It’s been more than a hot minute since Kesha took her former producer to court, leading to her fans starting the #FreeKesha movement and finally, 11 years later, Kesha has dropped her debut independent album, titled “.” otherwise known as “Period”. It was made available to download and stream across all platforms this week, but she threw in a huge surprise a couple of days ago by dropping the deluxe version of the album, titled “. (…)”, otherwise known as “Period (Ellipsis)”.
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The deluxe version of the album includes one previously unreleased song, one previously released single, remix collaborations featuring Jade and T-Pain, and five additional remixes or edits. The release of this album acts as the joint follow-up to her earlier single and EP, titled “The One”, which included all five singles from the original album, as well as her feature on the Finn Keane remix of f5ve’s single “Sugar Free Venom”.
Working with a variety of songwriters and producers, Kesha has now fully embraced her artistry as an independent artist. With the freedom to shape her own narrative, release the music she believes in, and make creative choices on her own terms, she’s proving her craft—period. While independence isn’t for everyone, and the divide between major label stars and indie acts can be vast, there’s often a deeper honesty and rawness to independent music. Artists like JoJo, Iggy Azalea, Macklemore, Raye, and Tinashe are all living proof.
On “.” otherwise known as “Period”, Kesha takes full creative command, writing every track while collaborating with a diverse and powerful roster of co-writers including Madison Love, Jonathan Wilson, Drew Erickson, Zhone, Kyle Buckley, Brittany “Chi” Coney, Denisia “Blu June” Andrews, Ryan Jillian Santiago, Poutyface, Skyler Stonestreet, Caroline Pennell, Pebe Sebert, Hudson Mohawke, Jade Thirlwall, Leah Kate, Rose Gray, Slayyyter, and Faheem Najm (T-Pain).
She also surrounds herself with a dynamic team of producers, ranging from longtime collaborators to fresh experimental names, including Zhone, Pink Slip, Nova Wav, Heavy Mellow, Stuart Crichton, Jonathan Wilson, Drew Erickson, Hudson Mohawke, Max Margolis, Stint, Rissi, Xander, A. G. Cook, Only Fire, and Daniel Rios. The result is a genre-defying, deeply personal album that blurs the lines between pop, indie, and alternative expression whilst adamantly sticking to addictive hyper-pop that suits her voice perfectly. Another brilliant creative choice that she would’ve made, showcasing her art, her style, and her freedom as an independent artist.
Further to that, it’s not a surprise to see that she opens this album with a track titled “FREEDOM.”. A heartfelt piano sets a smooth, anticipatory tone before layered vocalisations build that sense of release. This album has been a long time coming, and starting with this track signals Kesha’s readiness to share her unfiltered artistry. As it unfolds, airy pop elements let her breathe—free, raw, and honest—before launching into a hyper-pop explosion. She’s in full control now, and it shows. “FREEDOM.” sounds good on Kesha—of course it does.
This is followed by the first official single release, “JOYRIDE.“, which had an awesome music video that is a total must-watch. As for this song, it’s a brilliant introduction to independent Kesha and how she’s taken the plunge into hyper-pop while mixing a variety of other elements, such as mainstream pop and EDM. It is full-on self-empowerment, and we’re here for it! Now get in loser, Kesha is taking us on a joyride!
Track three is “YIPPEE-KI-YAY.”, which explores Kesha’s Nashville roots as she dives into country-pop with prominent country guitar rhythms and vocals full of strength and power. This addictive earworm includes hand-claps as she navigates lyrics of being free, doing what she wants, living in Tennessee, and there’s a feeling of memory lane as she takes us to the trailer park, the Dollar Tree, drinking beer, singing karaoke, and just letting loose. Considering all she’s been through, this feels like a rewind to before she was famous, while also being able to do the same things right now, as she’s free and an independent artist.
“DELUSIONAL.” is next, which turns the album down into a slow pop-rock song, which has ballad tones and electro vibes. With a prominent backing band throughout, Kesha weaves in a variety of vocal notes as she unleashes her heart emotionally across self-worth lyrics. There’s a clear theme to this album as self-empowerment and self-worth make themselves known across a space of freedom and positivity. The track is followed by “RED FLAG.”, which sees her jump back to hyper-pop and turn the dial up while adding a bit of pop-rock to the mix. Spotlighted vocals and awesome riffs flow throughout the catchy number, while lyrics hit on self-awareness and liking all the red flags.
In the last track, “RED FLAG.”, a bridge brings Kesha’s unique talk-rap style that only she can pull off, and that Kesha nostalgia runs into the next track as “LOVE FOREVER.” delivers a late-’90s, early-’00s pop vibe mixed around mainstream pop ballad influences. The instrumental break adds some ’80s-style soul to the beat, giving it this raw honesty and the yearning one has for a love that lasts forever.
This is perfectly followed by “THE ONE.”, which is a self-love song where she realises that the person she’s been looking for all along was herself, and that she can love herself, and she is “the one”. Trumpets kickstart the track, and it goes from a feel-good pop song to a self-empowerment hyper-pop ballad that you can’t help but love. Kesha isn’t just singing about herself being “the one”; she’s in fact reaching out to us and telling us to believe in ourselves and that we’re “the one” that we’ve been searching for. The heart, courage, and self-belief are free and open with Kesha enlightening us that we all have love for ourselves, inside.
Track eight is a standout—well, apart from track 13, but more on that later. “BOY CRAZY.” is a hyper-pop anthem that’s catchy, iconic, and dripping in confidence. We’ve gone from longing for love to embracing self-love to being unapologetically boy-obsessed—and honestly, we relate. Kesha flips the script by unapologetically celebrating female desire, something often judged or censored, while male artists have long been free to obsess over women in their songs without scrutiny. Robotic vocals and glitchy synths amplify the energy, while the lyrics crave boys from all over the world. It’s bold, playful, and utterly unforgettable.
“GLOW.” slows things down with a laid-back, ballad-style hyper-pop track that spotlights Kesha’s vocal strength and emotional range. It’s a shimmering moment of introspection, where themes of self-empowerment and freedom once again rise to the surface, reminding us just how much creative control she now holds. The use of synthesised vocals and altered edits elevates her falsetto, giving the track a futuristic polish. Lyrically, it’s about letting go, moving forward, and reclaiming self-worth with a quiet, radiant confidence.
The 10th track of the album, “TOO HARD.”, is a soft electro-pop ballad that showcases Kesha’s impressive upper-octave vocals. It’s not an easy song to sing, and it raises the question of whether she’ll include it in the setlist for “The Tits Out Tour,” which launched on July 1 in West Valley City, Utah. Lyrically, it’s a raw reflection on loving someone despite betrayal and heartbreak, committing to love even when it hurts. The stripped-back electro-pop production gives space for her voice to shine, allowing the emotional weight to settle in quietly and powerfully.
Continuing on, “CATHEDRAL.” is the 12th track on the album and was first heard in July 2024, where she performed the song as part of her TED Talk, titled “The Alchemy of Pop”. The track is an angelic pop song that is full of heart and potent emotion, causing scathing chills to all who hear it.
Almost a sequel to her GRAMMY-nominated track, “Praying”, this song also uses religious imagery, only this time using metaphors to describe resiliance, personal transformation, redemption, and self-discovery. She leans into her past, where she has overcome pain and found inner strength, all surrounded by soft pop rhythms that crescendo into hard-pop-rock as Kesha unleashes her pain and trauma before resetting back to the soft pop notes.
Undeniably impressive from start to end, Kesha flies through a variety of notes and shows her depth and range, which just proves why she is an incredible female artist. Her ability to tap into her emotions so deeply and leave no stone unturned is phenomenal, and this song alone truly showcases that. It’s no wonder this track was chosen to be the last track on the album; it represents everything she was praying for in “Praying”, including peace, release, and freedom, but most importantly, independence, and here she is, legally owning her voice again, and being independent.
Now into the deluxe edition tracks released under the title “. (…)”,also known as “Period (Ellipsis)”, starting with track 12, “TRASHMAN.”. With looped pop hooks and punchy hyper-pop beats, Kesha delivers a bold and uplifting anthem dripping with confidence. The track carries a strong Euro-pop vibe, calling to mind much of what Netta has released, especially her Eurovision-winning hit “Toy”, with its playful production and unapologetically empowering lyrics. Chant-worthy and brimming with female strength, Kesha tears down criticism, rejects male judgment, and declares herself a queen. And honestly? We’re bowing down—because she absolutely is.
Now onto our favourite track from the entire album: the remix of “BOY CRAZY.” featuring British pop star JADE. Best known for her 11-year run in the X Factor UK-winning girl group Little Mix, JADE has been carving out a vibrant solo career, and this collaboration feels like a perfect fit. The pair first teased something was brewing after both headlined Mighty Hoopla, where Kesha cheekily commented on JADE’s Instagram post of her wearing a “BOY CRAZY.” merch tee. JADE later gave a not-so-subtle blink on TikTok when asked if a collaboration was happening, and this fierce, flirty remix more than delivers on that hype.
JADE brings a deeper vocal tone to “BOY CRAZY.”, creating an irresistible contrast with Kesha’s brighter energy, especially during the chant-worthy “Gimme, gimme, gimme all the boys” outro, where their harmonies shine. She puts her stamp on the second verse with witty, unapologetically British lyrics—most notably opening with “Brisbane to London, boys are my Jägerbomb,” a sharp, regional twist on Kesha’s global shoutouts in the original.
JADE flips the narrative with cheeky dominance, proudly embracing queer desire and smashing heteronormative expectations with lines that nod to femme tops, short kings, and boys on boys. Her verse radiates confident, inclusive energy, serving as both a celebration of queer identity and a reminder of her long-standing allyship. It’s playful, powerful, and soaked in glitter-pop chaos, elevating the remix into something even more bold, feminist, and joyfully queer.
Track 14 is “ATTENTION.”, which is a collaboration with Slayyyter and Rose Gray, and was previously released on June 20. The track is hyper-pop ten-fold mixed with EDM and house, emphasising Kesha’s new freedom style with hypnotic, joyful beats and club-worthy rhythms, and an explosive pop drop that ravages the beat pulsatively. As Slayyyter jumps in, the beat switches up a notch, giving trance-influenced dance melodies and hard-hitting vocals, proving this is exactly her sort of vibe. Then Rose Gray comes in to sex it up even more with additional explicit lyrics and referencing the rising star that she is. Addictive hyper-pop mixed with club dance music—you’ve certainly got our attention!
Next up is the T-Pain featured version of “YIPPEE-KI-YAY.”, someone Kesha has shared a bond with ever since the beginning of their respective careers, now they’ve finally managed to team up on a track. In a much-similar vein as JADE, T-Pain takes over the second verse and makes it his own, adding R&B vibes into this catchy country-pop track, adding a new energy to the track and delivering a different take. Track 16 is the “DELUSION.” edit version, where it strips the song down from 3 minutes 34 seconds to 3 minutes 15 seconds. There’s not much difference in the two, with the main noticeable difference being that the “edit” version has a shorter intro.
The remixes continue with track 17, where A. G. Cook jumps in and remixes the T-Pain feature track of “YIPPEE-KI-YAY.”. It has a more pop sound with added club vibes while keeping the rhythmic country energy. Well known for his drum and bass, A. G. Cook does not disappoint, making sure we hear those deep drum chords which flow with the dynamic vision of the song. This is followed by The Hosed Down Remix of “YIPPEE-KI-YAY.”, which speeds things up slightly, reminiscent of the speed-up versions of songs that have become popular in recent years. We reckon the name of the remix comes from the “Hose me down at the trailer park” lyric in the chorus.
The penultimate track on the album is the Revved Up Remix of “JOYRIDE.” where the sound dives more into a dark-pop energy with deep piano chords and layered vocals, changing the choruses into builds that lead the listener right into the drop. It takes elements of EDM music and applies them to this hyper-pop sound to transform the song into a deep-house EDM track filled with trance-inspired segments.
This runs perfectly onto the last track, a remix collaboration with Only Fire, titled “Only Fire Smash Remix.” for “BOY CRAZY.”. It’s such a contrast to the previous song on the “. (…)” album, or “Period (Ellipsis)” album as it’s otherwise known, as Only Fire completely slows the track down, reminiscent of the viral slowed-down versions of songs that have also become popular recently. It makes the lyrics much clearer while doubling down on the addictive dance beats in the backing track.
Taking us on a fluid, independent journey, Kesha absolutely shines with “. (…)”, otherwise known as “Period (Ellipsis)”, as she delivers unforgettable hyper-pop mixed with inspirations from the likes of EDM, pop-rock, country, and hip-hop. She’s one rounded, varied artist, truly putting her heart and soul into this album, full stop, period. Athough the album is officially her freedom album, it feels more like a gift to her fans, proving that perseverance and persistence will finally get you to where you want to be, and that you have to believe in yourself, take all the self-empowerment, self-determination, and self-confidence that you can get and truly never give up. Kesha is an inspiration to us all, period!
“. (…)” otherwise known as “Period (Ellipsis)”, by Kesha, is available to download and stream, right now, across all platforms, via Kesha Records. In promotion of the album, she has launched “The Tits Out Tour”, which is a co-headlining tour with the Scissor Sisters that is currently on-going across North America and will later reach the UK and Europe next year. Slayyyter and Rose Gray are the support acts, with the Vengaboys confirmed as guest support at the New York City date.
Expect to hear many of the “. (…)”, also known as “Period (Ellipsis)”, tracks on the tour, and if 2025 is anything to go by, we’re in for a huge Kesha summer! You can get tickets for the tour from her official website by clicking here.