"Factory Girl:" Why women in music are still being caught in the cycle of abuse and censorship

By Grace Koennecke, Editor in Chief

Kim Petras is a name in pop music that many have become entranced by, myself included.

Known for her often explicit, unapologetic lyricism and brand, the German pop singer has always seemed to have a distinct vision for her music since debuting in 2008. However, Petras’ label, Republic Records, has restricted her from releasing her upcoming album, “Detour,” along with some extra singles, causing many fans to come to the singer’s defense as the creative control she’s seemingly had over the years is now in the hands of music executives.

Earlier this year, the singer stated on Twitter, “I’m tired of having no control over my own life or career. I want to continue to self fund and self curate my own music. This is why I have formally requested to be dropped @RepublicRecords.”

In another Twitter post, Petras alleged that Republic Records refused to set a release date for “Detour:” “My album has been done for 6 months but my record label has refused to give me a release date or pay my collaborators for the work they’ve done.”

Petras also went on to acknowledge the fact that, despite winning a Grammy Award in 2023 for Best Pop Duo/Group Performance for “Unholy” with Sam Smith, her label continues to show her no support for her art. She said, “If it’s not a tiktok trend or 80s revival queerbaiting sh*t these labels have no interest in supporting.”

According to “Billboard,” the singer originally signed to Republic Records in 2021 and eventually won the Grammy Award, previously mentioned in 2023, which was the first time a transgender woman had won such an award. In that same year, Petras vocalized her support for Republic Records while presenting them with “Label of the Year” at Billboard’s Power 100 party. Petras said, “I strongly, strongly, deeply agree with this assessment: Republic Records, best label ever.”

Since then, Petras has been able to release three more albums: 2023’s “Feed The Beast” and “Problématique” and 2024’s “Slut Pop Miami.” But, fans began to grow weary when the singer only managed to release three new singles at the end of 2025: “Polo,” “Freak It,” and “I Like Ur Look.” While these singles were uploaded to streaming platforms, the marketing behind them was lacking compared to her previous releases.

So many, including myself, are wondering: What is going on behind the scenes with Republic Records and Kim Petras?

While these newest singles were met with love from fans like myself, Petras said the singles were expected to serve as teasers to the eventual release of “Detour.” However, the album never dropped before the end of last year, as it seemed to be intended, with Petras ending her trail of tweets with, “I’m dropping Detour regardless.”

This isn’t the first time Republic Records has blocked an artist from releasing music. I believe that what is happening to Petras is symbolic of the transphobia, sexism, and degradation that continue to plague modern pop music, particularly affecting diverse female artists.

Arguably, one of the ringleaders of this plague is involved with Republic Records, currently: Dr. Luke. The notorious music producer has somehow managed to stay in power in the music industry despite various allegations of abuse and lawsuits against him over the years.

Dr. Luke originally got his start playing guitar for “Saturday Night Live” in the late 1990s. Eventually, he made his way into the music industry as a musician, producer, and the short-lived head of Kemosabe Records. Dr. Luke is known for working with many hard-hitting female pop musicians in the 2000s and 2010s, including Kesha, Katy Perry, Britney Spears, Kelly Clarkson, and, most recently, Petras.

Petras is technically signed to Dr. Luke’s imprint Amigo Records under Republic Records, and her current position is similar to that of Kesha, whose years-long legal battle with the producer is one of the most infamous in recent pop music history.

Kesha signed a six-album deal with Dr. Luke in September of 2005, binding her to his recording and publishing companies, Kasz Money (KMI) and Prescription Songs. A month later, the singer alleged that Dr. Luke raped her at a party hosted by Nicky Hilton, Paris Hilton’s sister, “Vulture” reported.

In 2006, the singer didn’t release any music under Dr. Luke’s label. Instead, she signed a management deal with music manager David Sonnerberg’s DAS Communications, hoping to be signed to a major label. This is when Kesha changed her stage name to Ke$ha in an attempt to become more mainstream.

However, Kesha left DAS Communications in 2008 to work with Dr. Luke again, agreeing to have the producer bring her contract with DAS over to RCA Records, a Sony Music Entertainment subsidiary, in order to distribute her future albums and singles, according to “Vulture.”

A year later, Kesha was featured in Flo Rida’s “Right Round,” which Dr. Luke produced and co-wrote. To this day, “Vulture” reported she remains uncredited on most versions of the song and claims she was never paid. The singer also received her first solo hit with her debut single “TiK ToK,” which spent nine weeks at No. 1.

Kesha went on to release her debut album “Animal” in early 2010, which also debuted at No. 1 and sold 152,000 copies, “Vulture” reported.

In 2011, Dr. Luke co-founded Kemosabe Records as his own imprint with Sony and was made the CEO of the label. While still under contract with Dr. Luke’s KMI and RCA, Kesha transferred to Kemosabe in the deal.

2012 to 2013 were a pivotal year regarding Kesha and Dr. Luke’s relationship, as the true nature of it became increasingly more public. In a “New Yorker” profile, Dr. Luke described his relationship with the singer as “strained,” claiming that the singer wanted to explore more of a rock sound while he wanted her to stick to making pop songs. Following its publication, Kesha tweeted, and then deleted, that she was “forced” to sing the lyrics on her song “Die Young,” according to “Vulture.”

Two years later, “Vulture” reported the singer went to a rehabilitation facility in Chicago for 30 days. Following her stay, Kesha’s mother blamed Dr. Luke for pressuring her into losing weight in an interview, which the producer denied. “Vulture” also reported that Kesha allegedly “spontaneously” told doctors that Dr. Luke sexually and physically abused her, as well as drugged her. After completing treatment, Kesha announced she would drop the $ from her stage name, asking professionally to go by Kesha.

On October 14, 2014, the singer filed a lawsuit against Dr. Luke in California, claiming sexual assault and battery. The lawsuit included the alleged rape from Nicky Hilton’s party in 2005, as well as another incident when the producer allegedly “violently thrashed his arms at her,” which Kesha stated resulted in her running barefoot down the Pacific Coast Highway to escape.

According to “Vulture,” the lawsuit also accused Dr. Luke of long-term emotional and psychological abuse involving fat-shaming. Kesha claimed the producer had caused her “severe depression, post-traumatic stress, social isolation, and panic attacks.” Kesha also requested to be released from her record deal with Dr. Luke, claiming the alleged abuse was a breach of contract. However, no criminal charges were filed.

The same day, Dr. Luke filed a separate countersuit against Kesha, her mother, and her manager, Jack Rovner, for defamation, according to “Vulture.” Dr. Luke denied all the allegations Kesha spoke out about, saying they were a ploy to extort him. He also stated the singer testified in 2011 that none of these allegations ever happened.

On June 10, 2015, Kesha added Sony to her original lawsuit against Dr. Luke, stating her parent label had knowledge of and enabled the producer’s alleged abuse for years. Kesha claimed Sony put her in “physical danger” by allowing her to work with Dr. Luke. She also said at least one other artist under Sony was a victim of his alleged abuse.

Seven days later, a judge halted the singer’s California lawsuit at the request of Dr. Luke over a dispute involving a clause in her contract with Kemosabe Records, which stated all legal issues must be resolved in New York. Kesha argued that she signed the deal in California and that the alleged abuse within her suit happened in California.

In September of 2015, “Vulture” said Kesha filed an emergency preliminary injunction request in New York court to be released from her record contract with Dr. Luke, claiming her career would suffer if she had to wait until her sexual assault lawsuit was ruled on in order to be able to record new music without his involvement.

Sony also spoke out for the first time on the lawsuit, saying the label felt “caught in the crossfire” and wanted Kesha’s lawsuit against Sony and Kemosable Records dismissed. They called her suit a “transparent and misguided attempt to renegotiate her contracts.”

On February 6, 2016, Dr. Luke’s defamation lawsuits against Kesha’s mother and her manager were dismissed due to a lack of jurisdiction. Days before the lawsuits were dismissed, Kesha’s mother tweeted that the producer was allegedly refusing to pay her daughter, her songwriters, and producers because she “told the truth about him.” Her mother also claimed Dr. Luke forced Kesha to give up her songwriting credit on Pitbull’s “Timber.”

A New York judge then denied Kesha’s preliminary injunction to be released from her recording contract on February 19, 2016, “Vulture” reported. The judge ruled that “there has been no showing of irreparable harm” and found that Sony and Luke had permitted Kesha to record new music without his direct involvement. Kesha’s lawyers had argued this was an “illusory promise” and that Sony and Dr. Luke would not promote the singer’s music, while Sony denied this claim.

Luckily, Kesha began to receive support from other musicians that year, including Taylor Swift, who donated $250,000 to help assist with Kesha’s legal bills. Lady Gaga even met with the singer, telling the public not to victim-shame Kesha for going public about her abuse, according to “Vulture.”

At the end of February 2016, Kesha wrote a letter thanking her fans for their support, also responding to the producer’s extortion claims: “This case has never been about a renegotiation of my record contract — it was never about getting a bigger, or a better deal. This is about being free from my abuser. I would be willing to work with Sony if they do the right thing and break all ties that bind me to my abuser.”

Following her letter, Kesha’s fanbase planned a protest at Sony’s New York headquarters in response to the label’s refusal to release her from her contract. In March of 2016, “Vulture” reported Kelly Clarkson also shared her support for Kesha by telling a radio host she was blackmailed by her record label, RCA Records, a Sony subsidiary, into working with Dr. Luke on “Since U Been Gone” and “My Life Would Suck Without You.” She was told that if she didn’t work with the producer, the label would not release her albums.

In the same month, Kesha appealed the judge’s decision to deny her injunction for freedom from her recording contract. In April of that year, she also posted on Instagram that Dr. Luke had offered her a deal to release her from her record contract if she agreed to take back the accusations against him. The singer said she refused the deal, saying she “would rather let the truth ruin my career than lie for a monster ever again,” CBS reported.

A New York judge threw out Kesha’s counterclaims of abuse against Dr. Luke on April 6, 2016, disputing the singer’s argument in her injunction appeal that the terms of her agreement with Sony and Dr. Luke are a form of slavery, according to “Vulture.” The judge stated Kesha was acting “unreasonably” and that “every rape is not a gender-motivated hate crime.” The judge also cited a lack of evidence and jurisdiction.

Shortly after, Kesha began a new chapter in her career, performing at Coachella and Dylan Fest, as well as winning the right to perform at the Billboard Music Awards in May after “Vulture” reported Dr. Luke and Kemosabe Records attempted to block her from singing on the show. However, the singer was only allowed to perform if she didn’t mention her lawsuit or Dr. Luke.

On August 1, 2016, Kesha dropped her California abuse lawsuit against Dr. Luke after nearly two years. The singer made 28 songs for her label, which she said she financed completely by herself.

According to “Vulture,” in January of 2017, Dr. Luke threatened to sue Kesha for defamation over a text she allegedly sent Lady Gaga the week after she lost her injunction, claiming the producer raped another artist, who was later alleged to be Katy Perry. In a separate filing, the singer accused Dr. Luke of being unsupportive of her music and refusing to approve any songs, a release date, or agree to promote it. She claimed Dr. Luke had financially cut her off and had still not paid her royalties from “Timber.”

Kesha also released emails allegedly from Dr. Luke in February of 2017, saying the emails supported her claims that he emotionally abused her. In the emails, the BBC reported the producer appears to pressure Kesha into dieting, saying, “A-list songwriters and producers are reluctant to give Kesha their songs because of her weight.” Dr. Luke claimed the emails were taken out of context.

A month later, a judge rejected Kesha’s amended countersuit against Dr. Luke, seeking freedom from her record contract for a third time, claiming that the singer didn’t give appropriate notice to void her songwriting contract. The judge further said Kesha couldn’t get out of her contract under the argument that Dr. Luke “breached the covenant of good faith and fair dealing” by allegedly abusing her. Adding onto the countersuit, Kesha noted that Dr. Luke’s contract with Sony was coming to an end, which would jeopardize her new music, but the judge dismissed the claim as “too speculative.”

“Vulture” reported that the judge seemingly implied that the singer should’ve known signing with Dr. Luke was risky: “With respect to the Prescription Agreement, signed in November 2008, Gottwald’s allegedly abusive behavior was foreseeable.” They denied Kesha’s attempt to use a California labor law to argue that her contract should have been terminated after seven years, since the suits were being battled in New York.

In April 2017, Dr. Luke left Kemosabe Records at Sony after six years, claiming he still maintained a “friendship” with Sony, according to “Vulture.” The real reasoning behind his exit is still unknown.

On July 6, 2017, Kesha released her first single since the lawsuit, “Praying,” via Kemosabe Records. She also announced her third album, “Rainbow,” would be released that summer. At the end of July 2017, Dr. Luke subpoenaed Lady Gaga in his defamation case over the alleged texts she sent to Kesha, accusing him of raping another artist. Gaga responded with a statement, saying, “Dr. Luke’s team is attempting to manipulate the truth and draw press attention to their case by exaggerating Lady Gaga‘s role and falsely accusing her of dodging reasonable requests.”

“Vulture” reported that Dr. Luke would likely profit from Kesha’s new album. “The New York Times” also reported that the producer would “pursue the equivalent producer royalties in court” from “Rainbow” instead of having Kesha uphold the clause in her contract that states the producer must produce at least six songs on any album she releases.

Towards the end of 2017, other artists began speaking out against Dr. Luke, with singer Pink saying she would never work with him again, according to “Variety.” The singer said, “I know that regardless of whether or not Dr. Luke did that, this is his karma and he earned it because he’s not a good person.”

I argue a major moment in Kesha’s legal battle with Dr. Luke came at the beginning of 2018 when she performed a live version of “Praying” at the Grammy Awards. The powerful performance was female-led, featuring singers such as Cyndi Lauper, Camila Cabello, and Andra Day, with the song symbolizing the singer’s struggles over the last few years with Dr. Luke and her label.

In May of 2018, “Vulture” reported that a New York appeals court had rejected Kesha’s amended claims, denying the singer a bid to be let out of her contract yet again. Dr. Luke also revealed he was seeking $50 million in damages.

Two years later, Kesha released her fourth album, “High Road,” without Dr. Luke’s involvement on the project. A week after its release, New York State Supreme Court Justice Jennifer G. Schechter ruled that Kesha’s comments to Lady Gaga about Katy Perry were false and defamatory. She also ruled that Dr. Luke wasn’t considered a public figure because he wasn’t a household name, thus lowering the standard his team had to meet to prove a defamation claim at trial, according to “Vulture.” It lowered the standard from “actual malice” required for claims by public figures to simple negligence.

At the time, Kesha’s legal team said they would appeal again. However, the judge wrote that the singer couldn’t appeal based on legal filings alone since they didn’t determine the truth of the alleged rape, “Vulture” reported. She wrote, “Kesha and Gottwald (Dr. Luke) have very different accounts about what happened on the night at issue. This court cannot decide, as a matter of law on papers and without any assessment of credibility, who should be believed.”

In March of 2020, Kesha filed an appeal of Judge Schechter’s ruling, seeking a reversal of the ruling on the grounds that her allegedly defamatory statements were “privileged” under New York law and “non-actionable” opinions.

Even though Dr. Luke’s reputation was tainted, it didn’t stop him from becoming successful again. In the same year, he achieved success under the name Tyson Trax for his work on Doja Cat’s “Say So,” which earned him his first Grammy Award nomination since 2014. He also won ASCAP’s pop songwriter of the year again.

Finally, Kesha and Dr. Luke settled nearly a decade of suits and countersuits in June of 2023. In a statement on Instagram, Kesha said, “…only God knows what happened that night.” She also stated that her and the producer agreed to “a resolution” of the case and to a statement from each of them. Dr. Luke stated he was “absolutely certain that nothing happened. I never drugged or assaulted her.”

Kesha stated, "I cannot recount everything that happened,” and that she wished "nothing but peace to all parties involved." Dr. Luke said he wished the singer well and wanted "to put this difficult matter behind me.”

Following their statements, Kesha released a new album that year titled “Gag Order,” which alluded to her legal struggles with Dr. Luke. After not performing well on the charts, “Vulture” reported Kemosabe Records dropped Kesha, making her an independent artist. Dr. Luke continues to work as a producer, and in 2021, he launched Amigo Records.

While most artists would be devastated by a decision like this, Kesha finally achieved the creative freedom she had wanted from the start. Last summer, she dropped “.”  as her first independent album and under her own label, Kesha Records. Since then, she has received an outpour of support and love for being one of the main pioneers of pop music during the late 2000s and throughout the 2010s, which was evident in projects she was recently involved with. Key examples of Kesha’s strong return to the industry have included her reimagined version of Charli xcx’s “Spring breakers,” and her surprise guest appearance during Halsey’s Australia show in February.

Even though Kesha eventually was freed from the creative restraints of her label, her legal battle is proof that when women speak out against injustice in the music industry, specifically involving men in powerful positions, it is challenged and undermined constantly. Meanwhile, men are not being challenged, nor are they held accountable, and it has proven to strip away a woman’s creative autonomy.

I use Kesha’s case as an example, as I believe it mirrors what Kim Petras is currently dealing with in many ways. As previously mentioned, Petras is in a recording contract with Amigo Records via Republic Records, so it’s not shocking to see that her creative control has seemingly fallen into the hands of an alleged abuser running the imprint.

This fact has started to concern many of Petras’ fans, with several creating social media accounts to support her as she fights to get her new music released on streaming platforms. As of now, Petras has only been able to release new singles via YouTube, along with their accompanying music videos.

In the music she’s released thus far, Petras does drop subtle hints about the struggle she’s currently in. On “Pop Sound,” a brilliant hyper-pop banger, she sings, “Made for the masses, made for the money / Made for the thrill, factory girl / It’s an illusion, it’s an oasis.” The singer alludes to enjoying fame and being viewed as a relatively well-known artist, while also being aware that fame comes with exploitation and objectification, hence why she views it as an illusion. These lyrics connect to the idea of being signed to a major label like Republic Records, as Petras hints that her label is using her for profit and expects her to make them money by cranking out successful hits.

Another song, “Mr. Producer” featuring B.C. Kingdom, sees the singer talk about signing with Dr. Luke’s label and how, at first, it felt glamorous: “Here comes the starlet / I tripped and fell right in your arms, I’m the one / I’m such a styler, I didn’t even have to audition.” She uses the chorus to show the lengths women in music are willing to go to be successful, even if it is degrading.

Petras hints that many people she’s worked with have allegedly made other singers have sex and take drugs with them to gain creative freedom over their work. Through this song, she calls out how disgusting and unfair it is for women to be successful in music, and how men in the industry seem to profit from the way they treat women without facing any consequences.

Petras’ new music is strong and self-actualized, not holding back when it comes to addressing major problems that are hurting women in music. It is still unknown when Petras will be able to release her new album, but it is blatant that women in music are continuing to be abused by the systems that were set up by men.

I was inspired to write this after hearing “Pop Sound” and its emotional weight, even if overshadowed by vibrant production and Petras’ signature for making loud music. After seeing discourse online about the apparent struggles Petras is dealing with within the music industry, I found it extremely frustrating to see this happen to a deserving musician, especially one who has transformed the pop genre.

I also began to see parallels between Petras’ and Kesha’s respective careers after conducting some research in my free time, and it signified to me that there needs to be a call to action of to help break this constant cycle of abuse within this industry. It’s 2026, and women are still being treated like this? Are we serious?

Without musicians like Kim Petras and Kesha, there would be less space for women to take up in pop, nor would there be an outlet to create songs that are more relatable to the female experience. I argue we wouldn’t have songs like “Juno” or “Tears” by Sabrina Carpenter, or songs like “Vroom Vroom” and “anthems” by Charli xcx if it weren’t for these two, along with countless other women, and that it’s time for the music industry to eliminate abusers and for labels to advocate for women’s autonomy.

In the meantime, it’s crucial to show up for artists who are being blocked from releasing their work properly, like Petras. Her fanbase has recently been urging listeners to actively stream her music on YouTube, and I suggest you do the same. The censorship Petras is experiencing is uncalled for, and it’s important to continue to vocalize this, especially in a time when it is happening to many other minority voices too.

You can stream all of Petras’ new music here.