Did Lady Gaga Just Reveal Her Next Song Title?

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It all started with a pumpkin.

Some simply saw a funny message on a pumpkin. Others saw what could be a hint at new music. Either way, fans cannot stop talking about Lady Gaga’s latest post on her social media.

On both her Twitter and her Instagram, Gaga posted multiple photos of what appear to be a pumpkin carving session on Tuesday (Oct. 29). One pumpkin in particular made fans laugh out loud, as it wasn’t carved, but simply painted with the words «f–k this» scrawled across its face, and a knife sticking out of its stem.

But some eagle-eyed Little Monsters immediately caught wind of what they believe is a new hint toward Gaga’s new music. In the photo of her aforementioned pumpkin, an iPod can be seen sitting on the same table: when fans zoomed in, they saw that the song playing was titled «Stupid Love.»

It’s possible that Gaga could have been listening to already-released tracks from Jason Derulo or Dan + Shay. But the Twitter sleuths were skeptical, noticing that the track title was in all-caps, and had no cover art or artist information listed on the pop-up. Others kept digging, finding that rumors regarding a Gaga song called «Stupid Love» have been floating around the internet for a few months.

One stan account even went as far as to find an old post where a copyright claim was made against another user’s tweet from August, where they had retweeted a snippet of an unreleased song. According to a screenshot they took, there was a reference made in the claim to a track from Lady Gaga called, you guessed it, «Stupid Love.»

Check out Gaga’s pumpkin carving session and some of the best Twitter detective work below:

 

 

 

Billboard has reached out for comment.

This article was originally published by: Billboard

Selenators React to Selena Gomez’s ‘Lose You To Love Me’: ‘A Strong Independent Queen’

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Selena Gomez made her long-awaited return to music on Wednesday (Oct. 23) with the release of her new single “Lose You To Love Me.”

The vulnerable, emotive track dropped at midnight with just a few days’ notice, sending her passionate army of Selenators into a frenzy as they swarmed social media with their love for the star.

“This song is so powerful,” one fan tweeted. “I can’t stop replaying it and she is doing amazing on the charts as she deserves. Selena raising the bar.” Another praised Gomez’s strength, writing, “in awe that Selena has been through so much emotionally yet still came out the other side a strong independent queen.”

The singer’s first new solo release since 2018’s “Back To You” even seems to be winning over the haters, with one new fan admitting, “I’m not a Selena Gomez fan AT ALL but that new song she dropped is……” alongside a GIF of Ryan Tedder shedding tears.

Gomez’s BFF Taylor Swift also got in on the love-fest, sharing a screenshot of the track on her Instagram Stories and writing, “This song is a perfect expression of healing & my absolute favorite song she’s put out yet. A triumph. I love you so much @selenagomez.”

Check out the best reactions to “Lose You To Love Me” below.

 

This article was originally published by: Billboard

Harry Styles Nabs His Best Debut on Streaming Songs Chart With ‘Lights Up’

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The debut is also the second-best start for a One Direction member past or present.

Harry Styles snags his best debut on Billboard’s Streaming Songs chart, starting at No. 13 on the Oct. 26-dated list with new single “Lights Up.”

The track bows with 21.5 million streams in its first week of release (week ending Oct. 17), according to Nielsen Music.

“Lights Up” exceeds the debut of Styles’ predecessor on Streaming Songs, “Sign of the Times.” The lead single from Styles’ first solo album apart from One Direction started at No. 18 on the April 29, 2017, tally, racking up 16.5 million first-week streams.

Assisting Styles in this case: the music video for “Lights Up” was released in conjunction with the audio, whereas the clip for “Sign of the Times” appeared a month after the single’s initial release, giving Styles’ latest offering a splashy debut on both audio and video services.

However, “Lights Up” is not the top debut for a One Direction member past or present on Streaming Songs. That mark remains in the possession of ZAYN, whose “Pillowtalk” started at No. 1 on the Feb. 20, 2016, tally. “Lights Up” is, though, the second-best such premiere.

“Lights Up” debuts at No. 17 on the streaming-, airplay- and sales-based Billboard Hot 100, a mark that does not exceed the No. 4 bow of “Sign of the Times.” The song added 20,000 downloads in addition to its streams, placing it at No. 3 on Digital Song Sales (“Sign of the Times” started at No. 1), as well as 1.7 million audience impressions.

“Lights Up” is the lead single from Styles’ upcoming second LP, the follow-up to his 2017 self-titled debut album. Little else is known out the album, including a release date.

This article was originally published by: Billboard

See All Of the Hints Indicating Selena Gomez Definitely Has New Music Coming Soon

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Selena Gomez is firing up the promotional engines. In a series of social media posts starting on Thursday (Oct. 17), the singer hinted that new music could finally be on the horizon, with some Selenators speculating that it could be out before the next sleep.

Gomez, who hasn’t release a full-length album since her sophomore Revival set in 2015, got hearts racing with a moody black and white pic in which she’s hiding behind a veil accompanied by the message, «Rose colored glasses all distorted.»

 

 

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Rose colored glasses all distorted.

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That was followed by yet another cryptic post with an animated venue marquee with another lyric-sounding message that read,»I saw the signs and I ignored it,» along with a caption featuring a Spotify shout-out. The streaming service then retweeted, with the addition of the eyes emoji:

Things got even more interesting over on Twitter, where Gomez gave Amazon a shout too, posting a Times Square ad for Amazon Music that features her face and the line «Ask Alexa to follow me… @AmazonMusic.»

 

While a spokesperson for Gomez could not be reached for comment at press time, in June she told Jimmy Fallon that she was done with her new album and that she just needed to tie up a few loose ends. «I have to do a few finishing things with it, but I’m just relieved,» she said on The Tonight Show. «It took me four years now to even feel at a good place with this album, and it’s just because I had such huge moments that happened in my life personally that ‘how was I going to capture that?’ And how was I actually gonna feel good about what I was saying?»

In case you were worried, though, she said there’s definitely a «strong pop» feel to the then-untitled album, but also some electric and acoustic guitars and some «soulful» tracks as well.

Original: Bilboard

Cody Simpson Details Romance With Miley Cyrus, Confirms Plans to Release New Song: Report

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Cody Simpson revealed more details about his new romance with Miley Cyrus at the Tiffany & Co. Mens Launch in Los Angeles on Friday (Oct. 11).

During the event, the 22-year-old Australian singer told reporters that the development of his romantic relationship with Cyrus, 26, is unlike any other he’s experienced in the past.

“The reason why it hasn’t been a really crazy sudden thing is just because we’ve been friends for so long,” Simpson told reporters, according to People. He added that the two “found each other again in a space where we’re both not partying, working real hard, and it just keeps things healthy and it’s good.”

“Any girlfriends I’ve had in the past has always been immediate romance and so it’s a different experience having been friends with somebody before and it developing naturally into something more,” Simpson said.

The budding romance follows Cyrus’ recent divorce from husband Liam Hemsworth. In early October, the songstress took to Instagram to call Simpson her «BF» after the two were spotted on a date together.

Simpson also revealed that he’s planning to release a song he wrote for Cyrus while the songstress was in the hospital recovering from tonsillitis. The tune is scheduled for release next week, he told People.

“I wrote her a song this week that she’s pretty much forcing me to put out,” the crooner said “She was like, ‘If you don’t put this sh– out, I’m putting it out on your behalf for you. I’m getting your Spotify login and doing this sh– myself.’”

Tentatively titled «Golden Thing,» the acoustic guitar melody features romantic lyrics like, «Deep blue jeans, movie screens, it’s a golden thing she’s got,» and «I shouted the words in the first daylight and a chorus of words burst into sight/Now I know that I’m hers, for whatever it’s worth, by the rule that’s in the sky.”

Article original: Billboard

Katy Perry Goes Big With Multiple Banging ‘Small Talk’ Remixes: Listen

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Lost Kings, Sofi Tukker and White Panda bring beats to the new mixes.

Katy Perry isn’t done making «Small Talk.» The singer dropped three remixes of her latest single on Friday morning (Oct. 11) with a house-y take from Lost Kings, a darker dance edge courtesy of Sofi Tukker and White Panda’s triumphant remake.

Perry recently landed her 19th No. 1 on Billboard’s Dance Club Songs chart, when «Never Really Over» rose 3-1 on the list dated Sept. 21. Perry boasts the fifth-most leaders dating to the chart’s August 1976 inception as a national survey, trailing only Madonna (48 No. 1s), Rihanna (33), Beyoncé (22) and Janet Jackson (20).

Click here to stream the remixes.

 

 

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Article original: Billboard

 

Is Justin Bieber’s Next Album Coming Before 2019 Is Over?

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Is Justin Bieber preparing to give us a great wedding present? The singer, who tied the knot a second time with Hailey Baldwin last week, isn’t wasting any time getting back on his music grind.

In an Instagram Live video re-shared by a fan account, Bieber is spotted zooming around a spacious, natural light-filled kitchen on a pair of hover skates contemplating his next professional move as, it seems, Baldwin films a conversation about his rollout strategy.

«I’m putting out an album this year!» Bieber says enthusiastically, as another voice — presumably Baldwin’s — asks, «this year meaning… before 2020?,» which prompts Bieber to wonder, «Should I put out an album this year?»

That gets Justin thinking: release the album and single in 2019, or tease it and drop the project in 2020?  «Or should I do it this year?» he wonders. «Babe, you already are doing it this year,» the camerawoman responds.

«What?»

«I thought you already were doing it this year,» she says, prompting him to re-think it. «You just wanna split it? Album by the end of this year, another song coming out… soon,» he replies.

«I feel like everybody hates when you say soon, because they never know when it’s gonna happen,» Baldwin says. «Legit, though, this year,» he assures her.

No information was available on Bieber’s first new studio album since 2015’s Purpose at press time. While he’s appeared with guest vocals on singles by everyone from Billie Eilish to Ed Sheeran and DJ Khaled over the past year, Bieber hasn’t shared much information about his fifth album; a spokesperson for the singer could not be reached for additional information on the album at press time. Back in July, JB promised that he had some «good music coming» and in August he performed a gospel song during a church service and said, «God is pulling me through a hard season.»

Bieber is featured on country duo Dan + Shay’s brand new single, «10,000 Hours.»

Watch the tease below.

 

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‪On Instagram Live today, Justin Bieber announced that he will be releasing a new song and an album before the year is over! ‬

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This article was originally published by:Billboard

First Stream: New Music From Travis Scott, Dan + Shay and Justin Bieber, Camila Cabello & More

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Feeling overwhelmed by the new songs, albums and videos being unveiled today? You’re not alone. Billboard’s First Stream serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.

This week, Travis Scott sheds some light into his personal life, Justin Bieber gets ready for next wedding season with Dan + Shay, and K-pop supergroup SuperM finally arrives. Check out all of this week’s First Stream picks below:

The Song That Offers More Than Just A Malcolm Gladwell Co-Sign:
Dan + Shay and Justin Bieber, “10,000 Hours”

Justin Bieber teased his new collaboration with Dan + Shay as “wedding music” on social media — which makes sense, as Bieber himself just got married, and the country duo often focuses its lyrics on stirring romantic themes. Yet listening to the heartfelt “10,000 Hours” will also make you reflect on how far Bieber’s own musical focus has come over the past decade: After starting off as a teenage heartthrob singing puppy-love songs to millions, he then strayed as far as possible from that baby-faced image, only to now end up back to singing G-rated admissions of devotion. “10,000 Hours” is a lovely country-pop tune, and hearing a wide-eyed, at-peace Bieber on the track is its main attraction.

The Song That Will Soundtrack The Sadder Moments of This Weekend’s Parties:
Travis Scott, “Highest In The Room”

“Highest In The Room” features all the hallmarks of a classic Travis Scott single: sizzling programmed beats, hooks conjured out of thin air, ad libs — “It’s lit!,” “Straight up!” — that at this point are closer to catchphrases. Yet there’s an inherent glumness on the track that sets it apart from even the most introspective moments of Astroworld. Scott has teased the song in the past, although the timing of its release will certainly lead casual fans to assume it’s about his split with Kylie Jenner: “When I’m with you, I feel alive/ You say you love me, don’t you lie,” he shrugs. Although “Highest In The Room” may not be the new anthem fans are hungry for after “Sicko Mode” took off, hearing Scott filter his singular style through a sorrowful lens makes for a compelling listen than a standard party track could have provided.

The Mini-Album That Could Make Major Waves In The K-Pop World:
SuperM, The 1st Mini Album

Supergroups are nothing new in popular music, and there have even been K-pop supergroups in the recent past — but given how much the genre has evolved, particularly as a commercial enterprise, over the past five years, the debut of SuperM represents a highly anticipated event in mainstream music. The combination of members from SHINee, EXO, NCT and WayV could have sounded clunky or overly produced, but SuperM’s first project (five songs, plus two instrumental versions) proves a fairly seamless presentation of pop-rap and boy-band melodies that allows each member enough room to effectively operate, and makes the listener hungry for more. Those of us missing the opulent electro-pop of the early 2010s should immediately place SuperM’s “Jopping” in any playlist that also features LMFAO or Taio Cruz.

The Song That Shows A Bold New Side of One Of Pop’s Biggest Stars:
Camila Cabello, “Cry For Me”

The most memorable moments of Camila Cabello’s career thus far, from “Havana” to “Senorita” to her standout moments within Fifth Harmony, have carried a sense of hope, allure and romance. But on new single “Cry For Me,” the pop singer is pissed-off, and ready to take names. “When I said I hope you’re happy, didn’t mean it,” Cabello seethes at an ex; later she shouts “How can you be okay?” as an electric guitar walls beneath her. Even if Cabello’s doesn’t feel quite as natural being furious as playing it coy, “Cry For Me” has the delicious hook to pull off the new pose, and adds a powerful new dimension to her persona as her Romance era approaches.

The Song That Dares You Not To Clap Along:
Niall Horan, “Nice To Meet Ya”

Niall Horan’s debut album Flicker demonstrated that the One Direction alum knew how to produce guitar-driven pop music, be it soulful acoustic tunes like “This Town” or swaggering ‘70s rock like “On the Loose.” New single “Nice to Meet Ya” is once again a marvel of song construction, indebted to ‘90s dance-pop (that canned vocal hook!), with a hint of Britpop, studio strings in tow, and Horan’s charm holding the whole affair together. And, yes, those handclaps are undeniable and Horan knows it — this song begs to witnessed live, with thousands of fans trying to match the beat.

The Album That Wants To Be Your R&B Jams Collection For The Fall:
Summer Walker, Over It

Atlanta native Summer Walker first gained mainstream attention for a YouTube mash-up of songs by Drake, Rae Sremmurd, Ginuwine and Beyoncé. On her debut album Over It, the 23-year-old gets to present her own songs alongside some of her heroes, including Usher, Bryson Tiller and Jhene Aiko. Yet on the 18-track LP, Walker shines brightest when she’s on her own, showcasing a vocal flair and songwriting approach that’s reminiscent of SZA’s Ctrl, but a bit more raw and unflinching. Dig into tracks like “Potential,” “Tonight” and the album’s title track — although skipping ahead to the Drake remix of “Girls Need Love,” Walker’s Hot 100 breakthrough which ends the album, is an understandable impulse.

The Album That Will Influence You To Drop Hundreds of Dollars on an Awesome Halloween Costume:
Kim Petras, Turn Off the Light

Let’s just admit it: the fact that Kim Petras, a wildly talented pop artist, is so committed to making music specifically for Halloween absolutely rules. Just like her collection of songs in honor of the spookiest holiday last year, her second installment of Turn Off the Light is equal parts camp and killer hooks, with songs like “There Will Be Blood” and “Death By Sex” making you chuckle and then getting stuck in your head for days. Petras’ Clarity album from earlier this year still stands as one of 2019’s most cohesive pop efforts, but her Turn Off the Light series has the feeling of being for the real Kim fans, an enjoyable and ultimately endearing career decision.

The Album That Will Be Playing On Loop In Indie Record Stores For a While:
Angel Olsen, All Mirrors

Angel Olsen has become one of the defining indie artists of the 2010s through sheer consistency and force of will, with acclaimed song collections arriving every two-to-three years and offering piercingly intimate examinations of love and loss. All Mirrors is a triumph with a twist — Olsen wrote the songs alone, then brought in Ben Babbitt and Jherek Bischoff to help add 12-piece string sections into many of the arrangements. The result is a dazzling contrast between hushed emotion and lush musicianship: “I like the life that I lead/ Without you,” Olsen murmurs on “Tonight” as the orchestra swells to life, making for one of the more emotional moments of her catalog.

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

P!nk Unveils Striking Video For ‘Hurts 2B Human’ Title Track With Khalid: Watch

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P!nk debuted the visual for the Khalid-featuring title track from her eighth studio album Hurts 2B Human on Tuesday (Sept. 17).

The moody video features scenes of New York City individuals in their apartments, undergoing the daily stresses of life — fighting with a spouse, receiving an upsetting text message — as well as the positive, like being cheered up by a friend. P!nk and Khalid both make appearances, eventually crossing paths.

“God it hurts to be human/ Without you, I’d be losin’/ Yeah, someday we’ll face the music/ God it hurts to be human/ But I’ve got you,” the pop star sings on the gently strumming chorus before Khalid takes over on the second verse.

P!nk unveiled her Hurts 2B Human album on April 26

This article was originally published by: Billboard