Q&A: Rose Betts on Embracing Roots and Finding Her Voice with New Album ‘There Is No Ship’
Photo By Catie Lafoon
ROSE BETTS HAS BEEN MAKING WAVES AS A CAPTIVATING ARTIST known for her ethereal voice and poetic storytelling. After finding acclaim with her viral hit “Irish Eyes” and contributing to major projects like Zack Snyder’s Justice League, the UK-born, LA-based singer-songwriter is set to take her artistry to new heights with her sophomore album There Is No Ship. This highly-anticipated release, slated for March 7th, sees Rose delving deep into her roots and exploring the emotional impact of leaving her homeland, a theme woven throughout the album.
Her latest single, “Running,” encapsulates a sense of longing and self-reflection, capturing the spirit of change and finding balance in the midst of displacement. Collaborating with producers Sean Cook and Mark Siegel, Rose layers alt-pop tones with Celtic influences, creating a sonic world that feels deeply personal yet universally resonant.
In our interview, Rose Betts offers insight into the creative journey behind There Is No Ship, the inspiration she found from both the familiar landscapes of England and the new horizons in Los Angeles, and how she hopes her music inspires listeners to find strength in their own stories. From her retreat to a cabin in Crestline to the sold-out shows during her debut U.S. tour, Rose’s journey is as inspiring as the music she’s crafted along the way.
LUNA: There Is No Ship feels like a deeply personal project for you. Could you elaborate on the inspiration behind the album title and the themes it explores?
BETTS: The title comes from a line in Lord of The Rings, when Arwen has made the choice to stay in middle earth, she is forever bound to it and she says to her father “there is no ship that can bear me hence”. As a line I felt like it articulated deftly something I’d been trying to find in my songs for this project, about what England, and my roots mean to me.
LUNA: You’ve described this album as a 'love letter' to your roots and heritage. How did the experience of leaving your homeland influence the songwriting process and your emotional connection to these songs?
BETTS: Since moving to LA I’ve realised how bound I am to my roots, to England, my heritage, the land and the sky and soft colours of the county I grew up in. My body may travel from its shores but my heart will be rooted there forever. LA is utterly different in tone and resonance, and it woke up in me everything I’d taken for granted in my homeland and in my bones. I didn’t set out to write an album along those themes, they just emerged and once the songs were all together it felt like the unifying connection between them all.
LUNA: Your new single “Running” captures a sense of longing and reflection. Can you share more about the personal experiences or emotions that shaped this song, and what message you hope listeners take away from it?
BETTS: Honestly this song fell into my lap on a walk around Lake Gregory on a writing retreat I took myself on. The first line just appeared in my head and I chased it and the song unfolded. I must have been feeling slightly out of place, as if my feet and my soul were disjointed somehow. Some songs just come together easier! Not sure about what message I’d see people taking, but I hope the production makes them want to move or singalong or go for a walk.
LUNA: You retreated to a cabin in Crestline, California, to start writing for this album. How did that isolation and the natural surroundings inspire your creativity and shape the overall tone of the project?
BETTS: Driving out of LA was key for writing this project. I needed to be back where nature dominated the landscape, where the noise of that city and all it demands could die down and I could have enough space for songs to form. During my first trip the mists came in and in my high up cabin it felt like I was floating in the trees! So atmospheric and really very Celtic. Having Crestline on my doorstep for walks between songs or just the morning tea with the birds was a balm for my soul and allowed the songs to have their sitting moments when they figure themselves out.
LUNA: You’ve taken on co-production for There Is No Ship, in addition to writing the songs. How did stepping into this expanded role influence your approach to the music and the sound of the album?
BETTS: I always co-produce, it’s very important to me and besides, it’s so much fun. I definitely worked more on the songs with producers in the room for this album though. Before, for my first album White Orchids, me and the producer leaned heavily on my demo’s whereas this time I intentionally kept my demo’s sparse and live feeling to allow for more experimentation and play in the room. It felt right to allow for the musicality of the people I was working through to have space, Irish music happens so naturally, everyone in a room playing together. I wanted to try and capture something of that.
LUNA: Your music often blends a variety of tones and genres, from alt-pop to Celtic influences. How do you strike a balance between these diverse elements while maintaining a cohesive sound throughout your work?
BETTS: Glad it feels cohesive! I don’t over think my influences, they’re too abundant and also invisible in many ways. Starting out, what I wanted for this album was a mix of pop and Celtic, to take what I’d established in my songs and bring in Celtic colours, try and find something fresh to contribute musically. We did this by holding back with the traditional, trying to pair back the layers and find the core simplicity of the song, bringing in synths delicately here and there.
LUNA: “Irish Eyes” and your collaboration on Zack Snyder’s Justice League propelled you into a wider spotlight. How has your rapid rise on social media and in the film industry impacted your creative journey?
BETTS: Maybe it was a rapid rise, I guess a viral moment like Irish Eyes did draw lots of new fans to me, but I did feel like I’d been at the social media game for a fair bit when that song came along. Both those songs, Irish Eyes and Song to the Siren are Celtic in essentials and I think the success of those two moments was a bit part of me embracing that side to my sensibilities for the album.
LUNA: You recently wrapped up a U.S. tour with several sold-out shows. What has it been like performing these deeply personal songs live, and how has the audience reception influenced your connection to the music?
BETTS: The tour was incredible I’m still processing it to be honest. There aren’t words to describe the feeling of seeing a front row of young girls singing all the words to a song like Lions. It was hard not to cry during the performance! Touring has made me reconnect with songs all over again, some of the older ones that I didn’t know people knew but then they’d sing along, it’s hugely gratifying to know the work I’ve don’t in the lead up to my viral moments is being discovered and loved.
LUNA: You’ve collaborated with some notable producers like Sean Cook and Mark Siegel on “Running.” What was it like working with them, and how did they contribute to the sonic direction of this song and the album as a whole?
BETTS: Mark Siegel brought a wonderful experimental flair to that song, he was so down to figure out what its identity was and it took a long time to find that bass part and sound. Sean Cook was able to take our work and refine it, open it up and get even closer to what the song is. They’re both great producers, both extremely musical which is rare, and it was so great to have that quality imbued into the song.
LUNA: With There Is No Ship set to release next March, what are your hopes for how this album will resonate with your audience? Are there any particular stories or moments you’re excited to share with listeners?
BETTS: I really hope they find themselves in the songs, it’s always what I hope. It’s not a heartbreak album, it’s very independent and assertive and I’d love for those qualities to rub off on people. I hope millions of people find it and love themselves and their lives more after listening to it.
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