While the dropping or outright dismissal of most of her civil and sexual assault complaints against producer Dr. Luke could be looked at as setbacks, fans of Kesha can rejoice at news the ‘Warrior’ singer is still fighting to have her new music heard, she reveals in a new interview with New York Times.
The NYT piece, her first since all of her legal drama began, sees the singer/songwriter pour fresh details on music she’s been working on, including over 20 songs she turned in to Sony for review over summer 2016. However, the issues – as the NYT article asserts – are the following:
- In having to remain ‘reasonably consistent in concept and style to the artistic concept and style’ of her original recordings (or the persona already built for her), if the songs submitted do not fall in line with the prescribed she may not be able to release them
- She is funding her small touring and recording efforts out of pocket, which is increasingly difficult given her limited income and inability to create and promote new music. The money she is making is funding her legal efforts.
- Sony has permitted her to work with other producers (though her camp vehemently denies this)
Shortly after the story hit the presses, Luke’s lawyer offered a fiery clapback that not only branded the singer’s claims as “inaccurate”, but also suggested the NYT piece was simply another means to “mislead the public” and “gain unwarranted sympathy.” More details inside:
Dr. Luke camp’s clap back:
“The New York Times Magazine profile piece that ran today unfortunately has many inaccuracies.
This article is part of a continuing coordinated press campaign by Kesha to mislead the public, mischaracterize what has transpired over the last two years, and gain unwarranted sympathy.
Kesha filed a shock and awe complaint of alleged abuse against Luke Gottwald in 2014 — for contract negotiation leverage. It backfired.
She never intended to prove her claims. She has voluntarily withdrawn her California complaint, after having her counterclaims in New York for alleged abuse dismissed.
Nevertheless, she continues to maliciously level false accusations in the press to attack our client.
The reality is that for well over two years, Kesha chose—and it was entirely her choice—not to provide her label with any music.
Kesha was always free to move forward with her music, and an album could have been released long ago had she done so.
She exiled herself.
It was not until months after the denial of her injunction motion – for the first time in June and July 2016–that Kesha started to provide the label with music.
She provided 22 recordings created without any label consultation which were not in compliance with her contract, were in various stages of development, and which Kesha’s own team acknowledged needed work. Then, and for the last several months, the label has been in discussions with Kesha and her team to choose the best music, create additional music, and work on the tracks created.
A&R representatives of both Kemosabe and RCA have provided Kesha with detailed feedback in writing and in person on the tracks she provided to help her further develop the material. Kesha has also agreed with Kemosabe and RCA on a list of producers who will work with her on these tracks, a studio has been reserved for these sessions, and a budget for certain work provided.
The creation of an album is a process, however what has clearly been communicated is that the aim is for a release date as early as possible. It is in the economic best interest of the label and Mr. Gottwald to put out a top selling album, and that takes time. In fact, the label suggested an early release of an advance Kesha track. It was Kesha’s team who rejected this proposal.
Kesha’s claim in the article that she has no ability to earn money outside of touring is completely rebutted by well documented public court records which apparently escaped the article’s attention.”