Kesha makes triumphant return in Amsterdam
Saturday evening, 7 March 2026, Kesha (formerly Ke$ha) performed at a sold-out AFAS Live. Songs such as “Tik Tok”, “Take It Off”, “Blow” and “Timber” were music to the ears. After her album “Rainbow”, she began experimenting with musical genres. She fused pop with electronic music, but country was also strongly represented.
Her latest album “.” (pronounced ‘Period’) is fully centred on pop music and brings her back to her roots. This is the first album released through her own independent label, Kesha Records. This tour, explicitly called The T!ts Out Tour, is fully focused on this album.
The opening act was provided by Sizzy Rocket, for whom performing in large venues was a new experience. She shared this on social media before the tour.
She appeared on stage with great confidence with the song “That Bitch”. Her appearance reminded people of Lady Gaga in the pre-“The Fame” era. Although that is the only resemblance, her voice is reminiscent of Charli XCX’s album “Brat”. Her presence evoked a sensual performance in a drag club. The audience went wild at the final note. ‘Amsterdam, I love you already’, said Sizzy.
She continued the energy with the song “Lilac”, where the lighting turned the venue into a full-on nightclub. ‘I fell in love with my best friend’, she admitted, which inspired the song “Bestie”. Midway through, she asked the audience to sing ‘let’s get wild’ along, which was enthusiastically followed. ‘Are you excited to see Kesha?’ the crowd screamed.
After a wild and busy setlist, the calming song “Tattoo” followed. Not long after, a lot of electronic music returned. She played with her guitar synthesiser, an instrument rarely seen these days, and left the stage with it, making way for Kesha herself to take full focus.
Act I: One of One
At precisely 9:00 pm, an a cappella version of “Right Round”, the song that made her famous, was performed. Shortly after, Kesha appeared on stage with her most famous hit “Tik Tok”, and the audience sang along loudly. She wore a white organza-like dress and a headpiece that reflected off her. She stated that the evening was about celebrating freedom.
Next was “Only Love Can Save Us Now” from the album “Gag Order”. The song combines intimacy and electronic music, making it seem like two different songs in one. Her voice shone most during the intimate chorus, while the busy part was highlighted by strobe lights.
‘Should we see how we love each other tonight? Cause I f*cking love you’, said Kesha. She continued, mentioning that she had not performed songs from her first albums in 13 years and had given them a new arrangement because she no longer owns the rights, the same as Taylor Swift. She then performed “Warrior” and “C’mon” from the album “Warrior”, accompanied by six dancers who brought the songs together.
Act II: Heaven in Hell
She returned on stage in a black latex bodysuit with an electric guitar and performed “Blow”, revealing her rockstar side. Air blowers added extra spectacle to the act.
She then moved to an extra stage built between Act I and II. During “Cannibal” she played with a theatrical cannibal theme, pretending to attack her dancers with a knife. This was followed by a medley of “Backstabber”/”Delusional”, with vocal highlights, especially on the high note in the bridge. She closed this act with the fan favourite “Take It Off”.
Act III: Freedom
Kesha came on in a white T-shirt with “Kesha Records” and a glittery pink corset. She performed “Attention” and “Joyride” with joy. Her interaction with the dancers was sensual and energetic, supported by pink lighting.
‘Did you like that?’, asked Kesha. She proudly stated that on 6 March, she had held the rights to her previously stolen music for two years, which inspired her to start her own label. This was followed by “Yippie Ka Yee” mixed with “Timber”, and then “Die Young”, a party where the lights in the venue sparkled.
Act IV: Period
She appeared on stage in a disco-ball-like outfit. The lights reflected off the mirrors, lighting up the venue like a disco ball. She performed “Cathedral” and “Praying”, showing vulnerability. The autotune was noticeable on the high notes but not disruptive. On the screen, a stained-glass pattern was visible, giving the impression of being in a church. She asked the audience to raise flashlights to represent candles, which was perfectly executed.
The evening closed with “Your Love Is My Drug” and “We Are Who We Are”, with the dancers returning and a big party taking place. Kesha, the dancers, and the audience enjoyed themselves throughout the night. Three words to sum up the evening: she is back!
