“Isn’t it lonely?” asks ROSÉ in her debut solo album, “rosie,” released on Dec. 6. The lyric from her second single, “number one girl,” hints at the weight of global fame—the constant scrutiny, the endless comments, the pressure of being simultaneously everything and nothing.
Certainly, as a member of Blackpink—a group that has achieved significant commercial success, winning over 100 awards—ROSÉ has and continues to navigate the complex structures of the K-pop industry.
The K-pop industry prizes physical perfection and embodies narrow beauty standards, assigning roles like “visual member” as marketing tools. As such, idols endure constant inspection, grueling schedules and rigid control, limiting self-expression.
Across the album’s tracks, however, ROSÉ peels away layers of her meticulously curated public image, daring to ask: Who is ROSÉ beyond the stage lights and millions of followers?
NUMBER ONE GIRL & STAY A LITTLE LONGER
Originally slated to be titled “number one girl,” the album underwent a shift when producer Bruno Mars—who worked with ROSÉ on tracks like “APT.” and “number one girl”—encouraged her to embrace something more personal.
Thus, the resulting title—drawn from her nickname—reflects the album’s central ethos. It’s a fitting choice for an album where vulnerable and personal moments shine brightest, particularly on “number one girl” and “stay a little longer.”
With minimal arrangements—soft piano, ambient flourishes—the two tracks feel like companions, bound by their shared themes of longing and impermanence.
Both tracks rely on ROSÉ’s vocal presence to carry their emotional weight and masterfully leave her raspy timbre exposed, heightening the sense of intimacy. Together, these tracks anchor “rosie” as an album that is not just of sound but of deeply felt stories.
APT.
Despite her introspection, however, ROSÉ’s debut is far from an exploration of solitude. ROSÉ’s lead single, “APT.,” featuring Bruno Mars, exudes an entirely different energy.
“APT.” draws inspiration from a Korean drinking game, where players chant “apateu” (아파트). Thus, the track trades the high-concept polish of K-pop for the raw exuberance of a house party, channeling the game’s infectious spirit.
Released in October, “APT.” has already carved out a niche as an anthem of spontaneity and fun, landing at the No. 1 spot of the Billboard Global 200 chart and earning ROSÉ and Mars the 2024 Mnet Asian Music Awards (MAMA) “Global Sensation” award.
The single thrives on its contrast, with ROSÉ’s signature raspy vocals perfectly harmonizing with Mars’ silky tones. Lyrically, “APT.” oscillates between flirtation and fun: here, ROSÉ appears freer, reveling in the wild energy and excitement of parties.
A MIXED BAG OF STYLES
In contrast, “toxic till the end” ventures into break-up anthem territory with cheeky lyrics like, “I can forgive you for a lot of things / For not giving me back my Tiffany rings.”
While the song produces a biting, sarcastic edge, the track ultimately falls short of its potential. The pre-chorus lacks a compelling melody, and while the chorus is undeniably catchy, it doesn’t allow ROSÉ’s vocals to shine.
It’s a good, angry song, but compared to the emotionally raw track like “stay a little longer,” it feels slightly underwhelming.
And such is the case for most of the remaining tracks on “rosie”—they lean heavily into synthpop, a stylistic choice that sometimes hinders ROSÉ’s vocal strengths. Tracks like “3 AM” and “two years” blur with repetitive melodies that fail to distinguish themselves.
While the production is polished, the songs often fail to capture the emotional resonance that makes her standout tracks so compelling.
However, there are bright spots among the lesser-known tracks. “drinks and coffee” stands out with its playful, freaky energy and danceable percussion, similar to the lively spirit of “APT.”
Despite its simple melody, the rhythmic complexity and quirky lyrics—“Gotta keep it nice / We cannot be naughty / We can get drinks / Or we could get coffee”—make it a memorable addition.
FINAL THOUGHTS
“rosie” is a debut that offers a tantalizing glimpse of ROSÉ’s potential as a solo artist. Standout tracks like “APT.” and “number one girl” reveal her capacity to channel both unguarded joy and vulnerability. Certainly, the album’s best moments are undeniably those that Bruno Mars contributed to, with his influence elevating the overall artistry.
Yet, the album’s unevenness—marked by a lack of melodic complexity and sonic variety—signals that ROSÉ is still refining her voice.
“rosie” is an album in transition, an artist caught between two worlds: the global phenomenon of K-pop and the more nuanced realm of solo artistry. With “rosie,” ROSÉ takes a tentative but significant step into unknown territory, one that hints at greater things to come.
As she moves forward, it’s impossible not to wonder how far she’ll push her sound and identity. In this early moment of her career, ROSÉ is beginning to bloom—not just as an artist but as a force in her own right.
