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Jasmine Rose Wilson does not take things lightly. On her third album, Baby Rose, the US singer uses her fraying contralto to describe the highs and lows of relationships as if they were falling apart. On the slow-moving The Reason, Rose is well aware that she’s “gone to the end”, while on Koma’s R&B classic, Nvm, she tries her best to make things right on the run. “Waiting on the train,” he sings, “to take me somewhere you won’t say my name.”
Such cinematic endeavors were no accident: Rose contributed music, and appeared briefly in the 2025 romantic drama The Materialists. On the melodious soft rock Better, which echoes the lightness of Olivia Dean’s latest album and would kill for a Bridget Jones song, Rose paints a familiar picture of the kitchen she won. Sunday, meanwhile, begins as a haunting, Nina-Simone-esque ballad before the string section and the guitar turn the musical vignette into an epic.
In all 12 of his songs, it’s Rose’s voice that remains the star. He elevates the smoothness of guest Leon Thomas on Lovelorn Friends Again and introduces When I’m Gone, rapping: “You ain’t got no motherfuckin’ answers / You’re a cancer,” over a steady guitar. Even if the music goes down a retro-soul cul-de-sac – All My Love is nicebut nothing else – they can still speak of real pain. By choosing to hear it all and revel in the drama, Rose pushes the numbness head on.
