Rose Angeline and Dawn X
Introduction
Rose is a vocalist (also plays guitar and kazoo!) and the leader of the Rose Angeline band. I came to know her … maybe through Lily or maybe at a show, the details are vague, but what is important is that she and the band really left an impression when I went to her magic show (it was a music experience themed around magic) in was-it-casa-del-popolo. There was a bunny coming out of a black hat (of course), watermelons being birthed, line dancing, and playing card with QR codes directing the audience towards a petition against an anti-immigration bill were flying in the room. (I think it was bill C-12, but could be wrong) [i genuinely have bad memories, and i assure you this is an un-substances-influenced review]. Fair to say i was hooked and everyone who has not yet seen Rose is missing out. I brought a friend to the Medieval themed show, she enjoyed herself there and said: Rose has a really beautiful voice.
There was a Thelma and Louise inspired (feat. Robbery) show at petite Ours, a spring prom at petite campus, [insert one that i missed] and you are more or less up-to-date. In the past month Rose has been coming to Le Dépanneur Café every tuesdays at noon to do a set, and it is the second to last week when this interview took place. The five questions I put in front of Rose are on:
- the theatrical shows, wild themes, and what to follow – 1 min 45 s
- how does the quieter Le Dépanneur Café feel – 7 min 05 s
- Rose’s approach on arts and Advocacy – 11 min 05 s
- the elated fans – 15 min 45 s
- the deal with sea grass (kelp forest) – 22 min 05 s
Without further ado, you can find the audio below, and a full transcript right after the audio.
Audio Recording
Full Transcript
Preamble
– Rose, thank you so much for agreeing to do this. For context, you just finished a set at Café Depanneur (technically, Depanneur Cafe). That was really good.
– What’s the name of that song again? “will you go lassie go”?
– Oh, wild mountain Thyme.
It’s an old folk song.
– I loved that one, which we will talk about in due time.
Introduction
– So, would you like to introduce yourself or would you like me to introduce you? – I kind of would love you to introduce me and then maybe I’ll introduce myself too.
– Rose is the headliner of her band, Rose Angeline and the band. Your show is heavily influenced by the traditions of musical theatre, and it’s very theatrical and it’s very fun.
Like what I wrote in the script is, “imagine the joyfulness of ABBA, but with none of the staleness”, because there’s always something new going on. There’s always something exciting. Is that a fair description?
– That’s awesome.
I love that. I will take it. The joy of ABBA.
What did you say, the joy of ABBA? Was none of this down is?
– Because I do find ABBA to be a bit repetitive after you’re listening to listening to their whole, discography.
– Real takes here.
– Hot take. Anything you want to add?
–
My name is Rose. I have a song in my heart that keeps flowing. I have a band.
I’m grateful to be alive. (I) grew up on the west coast, now based in Montreal,
Question 1 – Musical Theater & Wild Themes
So, that’s jumped into it – that leads really well into the first question. It’s like, you know, about music, theatre, and how it never feels stale. A lot of shows that I go to – there is the genre – and we more or less know what to expect from their show, which is a good thing. But I think yours is slightly different. Obviously, we know what a Rose Angeline show is going to look like. However, like, there is a sense of intent and of curation. The way I think about it is that the genre of musical theatre kind of lends into this sense of creation, how every time there’s a new theme. But that would be me talking for you. What do you think? How do you how do you keep it so fresh every single time?
– It’s been such a treat to have you in the crowd, and it has been such a journey. I think every show has been this chance to push boundaries.
– Actually, let me break into it for people who don’t know. We had a spring prom. We had a spring prom show, we had a magic show, and we had like a mediaeval show. It’s very diverse and very exciting.
– Yes, we’ve done some crazy shows, and kind of every time we do a little bit more, it feels, like, we’ve been exploring these themes, and a lot of it starts with me lying in bed at midnight, and making myself laugh – How silly would it be if … ? – And then we do it.
And I’m really grateful that I have a band that is down to clown. That makes a huge difference.
And I feel like, it is also scary to put yourself out there. Were you at the show? I think you were; we did the car. Yeah, you helped with the door. We did like a road trip and a robbery. It was Thelma and Louise.
It was crazy. That one, I felt very like, oh my god, this feels so cringy.
We really committed to the bit. It was so fun. I think what helps me is that I have this crew that I play music with that are really down. And to me, that’s really helping crazy. Crazy for crazy. Because even if no one else understands what we’re doing, at least the people around me, we’re gonna have fun. And I’ve just found that, like, actually people really love to have an experience like that. So sometimes I’m like, oh my God, what are we going to do next? but the ideas keep flowing, and I think part of it is, like, listening for the voice in my mind that goes, “Oh, that’s too much. That’s crazy.” and then being like, hmm, I don’t have to listen to that voice, actually. Then I go with it, usually.
– How do these ideas come to you?
– Sometimes it really does start as a joke. Like someone in the band’s like, how silly would it be if? And then we all kind of laugh. And then we’re like, wait, why can’t we make this happen? So, sometimes it’s generated collaboratively and also sometimes I’ll have the initial idea. I can’t even remember how the mediaeval … Sometimes it’s just that I really want to wear a specific outfit.
And then I’m like, okay, well, I guess we have to do a whole theme around this. But luckily, I’m a real brainstormer. I love to brainstorm, and we’ll dream big, and then we’ll see what we can pull off.
– Has there any been an idea that you were like, oh my god, this is too wild. This is too crazy. We’re not doing that.
– I mean, definitely, the magic show, I was, like, for real? That one? That one ended up so well. It went so well, but definitely the week before I was telling everyone about my magic show and I had no magic tricks. Oh, do you do magic? I was like, no, actually, I don’t. have no idea. But again, like, I think that there’s also something mysterious about it where it’s like, if you do put your intention out there, you figure it out. And sometimes at its last minute, but, yeah, the magic show I was really nervous for until about the day before. And then, I was like, okay, I think we’re gonna be able to pull this off. It’ll be what it is.
– If you if you weren’t there, it went swimmingly. There was a rabbit, and it’s awesome. Okay, let’s move on to the next question.
Question 2 – Ambience change & Le Dépanneur Café
– For the past months, you’ve been coming to Depanneur Cafe cheque Mardi, which is a very different vibe than regular Rose Angeline shows. Usually Rose’s show is a whole ensemble, very curated with a theme. This one, obviously, allows a lot lighthearted, like a lot less. Anything you want to say?
– Yeah, I mean, honestly, I was so nervous. I’ve been nervous probably every week at Dep Cafe, but… – Whoa I cann’t tell.
– Well, I’ve gotten a bit more comfortable, but definitely the first time, I think, I’ve gotten used to playing with, like, 10 brilliant musicians.
And, I think I started to feel like, what am I? Like, I’m gonna feel so naked if it’s just me and my guitar. But I feel like it’s been really nice to also return to that simplicity and hear these songs just for what they are.
Yeah, it’s been awesome. Also, it’s a great environment to play around and experiment. And so that spirit, which is very present in our big shows: of experimentation and having fun, we’ve still brought in here, but it’s just been a totally different feel. Also, one of my favourite artists, Khalio Soul, She’s a soul artist based out of the UK. I listened to an interview with her once and she said that it’s really important to play in an empty bar.
– wait that’s brutal.
– It’s brutal. And everyone’s so lovely at Dep Cafe, but it also is a different vibe of like, people are kind of doing their own thing. exactly.
– I was, full disclosure, I was on my tablet.
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So it’s also, I think, character building and good to play and and be vulnerable.
– What I’ve noticed is during your shows, because of the curation we have rose engineering arc etc, which I don’t think we have time to get into. But, you do a lot less covers on your own show, but today you did two. Do you want to say anything about that? For example, like when you did the folks song Wild Mountain Thyme, I was singing along at my seat? Which is not an experience I usually get if I go to one of your headliner shows. What are your thoughts?
– Yeah, I think, for the most part, I do perform a lot of my own songs, but I think the Dep Cafe is a nice space to experiment, and obviously, there’s so much inspiration to be found in other people’s art. And it’s also really fun to kind of take these, you know, classic songs and then do our little spin on them. – So, if you want to see you roast to a cover song, to come to Dep Cafe, which I do not think this will be (live) in time before next Tuesday, but we will see. -
And I might still be at Dep Cafe in the fall too, so. -
More stuff to look out for. Any cuties?
We might cut this one out. We can cut this on out. – wait a second, what kind of interview is this. – Any cuties at dep cafe? -
So many. Oh, my God. Dangerous amount.
Question 3 – Art & Advocacy
The next one is a bit more serious. Lots of people are trying to do advocacies through their art. Basically, almost, like, most of my friends, who are doing music that I know, are trying to do with these advocacies through their art. Rose usually tries to incorporate some such elements, tie her shows into the scene of the day. This (question) is more like a free canvas for people who are more interested in this topic. – I’m so curious about this topic. – This is going to be a recurring theme of the series, feel free to take this into whichever direction. And then we can ask the next person to match it.
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Art and advocacy. I think art and advocacy is a really beautiful intersection, because I think a lot of times, in advocacy spaces, there’s a lot of serious energy, and often exhaustion, and, there’re so many issues right now to be fighting for, and, I think, Adrienne Maree Brown, who I really love, she wrote Pleasure Activism, and she asked this question and I can’t remember if it’s actually someone else that she quotes, but I know she references it a lot of, “how do we make the revolution irresistible?” And that is so inspiring to me.
– Pairing with irresistible music.
– That’s it!
Like, how can we get people moving and feeling good and feeling connected to each other? And then also be grounded in reality. And I think a lot of people feel isolated right now.
A lot of people feel disempowered and disconnected from what they can do. And I think there’s also a lot of, like, you need to be doing this, this, this, and this, and this, and this, and I try to make my shows a space where people feel, like, just in being who they are, that is already hugely powerful. And if we can create spaces where we feel connected to each other and build trust in our communities, we’re going to be able to take on other projects. So I do enjoy creating these spaces and I also want to let my shows be an entry point for someone who might not be super in the know about social issues and what they can do, and create a space where they can maybe become aware of perspectives that they hadn’t considered before. Again, not through this thing of, “you should have already known and get with it”, but rather like: okay, welcome, here’s some truth to sit with, and let’s have a beautiful night together. Then my hope is that there are reverberations from that show in people’s cells that give them the strength and the energy to, um, make change in their lives, because I think, If we’re gonna change the world, it’s going to be through our communities, and it’s gonna be through the places where we belong. And so, those are my initial thoughts. It’s an ongoing thread that has felt important to weave in, to my shows.
– the next person we are going to interview is Clare from Femcel, and as you can tell from the name, we’re going to pick the political thread right up.
All right, thank you so much for sharing. – You’re so welcome.
Question 4 The Process & The Band + Fan
All right, so next question this can be a soft ball, or it can be really hard depending on where we want to push it. All band music is a collaborative process. Obviously, there’s a Rose Angeline flavor, and at your shows, I feel it’s even more pronounced. Even though the headliner is Rose Angeline, it really should be known as, Rose Angeline and the band. – Yeah, truly. Rose Angeline and the bangeline. – Yes, exactly. That is one layer of it, the other layer is the fans. I would go out and live and say it’s like, if, like, more than 30% of the show is the fans, of your shows especially. For some other shows it’s like 15%, 10%. There’s an especially elevated audience participation, and most of your fans know many of your lyrics by heart. What is your philosophy? Were you intentionally cultivating this kind of engagement, or interaction, or is it something just just happened? What is your philosophy?
– I mean, it has been so wonderful. I think, in one sense, it has been the fan participation, and the crowd has been, like, exceeded all expectations, like, 100%. And amazes me and I feel so humbled by it. It is also something I do care a lot about. Like, I do think about creating spaces where people feel, like they belong and, where they can feel like they can take a deep breath, maybe for the 1st time that day and be themselves. So I love engaging the crowd. The line dance has been really fun for that. too. Like, I think, and you’re right, to bring it into the collaboration, like, you really feel it as musician, because you’re being so sensitive and vulnerable up there. And when people give you this warm energy back and there’s this, like, it is one of the most beautiful things to experience.
– And yet you seek out, like, you know, playing to an empty bar.
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I know, I know. It’s true. It true.
That part is, because also, I think that part’s important, because you don’t want to… I think it’s important for me to remember that even if no one was listening, for my heart, I need to sing. Like, so the empty bar is good for building that sense in me of like, even if I don’t have the immediate validation, how can I be at peace with what I’m doing on my own?
So that’s been the spiritual journey of Dep Cafe, but, the crowd is so fun and really special. And, it’s been amazing. It’s been amazing.
It’s been healing to see these beautiful people in the crowd and they totally influence the music, like, there’s so many lines in the songs that we can tell the crowd loves, so every time we just emphasize them more, you know, and like, give the people what they want.
– Is there a direction where you want to steer this ship, this ship being this interactive element of your show? Is your, like, do you want to consciously shift or alter any part of it? Or you are more like laid back and hear what people want to say.
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Hmm. I think I do want to keep exploring how we can… keep increasing the crowd engagement. – So even more engaged. -
Even more. I’m kind of curious about that because I think there’s also this… I’m really inspired by, um, Augusto Boal Theatre of the Oppressed. His whole philosophy, he called his audience spect-actors. And his whole thing was… Brecht was another theatre person who believed this: I don’t want you to sit back in your chair and just absorb everything.
I want you to be an exact, active, participants of … – isn’t that the quintennial theatrical experience, though, to sit back and… – It’s true. It’s true. I think it’s a big part of, it’s a norm in entertainment. It’s like, also, in a in a consumption driven world. It’s like, I just get to sit here and take. And also, I think we live in a very polite culture. – Oh, do we? – Well, hey. Maybe polite isn’t the right word. – Timid? No, not even. Scared and violent at the same time. – Yeah, I think that’s it. I think people are living with a lot of fear.
That means when, like, we, it’s scary to even look in people’s eyes these days, and it’s scary, which there’s nothing wrong with that. Like, yeah, me too, you know? But I think it also means that when we’re confronted with injustice, sometimes we just go silent.
And so the reflex of using our voice in public with each other, I think is something I’m curious about. So I love engaging the crowd because I like, I like gently encouraging people to to challenge that fearful experience and also, um, give, so it’s like a, there’s a reciprocity between the crowd and, and yeah, so I think you can expect more, even more and more, more theatre. More like um, more drama. More fun. Okay.
I have no idea what that’s going to look like, but those are those are the dreams. – Come to the next show to find out.
Question 5 Seagrass & Holdfast
– The last question. The origin of seagrass. Like, what’s your deal with sea grass? It’s a recurrent theme and what does it have to deal with the next album?
– Oh, wow. Thanks for asking these questions, Dawn. It’s really a pleasure to answer them. Seagrass. I’m obsessed with it. -
So safe to say we’re going to expect more seagrass in the coming album.
– So, I will tell you, I will let you in. So the next album is called or the next record.
It’s called Holdfast, which is the root structure of kelp, which is seagrass, essentially. I wish I had like my friend…
– we are starting a sea grass fan club.
– I really am.
There’s apparently these like old women in the UK who are doing like seagrass interpretive dance and I’m like, wait, where are these women? and like, who knows these women? Public called out.
Who knows these women and please connect me with them. So the story is, I was working up at this science research station called Salmon Coast Field Station in BC, on the north end of Vancouver Island, in the territory of the Musgamagw Dzawada. And we had a kelp research project where we were snorkelling through kelp to see if…
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Oh, because it’s hollow inside?
– Uh, that’s a good clarifying question. Through kelp forests. Like going through the
… Yeah, we were in the water.
We were snorkelling through it, and we were looking for juvenile salmon, because we were curious if they were sheltering in these Kelp forests. So that was the research project. And it was just beautiful, you know?
You’re like, 0 my god, this is amazing. And then I was talking with my friend, Kate. Shout out Kate.
And Kate was talking about, um, she just mentioned really flippantly that the root structure was called a hold fast. And I had heard that word because it means, like, to stay steady to your beliefs and like to hold on. I was like, oh, I love that.
Like, hold fast. And then she was sharing more about kelp forest too, and how she described them as a hotel, a nursery, a restaurant, in the ocean. Like, there’s so many species that pass through these forests and find, nutrients and rest, and that just all became so poetic to me, and it became this question of, like, How can we create these hubs for life to thrive?
Because the other beautiful part is that these, the roots allow these kelp for us to stay tethered amidst crazy storms. Like, and and that resonated because the world is in a crazy place. And so the question became kind of like a, yeah, my little question for the last few years has been like, how can I be grounded enough to become connected with the people around me?
And how can we create spaces of belonging and vitality wherever we are? And, yeah, so it just became this whole song. It became this whole thing.
We’re gonna shoot the cover today for this record, and the, um… Yeah, it’s the last couple tracks of the album, Holdfast, Part one and 2, and the album kind of tells a story leading to that place and leading to that discovery kind of.
But yeah, it’s a very personal song and I’m obsessed with the ocean and I’ve become obsessed with kelp and…
– We should have an ocean themed…
– Oh, you’re so right for that.
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I don’t have any outfits for that… I don’t have any outfit.
– We do need an ocean themed. That’s actually kind of crazy that it hasn’t happened yet. I’m upset. Oh, thank God, though. See, this is how the ideas come up. It’s like, we should do this.
And then it’s like a laugh and then like, wait, okay, who has a starfish costume?
– What’s that? like, cringy problem, like, scene, like, ocean under’s a floral floor?
I’m like, what was that again? Like, you know what? Never mind.
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Oh, it would be gorge. I love that idea. We could all become like dolphins.
The line dance could be like, oh,
– like finding Nemo. Oh, stop it.
– Who’s Nemo?
Who’s Nemo? Who is Nemo? It’s probably going to be like my saxophone player, and then he like disappears, and then we have to go find Nemo.
All right, I’ll let you brood on this idea here. That’s about all the time we have.