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Photo by Ford Fairchild.
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Seasoned with in-the-moment soul and featuring a sampler of difficult subjects, it moves the needle on her long artistic evolution, and doesn’t shy away from the facts. Because in Rose’s eyes, it’s about time the American family addressed its issues.
Hot takes on a growing cultural divide, inequality, the predatory aspects of social media and more are served, as Rose orders up the creative gumption to say and sound how she wants. But if that recipe sounds less than appealing, have no fear. The overall dish is much tastier than it looks. Rose made sure the secret ingredient was understanding.
“These were all songs written during what I think we can agree was a really politically contentious time,” she admits. “It made me feel like an exposed nerve, like there is a lot of talking and not a lot of communication. A lot of hateful rhetoric and not a lot of listening. So, the overwhelming theme is just giving people space to be who they are.”
Recorded at FAME Studios in Muscle Shoals, Alabama, the 11-song set isn’t just about calling America out. It’s also Rose calling herself up. Produced by Alabama Shakes’ Ben Tanner and featuring a who’s who of soulful co- stars—from Swampers session legend David Hood to Shakes front woman Brittany Howard, and guitar maverick Marcus King – it’s the culmination of 13 years of change, as Rose has morphed from mainstream-country prospect into straight-up soul diva. And according to her, she’s never been happier.
Long hailed as a vocal powerhouse, her reputation holds true on Have a Seat. But Rose also combines a buzzy blast of timeless R&B with a modern, urban-roots edge. And she says this newfound sonic comfort was the catalyst for the “conversation” that follows. Not preaching. Not arguing. Just conversation. “I love that it opens with a question,” she says, describing the first, titular lines of “What Are We Fighting For.” (Spoiler alert: Nobody knows anymore.)
“I don’t ever want to be the person who’s acting like I have all the answers, because that is just not the case,” she explains. “But I think we got all wound up into a frenzy, tuning into socials and news almost insatiably to figure out what the new drama was. We were keyed up, and I think it became a little foggy as to what the root of the problem even was.”
With a grooving backbeat, belting horns and a sense of timeless tranquility – even through the album’s more urgent sections – Rose gets a little closer to that root in each song. Personal themes like searching for your ideal self define tracks like “The Best Me,” while she blasts the distractions that keep us feeling empty in “Help Myself.” Things like a hyper-connected comparison culture, WebMD, and inspirational self-help memes, for a couple of examples. Others like “For Your Consideration” recoil against tying self-worth to outside acknowledgment – e.g., awards show nominations. “Are We There Yet” floats towards a dreamscape utopia, but never quite arrives.
And with “Saint,” she tells listeners to give themselves a break. “We’re all screwed up” anyway, the indie maven reminds. But she finishes off with a gentle provocation, almost double-daring listeners to quit complaining in “You’ve Got Today.” “I know I’m speaking for myself / But I’m talking to you,” she admonishes, wagging a metaphorical finger as if to say, “This conversation is not over.” “I think sonically, it wraps up really well with that little meditative spot at the end, and it’s also a bit of a challenge,” Rose allows. “It’s like ‘You have today, who will have tomorrow? Who will you make room for that you’re not making room for today?’”
Clearly, those themes are well suited to the moment. But interestingly enough, Have a Seat was written and recorded well before the events of 2020 unfolded. When COVID-19 first arrived, Rose was devastated by making the call to put her album on hold. But as the year went on, time gave each one more meaning – and unfortunately, more relevance. And now, the moment seems right for healing.
“There was a period where I was too sad to even listen to this work,” she admits. “But eventually I started listening again and realized that ... being patient was going to pay off, because it’s [now] celebratory. It’s about communicating and gathering back together at this table.”
Indeed. These tracks feature a direct-is-best approach to facing social hot buttons that some might rather ignore. But Rose knows from experience that confronting change can be a good thing. After 13 years of tiptoeing around her own evolving sound, she’s now found a new home of sorts. And just like with her real home, the dinner table is open to all ... just don’t arrive expecting to avoid the discussion.
“I’ve set the table,” she says. “Come join me.”