hyperpop already in the 2010s, further perfecting that sound with certain tracks on Gag Order. Thanks to “Joyride,” she’s reached a new height with the sound, which, while not “on par” with Charli XCX’s particular style, is something that Kesha has made all her own—meaning even kookier and more unclassifiable.

Granted, “Joyride” might be described as Kesha’s version of Charli’s 2016 signature, “Vroom Vroom,” during which she sings, “All my life, I’ve been waitin’ for a good time/So let’s ride (vroom, vroom)/Bitches know they can’t catch me (vroom, vroom)/Cute, sexy and my ride’s sporty (vroom, vroom)/Those slugs know they can’t catch me (vroom, vroom)/Beep beep, so let’s ride.” Kesha even uses the “beep beep” term when she says, “Beep beep, best night of your life/Get in, loser, for the joyride.” That last line obviously being a nod to Regina George’s (Rachel McAdams) illustrious quote from Mean Girls.

For added pop culture reference cachet (which is always required of camp), Kesha also alludes to Cher’s “Mom, I am a rich man” aphorism in the opening verse, “Are you a man?/‘Cause I’m a bitch/I’m already rich, just looking for that (mm).” Her oozing-with-horniness vibe continues in the part of the chorus that goes: “Rev my engine ’til you make it purr/Keep it kinky, but I come first.” (And yes, Kesha also has a song called “Kinky” from High Road.) Elsewhere, she continues to maintain her cocky aura with the assertion, “Makin’ every motherfucker turn/Fell from heaven, no, it didn’t hurt.”

At times, Kesha is also channeling her inner Beyoncé, arrogance-wise. To that point, on “Alien Superstar,” Bey sings, “Mastermind in haute couture/Label whores can’t clock, I’m so obscure.” But Kesha might try to nonetheless. After all, she proudly notes, “Keep your eyes on the road/A label whore but I’m bored of wearing clothes.” Or, as she once phrased it more directly on “Blah Blah Blah,” “I wanna be naked.” But that’s the thing about the new Kesha: her lyrics are more “elegant” even if still direct. Another case in point being: “You want kids?/Well, I am mother.” A.k.a. she doesn’t need to push out any children when she’s already raised so many sons (and daughters). All of whom have been waiting for this glorious day when she could at last be deemed “independent.” As for America, well, its so-called independence is becoming increasingly tenuous. A tenuousness that might just snap come this Election Day.