Commencing with the gospel tinge that “Raising Hell” also showcases, a slow intro to “Tonight” briefly dupes her listeners into believing it’s going to be another “Praying”-type feel (and yes, it certainly does seem as though Kesha has been keeping it consistent with her religious-themed imagery with regard to song titles and lyrics since 2017’s Rainbow). But no, Kesha isn’t about to start the first track of and latest single for High Road with anything that would remotely damper a partying mood. For she’s back and here to remind everyone what spurred her into the limelight in the first place: an innate ability to inspire people to take to the dance floor.
Sentiments that echo the lyrical motif of “Die Young” from 2012’s Warrior are manifest as Kesha assures, “Tonight’s the best night of our lives/Can you feel it?/I can feel it/We got it all, if we’re alive/If we’re breathing, we’re still breathing/You and I, we’re flying high/Gonna feel like this forever/Tonight’s the best night of our lives/So take me out tonight.” From there, the song transitions into a bop with a rhythmic bassline that one can easily envision being emitted from the car window of many a suburban child about to paint the town red as they drive to the nearest city. With “Sleazy”-esque interpolations in spades throughout the track, Kesha very much aims to harken back to her “roots,” as she’s been saying throughout the promotion of the record.
Produced by STINT (known for working with MØ and Carly Rae Jepsen, among others), additional vocals are also provided by Kesha’s friend, Chelsea Gillis, who gets name checked with the line, “Hey Chelsea, do you mind if I put this wine in your backpack?/I’m gettin’ so drunk/Haven’t seen my boyfriend in a few months/Oh, don’t know if it’s weed or if it’s a skunk/Me and all my girls are fuckin’ on one, yeah.” So no, clearly much hasn’t changed from the days of 2012 (a year specifically referenced in “My Own Dance” as a period in Kesha’s life during which she was particularly prone to binge drinking). For she’s still forever committed to the fun of a night out, even if there are certain expected casualties to be endured at the cost of getting schwasted (e.g. the inevitable loss of one’s phone, also called out in the song).
In truth, that’s one of the most lovable aspects about Kesha, who is a diamond in the rough among the few pop stars refusing to “transition” into the requisite “elegance” expected of a woman now in her thirties (Ariana Grande is already laying the groundwork for her own “middle age” aplomb by appearing in ball gowns and being the spokesperson for Givenchy). But no, Kesha won’t do it. And she won’t apologize for remaining an unabashed creature of the night no matter how much stigma is attached to it “at her age.”
Galvanizing listeners of all ages to embrace whatever the evening(-turned-dawn) might hold, she declares, “Okay, we’re going out tonight, don’t wanna stay home/I got my girls to call the Uber ’cause I can’t find my phone/I’m getting ready, mani-pedi, fancy shit with the leathers/Now we’re looking for some trouble like we huntin’ for treasure.” Considering how easily scandalized most people in bars and clubs are nowadays, that “treasure” of trouble shouldn’t be too hard to find for Kesha and her ilk. Those who are the only source of light and adventure to the friends who have surrendered to “middle-age” (i.e. watching Disney+ instead of leaving the house) by urging, “Bitch, we goin’ out tonight.” It couldn’t be a more perfect start to a Kesha album.
