On Independence Day 2025, Kesha detonated a firework of her own: . (PERIOD), her long-anticipated sixth studio album and the first released under her own label, Kesha Records. It’s more than an album. It’s a neon-lit middle finger to expectations and a joyride into the unruly, emotionally raw depths of her artistry.
With . (PERIOD), Kesha returns not just unfiltered, but unshackled. This 11-track collection explodes with irreverence, vulnerability, and a high-octane celebration of freedom. Featuring hit singles like “JOYRIDE.”, “YIPPEE-KI-YAY.” (featuring T-Pain), and “BOY CRAZY.” The album is stacked with unapologetically bold anthems that demand to be blasted at full volume, with glitter smeared across your cheeks and a scream in your throat.
Born in Los Angeles but spiritually stationed somewhere between a dancefloor and the desert, Kesha has long transcended pop stardom. She’s a cultural icon, a survivor, and a provocateur and with . (PERIOD), she’s steering the whole damn ship. Co-produced and co-written by Kesha herself, the album pulls from electro-pop, country, house, and punk, yet feels cohesive in its chaos. It’s as if each song is a new face of the same disco ball, fractured but blazing with light.
The opening track, “FREEDOM.” sets the tone with a thunderous, rallying cry for autonomy. From there, “JOYRIDE.” (released exactly a year prior) feels like a literal ignition. Its video, where Kesha races through the desert dodging helicopters and hitmen, has nearly 2 million views and encapsulates the album’s energy: rebellious, cinematic, and on the run.
Then there’s “BOY CRAZY.”, an infectious dance track paired with a chaotic, sex-positive video that sees Kesha surrounded by scantily clad men. It’s ridiculous. It’s hilarious. It’s art. Co-directed by Kesha herself alongside Brett Loudermilk and Zain Curtis, it’s clear she’s taken the wheel creatively as well as musically.
“YIPPEE-KI-YAY.” is perhaps the wildest track of the bunch. A yeehaw-worthy country-pop fusion featuring T-Pain and remixed by A.G. Cook. It’s absurd in all the right ways. Kesha even brought it to Coachella and Stagecoach in two wildly different live renditions that perfectly capture her range and reinvention.
And if there’s one ballad on this record that cuts deepest, it’s “CATHEDRAL.” A lush, gospel-tinged closer that aches with hope and grief. Kesha’s vocals, often buried under glitter and grit, shine in their full, earnest power here.
But beyond the music, . (PERIOD) is a reclamation. After years of public legal battles and creative restrictions, Kesha’s independence is no longer symbolic; it’s literal. Released through her own imprint, on her own terms, this album reaffirms her role not just as a pop star but as an artist. It’s messy, it’s loud, it’s half-joke, half-confession, and it’s the most Kesha she’s ever been.
Currently on her largest headline run to date, The Tits Out Tour. Kesha is lighting up arenas across the U.S., with sold-out shows at iconic venues like the Kia Forum in LA and Madison Square Garden. Proving once again that Kesha has always had her glittered finger on the pulse of pop culture.
. (PERIOD) is the sound of an artist who’s lived through hell and come out ready to dance on its ashes.
On Friday, Montreal-based singer-songwriter KAYTA released her sultry new track “Dress Later”. This time around, she has taken a gorgeous R&B spin on a total pop dream, and we’re falling more in love with each listen. It’s time to “let yourself” sink into something soothing and invigorating at the same time. Enjoy!
We’ve been a fan of pop artist Van Bobbi for quite some time now, and with the release of his latest single “Kickdrum Heartbeat”, that fandom only increases. Approaching the track with a more earthy sound than we are used to, he utilizes gorgeous percussion to really get the message across through the instrumentals, utilizing the words almost as backup. The song is catchy, fun, and something we anticipate making everyone’s “Summer 2018” playlist.
Who is seeking a synth-fueled, smooth like silk, otherworldly new alt-pop EP to enjoy? (Raises hands way up, and jumps up and down.) We’re SO ready for it, and San Diego based singer/songwriter JARA has a brand new 6 track stunner for us to treat our ears to. We’ve got the exclusive premiere, but we’re sure this one will make its rounds to impress the masses pretty soon, especially with its sun soaked disposition. Each track is loaded with its own personality, with a similar clip to the entire album that makes it feel like a complete journey all its own. Mid-tempo “Cutting Corners” sets the pace, while “Psycho Lovers” carries it on for us, perhaps a little more debauchery-ridden than its predecessor. And while “Something Else” stands alone as the perfect summertime carefree track, “Uninvited” brings the mood down a little bit, maintaining that same mid-tempo pace we’re too keen on to let go of. The slowest we get is with last track “Go Slow With Me”, which shines as the standout funk track and gives a little love to the entire collection before rounding it out.
Give this EP some love, you know you need some new weekend jams. 😉 Check out lead single “Something Else” below, and the entire EP under that!
Los Angeles-based alt-indie trio The Habits – comprised of Wolf Bradley, Chance Famighetti, and Andrew Macatrao – has been attracting a pretty solid fanbase since just last year, when they released their debut single “Feeling It”. Their new track – “Calling Me Up” – is just as catchy and beautiful as its predecessors, and we have the exclusive premiere of its accompanying music video, which just so happens to be their first ever as well.
Clear, precise visuals. This video encapsulates the trio’s live performances tactics, while allowing them to partake in a short film-like storyline, singing to a romantic interest over the phone. Relatable, intense emotions are thrown into a bubbly soundscape, making the true hurt delivered in the song a little less painful. The guys make sure to throw in a little humor toward the end, and now we kind of want to get sushi with them.
Explains the band:
We wanted our first music video to be simple and reminiscent of the types of videos we grew up on. It was inevitable the video would end in heart break, but the back and forth was all improvised. I’ve never had so much fun singing into a phone hanging from the ceiling or getting rejected on camera. Honestly, at some point it’s a little much to keep calling and singing to the same person. Get the hint.
Budding pop artist RAHH has just released her first ever single “Overkill.” When I first listened to “Overkill,” RAHH’s incredible voice stood out to me. She has the type of powerful voice that you may find yourself belting out too as it sparks inspiration. Despite its title, “Overkill” is not that bitter song about your ex. Instead, it’s about giving in to the power of music and letting go. “I can’t stand still, I can’t stand still, this beat is overkill,” belts RAHH. She continues to my favorite line “I need saving, I need saving.” What’s even more chilling is when RAHH gives us a taste of a cappella at the end of the song. “Overkill” puts into words the ways we feel, react, and engage in music. Aside from RAHH’s beautiful voice, the song holds a powerful meaning: that music has the ability to take us over at any time, and at any place.
Australian native and Nashville based Quinn Lewis just released his latest “Weekend Luv.” The indie-pop artist is following up on his recent releases “Slipping” and “In Between.” “Weekend Luv” is one man’s search for seven day of the week kind of love. “Five days is more than a foreplay,” Quinn comes in with his clever lyrics. “Weekend Luv” discusses the struggles of dating in an adult world. “I’ve been working too much lately- you’ve been waiting for the weekend…to see me, hold me, love me right,” Quinn says on his busy schedule but his desire to have a seven day romance stating “Don’t give me that weekend luv.” Along with Quinn Lewis’ clever lyrics, he incorporates several sounds that back his voice perfectly, and even throws in an electronic vibe with bass drops during the chorus. “Weekend Luv” is infectious and an instant summer jam.
“Hit and Run” is the latest single from Parker Matthews who also just released a video for the track. Before I watched the pop newcomer’s video, I had to just listen to the song itself. “Hit and Run” is a bubblegum pop infused track with, of course, the perfect voice (Parker Matthews) to complete the song.
“Start it one-by-one, cuz’ this ain’t no hit and run,” Parker sings, proclaiming a love song for a special someone. With Parker’s high voice, catchy tune, and upbeat chorus, I soon found myself swaying by the end of the song. The second time I listened to the song I viewed the video for “Hit and Run.” Set in city night life and donned in an all black outfit (shades included), we see Parker walking up to an apartment for a house party. With a crowd dancing and Parker singing, he shows off his fierce dance moves and has no problems “feeling himself,” which adds to that “pop-party” vibe that the song encompasses.
Pop Dust, who premiered the video described “Hit and Run” as “decorated with sticky drum loops and fluorescent synth makeup, embodies classic dance music but dispatches a crucial, heart-pounding message.” Pop music, in its essence, is something you can dance to—but also be in your feelings about and “Hit and Run” definitely hits the nail on the head.
Band of Gold just premiered their single “Well Who Am I” off of their forthcoming album Where’s The Magic. PopMatters describes the band sound as “A really unique take on pop music… an intriguing sound.” It is in fact an intriguing sound as the track is quirky, unique, and very zany. What you think is going to start off as an alt-pop song, leans into a rock guitar solo, but not until the vocals pick up the pace and end the song abruptly.
The most interesting part of “Well Who Am I” is the bands’ seemingly random lyrics. It starts off “I like the way you comb you hair” and is followed by “I like the neatness of your hair….but I don’t think you’ll ever dare.” The uniqueness and array of sounds/genres is what makes this song so fascinating, and addicting.
