At just 22, Australia’s own Elizabeth Rose is as audacious as they come. Making her headline debut in New York, she took to the stage at the Mercury Lounge, just down the road to the iconic Katz’s Deli. Unlike the mammoth pastrami sandwiches Katz’s is so famous for, Rose is a petite performer. Petite, however, is no description of her show.
Playing in front of a small but highly receptive crowd, Rose was a valiant performer. Working her way through songs from the EP, she had the crowd dancing in seconds. At just 2 EPs, it’s a testament to the young artist that she was able to hold the attention of a crowd largely unbeknownst to her music.
The triple hit of Sensibility, her cover of Rhythm of the Night and The Good Life, proved the strength of her back catalogue. The best part about watching her is it looks like she knows it too. She often moves away from her keyboard to face the crowd front-on and throws some dance moves Solange would be proud of.
While her stage demeanour is confident, off-stage Elizabeth Rose presents a different side. She’s softly-spoken and polite yet talks knowledgeably about modern RnB and the sound she’s channelling.
the interns sat down with Rose in a dodgy Mexican cafe in the Lower East Side just before her New York headline to chat Lady Gaga comparisons, YouTube comments and the impending album.
I saw that you were working with Sinden and TokiMonsta. How did those sessions go?
Elizabeth Rose: Yeah they went well. That was in LA last week. The session with TokiMonsta was really good. I met up with her last time. She recently did a remix for me for my single Sensibility. The session with Sinden went well as well. It’s still very early stages.
Is the album starting to take shape?
Yeah. I’ve written about 3/5 of it. I know what sound I want.
Are you finding its a different process from writing the two EPs?
Yeah definitely. It’s a lot more rushed, doing it all while the EPs still doing well. This time around I’m focussing on getting melody and chord progression down rather than worrying too much about details of production. It’s kind of helping- we get through the demos quicker. It’s hard because I usually do the instrumentation first- I do the whole song and then I do the bass-line and then I come back and write the melody and lyrics. But it’s been really refreshing to do it the other way.
Have you found after the good life did so well that you were surprised and thought, oh wow, now I have to get back to work?
Yeah it was really surprising. I was really shocked at how well received The Good Life was. Mostly from Triple J. They really supported it. It’s been great. Since that single everything’s just been gradually building.