The video was shot at Oddity Bar in DE and co-directed by Kesha and her brother, Lagan.
These lyrics epitomize this Kesha 2.0 we're witnessing, and cast the album cycle for Rainbow as far away as possible from her first two studio albums spearheaded by Dr. Luke, 2010's Animal and 2012's Warrior. "Don't touch my weave, don't call me honey". "I really think the world of her, and also, I can't wait for the world to hear her sing the way she's been singing in my studio".
Released early Thursday morning, "Woman" finds Kesha partnering with the The Dap-Kings Horns for a track that blurs the line between her traditional sound and the big band aesthetic that makes soul music sound so damn good.
The singer penned an essay about the new track for Rolling Stone, talking about her new musical direction and paying homage to her musical influences, from The Beach Boys to Dolly Parton, with the latter making a cameo on one of the album's songs.
That definitely is a unique way to examine the power women hold, but Kesha's words do ring true.
In a stirring essay, Kesha discusses at length how she was able to be completely herself in the company of her co-writers Drew Pearson and Stephen Wrabel, describing the day they recorded "Woman" as one she'll, "remember forever".
For her first album in almost five years, Kesha worked with a wide variety of collaborators, including Ben Folds, Ricky Reed (Phantogram, Meghan Trainor), Wrabel (Adam Lambert, Afrojack), the Eagles of Death Metal, Dolly Parton and her mother, Pebe Sebert.
"It was pure raw joy", she wrote of the experience of writing "Woman".
'It was such a lovely experience to write such a strong female empowerment song with two men ... because it reinforces how supportive men can be of women AND feminism, ' Kesha wrote in an essay for Rolling Stones. I proclaimed again: "'I'm a motherf-king woman"! I told them, I'm not fucking with you - this is the mood I'm in - and this is the song we are writing today.