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Whitney Rose

Genre : Country

October 30

7pm Doors //

8pm Show


Advance Price: $8 / Day Of: $10

Before moving to Austin, Whitney Rose had never danced the two-step. Now,
the country-pop singer’s infatuation with Texas’ rich musical culture, from
stage to studio to dance floor, informs an enthralling new project, a love
letter to the Lone Star State. Her new EP, *South Texas Suite*, is a touch
nostalgic, deeply romantic and defiantly personal — it’s Texas, through
Whitney Rose’s eyes and ears.

*South Texas Suite* is a meticulous study of sound and place, but also a
product of unexpected circumstance. Last October, shortly after the release
of her album *Heartbreaker of the Year, *Rose packed up her boot collection
and headed south to play a two-month residency at Austin’s famed Americana
bastion, the Continental Club. But that November-December engagement went
so well, she wound up staying. Since then, she’s toured with Sam Outlaw,
made her European debut and signed with Thirty Tigers-distributed Six
Shooter Records.

Rose became smitten with Texas, and the warm welcome from Austin’s vibrant
musical community made her feel right at home. Songs started pouring out —

“Ever since I moved here I’ve been going out and watching live music, and
falling in love with musicians around town,” says Rose. “The music scene
here is unlike anything I’ve ever experienced before. So I have been
writing nonstop, I’ve written close to 40 new songs since I arrived.”

She recorded *South Texas Suite* over two days at Dale Watson’s
Ameripolitan Studios in North Austin, accompanied by Grammy winner Redd
Volkaert, Merle Haggard’s former guitarist; Earl Poole Ball, who spent two
decades tickling keyboards for Johnny Cash; Kevin Smith, now playing bass
in Willie Nelson’s Family Band; and Tom Lewis, who’s drummed with the
Mavericks, among others. All four play in Haybale!, the Continental Club’s
Sunday-night stalwart; Lewis also plays in Rose’s band, along with
guitarist Bryce Clark, steel player James Shelton and acoustic guitarist
Sophia Johnson. They’re also on the EP, along with fiddler Erik Hokkanen
and accordionist Michael Guerra.

The sensuous waltz of the opening song, “Three Minute Love Affair,” with
its Tex-Mex flavor provided by Guerra’s Flaco Jiménez-worthy accordion,
beautifully sets the tone for *South Texas Suite* “I love the dance
culture in Texas; I’m completely enamored,” says Rose. “That’s absolutely
what inspired ‘Three Minute Love Affair’ — as a song starts, the world kind
of stops and you’re like lovers for three minutes, and then it’s over and
you’re strangers again. But there’s this beautiful little moment in time.”

Of course, no self-respecting two-stepper would take to a dance-hall floor
without Rose’s favorite footwear; her heel-stomping honky-tonk ode to that
Texas wardrobe essential, “My Boots,” is also a feminist statement.

“I’ll go if I can wear my boots/I don’t feel like high heel shoes/And that
don’t mean that I’m crazy/That don’t mean I ain’t a lady,” she sings in her
sugary-smooth voice. She sounds even sweeter on “Lookin’ Back on
Luckenbach,” a wistful mid-tempo ballad about leaving a beloved place

Rose didn’t write “Analog” or “Bluebonnets for My Baby,” but the “sultry
country classicist,” as the *New York Times* called her, certainly
identifies with both songs. In “Analog,” by Brennan Leigh, Rose sings the
praises of lazy rivers and “that needle skipping on my old hi-fi,” as
opposed to the soul-sucking conveniences of modern, digital life. And in
“Bluebonnets for My Baby,” by Teri Joyce, Rose could almost be Shelley
Fabares singing “Johnny Angel” to one of her ’60s-flick leading men.

All sales are final. All performances are 21+ unless noted on the event page.

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