“‘You’re the party girl’/’you’re the tragedy’/but the funny thing’s/I’m f***ing everything.”

If there is a single set of lyrics that best describe Kesha’s new album, High Road, these would be it. They’re from the single “My Own Dance,” which Kesha described as the “mission statement” song on the album: that she doesn’t have to conform to a single image or idea of who she is, and neither should anyone else.

It’s tempting to call High Road a celebration of complication. The album kicks off with the absolute perfect opening track “Tonight,” which feels a bit like an ode to late '90s hip hop and heralds Kesha’s return to pop music. “Raising Hell,” the first single and a collaboration with Big Freedia, mixes dance beats with gospel sounding overtones. And the previously mentioned “My Own Dance,” also a single release, delivers it’s message over a Latin beat with some Spanish guitar for good measure.

But keeping with her “I’m everything” statement, Kesha branches out with her sound. The dance tracks give way to country-inspired tracks. Most notable are “Cowboy Blues,” which features one of the most genuine moments in a Steven Sondheim-like pre-chorus ramble, and “Resentment.” The latter is an acoustic track that was released as a single and gets some help from country star Sturgill Simpson, music legend Brian Wilson and co-producer Wrabel.

There’s also plenty of other experimentation going on here. “Birthday Suit” introduces chiptune influences while “The Potato Song (Cuz I Want To)” purposely sounds like a stereotypical Russian folk song.

If there is a failing in the album, it’s that once it slows down it never quite picks back up. The back half of the album lags a bit after the bombastic opening. Closing track “Summer” is beautiful and takes cues from folk and orchestral music, but it feels a little anticlimactic. The song “BFF,” which also features Wrabel, feels like it’s destined to be divisive: some people will love it, some people will think it’s too light and out of place (I fall into the latter category).

Even when the music slows, though, Kesha’s messages and word play do not. Songs on the album touch on freedom, loss, polyamory, social judgement and desire. The lyrics are sometimes rapid fire (Kesha prefers not to call what she does “rapping,” instead saying it’s “talking s**t”), sometimes loaded with double meanings (her meaning of “high road” is different from the traditional sense) and sometimes just silly, ridiculous and fun. “The Potato Song (Cuz I Want To)” is the perfect example of this, it may be Kesha’s “Yellow Submarine” and just celebrates being able to be happy.

In a time where it feels like too often we obsess over labels and definitions, High Road comes out in favor of the opposite. It is an ode to complexity, to understanding who you are isn’t something you can sum up in a social media bio. As the woman herself said to Rolling Stone, “You can be everything. You can be the infinite amount of things that people are.”