On High Road she returns to a full blast of wilded-out pop, missteps and mayhem. Still contracted with Kemosabe Records, the label that Gottwald signed her to in 2005 when she was a teenager, Kesha had to find a way to carry on working in the music industry and living in the public eye. Months shy of the #MeToo movement breaking in Hollywood, the case was dismissed in 2016 by New York Supreme Court justice Shirley Kornreich, who said that even if the allegations were accepted as true, the five-year statute of limitations had run out on the two most specific rape allegations, from 20. Kesha Rose Sebert is, of course, referring to the two years in which her career was put on hold after she sued her producer and former label boss Gottwald, known professionally as Dr Luke, in 2014 for sexual assault and battery, sexual harassment, gender violence and emotional abuse. Or, in my instance, appreciated so much my ability to sing when I wasn’t sure if I was going to be able to put out music,” she says. “You can’t understand how good you have it until you’ve also felt pain. With the release of High Road, her fourth album and the second since her high-profile court case against producer Lukasz Gottwald, she reclaims everything that was nearly taken away from her by celebrating good times and bad behaviour. There was a point in Kesha’s career when she felt like she might never release music again.

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