Rewrite
A Plath girl with a Capitol/Polydor deal, 22-year-old Alessi Rose is making pop that stings.
The first thing you notice about rising pop star Alessi Rose – aside from her raven hair-framed doll face – is her presence: soft, but assured.
She writes lyrics the way she speaks: confessional, unfiltered, and strikingly relatable, with a melodic melancholy that lingers.
And when she sings them, there’s an uncanny angst in her voice – delivered like a knife disguised in soft butter. Raw, emotional, intimate – and at times, cutting. Really cutting.
From sex to exes, crumbling situationships to new crushes, her music reads like heartbreak poetry. She might just be the sonic love child of Olivia Rodrigo and Taylor Swift…
When we speak in July, she’s just come off a support slot with Dua Lipa across Europe and will open for Tate McRae across North America this autumn. From the release of her first single “ say ur mine” in 2023, she’s gone from sending demos to BBC Introducing from her bedroom – while bartending to fund college – to commanding stadium pre-sets for pop’s biggest shakers. It’s a trajectory that, rightly, has people watching (her own headline tour sold out in 10 minutes flat). But Alessi still acts like she’s no big deal.
Interviewing her feels a bit like reading a Sylvia Plath poem – a sort of love letter with teeth. Fitting, then, that she and Plath share a birthday. Plath is one of the many inspirations behind Alessi’s hazy, heart-on-sleeve, indie-pop sound, she tells me, as we sit in the thick of the London heat, drinks sweating on the table. She’s dressed in white, with a smoky eye, and Dior’s On Stage dark lip.
We’ve just come from her Wonderland shoot, a set buzzing with laughter and lightness (despite the early AM start). And yet, beneath the ease, there was no mistaking her sense of poise and control. Every shot was met with intent and consideration – a kind of deliberate self-curation unfolding in real time.
She tells me The Bell Jar shaped her teenage years – a book she returned to obsessively, drawn to Plath’s rawness around the female experience. That same exploration of femininity runs beneath Alessi’s discography, an undercurrent dripping with Coppola-esque, moody, delicate moments. Her music captures the subtleties of girlhood – the moments both big and barely there.
While many mainstream artists grew up in creative hubs like London or LA, Alessi’s backdrop was Derby – a hybrid of countryside and city, but not somewhere she felt especially free. “[In London] I was often around people who always knew they wanted to pursue music and told their parents early on. I didn’t have that clarity growing up. My parents reminded me – never in a harsh way – that music is tough, there’s little money in it, and many paths to get in. So for a long time, I saw music as a hobby, even though it was really all I did.”
“In my world, there was no real music scene in Derby,” she continues. “There was the odd busker, but nowhere to play live shows, and I didn’t know anyone who was pursuing music as a career.”
Not put off by the city’s lack of musical diversity, Alessi knew success wasn’t something that would be handed to her. There was no silver platter ready to whisk her away to London – if she truly wanted to pursue music, she had to put herself out there. “I started posting short clips on Instagram but blocked my entire year group because, growing up in a town that’s not very creative, trying felt almost cringe.”
Over time, she learned to embrace the discomfort, seeing it as part of the process. “Now, I’m okay with doing cringe things – it’s gotten me to where I am. Like Addison Rae said, ‘being tasteful is a privilege, and choice is a luxury.’”
She emerged, like many of her contemporaries, from the confines of her childhood bedroom toward the end of the COVID-19 lockdown. It was there she self-produced her early tracks, using an old MacBook and a cracked version of Logic Pro X, uploading DIY demos to BBC Introducing every week before being signed by Capitol/Polydor. Her first two EPs, which brought in millions of streams, “rumination as a ritual” (2024) and “for your validation” (2025), were curated from songs written almost entirely in that same bedroom. “I’d never worked with anyone else or been in a studio when I wrote those,” she tells me. That intimacy – the sense that you’re being let in on a secret – has never left her work. And while those early songs were shaped in solitude, they laid the groundwork for the emotional directness of “Voyeur”, her latest EP.
Left: Skin: Dior Capture Le Sérum; Dior Capture La Crème Jour. Face: Dior Forever Hydra Nude Foundation, Shade 1N; Dior Forever SkinPerfect, Shade 1N; Dior Backstage Rosy Glow Stick, Shade 015 Cherry. Lips: Rouge Dior On Stage, Shade 120 Iconic Rose. Eyes: Diorshow Overvolume Mascara, Shade 090 Overblack; Diorshow On Set Brow, Shade 00 Universal; Diorshow Stylo, Shade 781 Matte Brown
Right: Skin: Dior Capture Le Sérum; Dior Capture La Crème Jour. Face: Dior Forever Hydra Nude Foundation, Shade 1N; Dior Forever Skin Perfect, Shade 1N; DiorBackstage Rosy Glow Stick, Shade 103 Toffee; Dior Backstage Rosy Glow Stick, Shade 001 Pink. Lips: Rouge Dior On Stage, Shade 425 Wild Rosewood;Rouge Dior Contour, Shade 964 Ambitious. Eyes: Diorshow Overvolume Mascara, Shade 090 Overblack; Diorshow On Set Brow, Shade 00 Universal; Diorshow 5Couleurs, Shade 669 Soft Cashmere; Diorshow 5 Couleurs 743 Rose Tulle; Diorshow Stylo, Shade 091 Satin Black
Released July 24th, “Voyeur” combines Alessi’s confessional style with a sharper, more experimental alt-pop palette. Made with producers like Couros (Dora Jar, Saya Gray), Sam De Jong (Gracie Abrams, Lennon Stella), John Hill (Carly Rae Jepsen), and Sammy Witte (SZA, Halsey), the eight-track EP offers a sing-along stream-of-consciousness deep dive into her inner monologue – tender, chaotic, funny, and fully in control. Its third single, “Everything Anything,” is a highlight. A breezy alt-pop breakup anthem that splits the difference between self-aware oversharing and biting disbelief, the song recounts the absurdity of an ex moving onto her street. ‘Your silence is deafening, I thought you were everything, but you don’t want anything…’ she sings, in one of many endlessly quotable lines. Earlier singles “Same Mouth” and “That Could Be Me” round out a tracklist full of sticky melodies, sad-girl zingers, and cinematic self-doubt.
“I wrote “Voyeur” during my first time in LA – my first time in a foreign country completely alone,” she says. “I was in the studio every day, meeting new people. It was the most out of my comfort zone I’ve ever been.” But rather than holding her back, this disorientation became fuel. “I was actually making some of my best music. I had the confidence from my earlier EPs – I knew what I liked.”
Now, walking into sessions, she feels sure of her vision. “I could say, ‘I want a Juno synth,’ or ‘Let’s stack these harmonies,’ and trust it would work.” A far cry from the four walls where her earliest songs were written, the studio now feels instinctual. “I was able to command a bit more, and that’s still growing.”
“Voyeur”, she explains, feels like her most honest and instinctive work yet. “It has the uncomfortable lyrics and the weirdness that I’ve always wanted in my music,” she says with a grin. “I like the fact that you can see the progression between EPs – I didn’t come out fully formed.” As if the EPs are stories and journeys to go on by themselves. No chord, note, or melody in Alessi’s discography screams manufactured pop star. This transparency feels like a conscious choice. The title alone, she tells me, “was controversial for a lot of people, which I liked. Good art pisses people off. I’ve never wanted to make something and have everyone like it.”
She references Madonna as a driver behind that mindset. “I love Madonna – I feel like she was always down to piss people off. She had reasons behind it, and she was always so firm in her vision. I’ve always wanted to have that.”
That willingness to provoke, just like Madonna’s, doesn’t stem from ego, but from a deep-rooted belief in her artistic vision. “Someone said to me last year: ‘you never want people to receive your work indifferently.’ I’d rather someone hate it than not feel something.”
When I ask how that translates visually, she’s quick to elaborate. “With the visuals for ‘Voyeur’, I wanted to bring in elements of Roman Catholic imagery. My family’s half-Italian, so that influence has always been present – it feels very European, very instinctive to me.”
“There are so many ways worship and love intertwine – I draw on that a lot, especially the idea of confession,” she explains. “We shot the visuals in Italy, so we were surrounded by that atmosphere. There’s an inherent darkness in it all that I’ve always been drawn to – alongside the sick outfits and fashion, of course.”
She tells me that same “darkness” and “romance” inspire her while on stage. “I’ve always loved to perform,” she says. “My parents used to joke that I’d always do better at things when someone was watching.” There’s that sense of voyeurism. “Even at school sports day – I wasn’t the fastest runner, but the second someone started cheering, I’d pick up the pace. I get energy from that moment before walking on stage. Being up there with the band, with the audience, makes me feel more confident than I do offstage. When I’m insecure, stepping into that space reminds me I’m exactly where I’m supposed to be.”
That sense of readiness extends beyond the music. With Dior On Stage’s celebration of being in the spotlight, I ask whether she has a beauty ritual that helps her feel performance-ready. She lights up. “I love a good peel wipe,” she laughs. “My skin’s super sensitive – tour bus life doesn’t help – so I get breakouts, and peels actually work for me. Icing my face is a big one too, especially in the mornings. I don’t even know if it actually works, but it feels like it does, and that’s enough.” As for her signature stage look? “Blush and a smoky eye. That’s my thing.”
It’s a fitting look – deliberate yet unforced, much like her music. Everything about Alessi, from the smoky eye to the honest lyrics, feels like it’s been earned rather than designed. What lingers most from our conversation isn’t just her presence or poise, but the way she speaks so candidly about shame and softness. “I want to make things I thought were weaknesses into art,” she says. And she does – not by stashing them away, but by putting them under a spotlight, until they shimmer with something unignorable.
Pop has no shortage of ‘it’ girls, but Alessi Rose is climbing the ranks with a sound that makes it feel personal again. She might just be confessional pop’s most honest voice yet…
Photography by Rosaline Shahnavaz
Styling by Abigail Hazard
Words by Isabella Guarnieri
Hair by Chrissy Hutton
Make-up by Luz Giraldo using Dior Beauty
Nails by Jasmin SAMAVATI at One Represents using Dior Beauty
Photography Assistant Jem Rigby
Videography by Lauren Austin
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A Plath girl with a Capitol/Polydor deal, 22-year-old Alessi Rose is making pop that stings.
The first thing you notice about rising pop star Alessi Rose – aside from her raven hair-framed doll face – is her presence: soft, but assured.
She writes lyrics the way she speaks: confessional, unfiltered, and strikingly relatable, with a melodic melancholy that lingers.
And when she sings them, there’s an uncanny angst in her voice – delivered like a knife disguised in soft butter. Raw, emotional, intimate – and at times, cutting. Really cutting.
From sex to exes, crumbling situationships to new crushes, her music reads like heartbreak poetry. She might just be the sonic love child of Olivia Rodrigo and Taylor Swift…
When we speak in July, she’s just come off a support slot with Dua Lipa across Europe and will open for Tate McRae across North America this autumn. From the release of her first single “ say ur mine” in 2023, she’s gone from sending demos to BBC Introducing from her bedroom – while bartending to fund college – to commanding stadium pre-sets for pop’s biggest shakers. It’s a trajectory that, rightly, has people watching (her own headline tour sold out in 10 minutes flat). But Alessi still acts like she’s no big deal.
Interviewing her feels a bit like reading a Sylvia Plath poem – a sort of love letter with teeth. Fitting, then, that she and Plath share a birthday. Plath is one of the many inspirations behind Alessi’s hazy, heart-on-sleeve, indie-pop sound, she tells me, as we sit in the thick of the London heat, drinks sweating on the table. She’s dressed in white, with a smoky eye, and Dior’s On Stage dark lip.
We’ve just come from her Wonderland shoot, a set buzzing with laughter and lightness (despite the early AM start). And yet, beneath the ease, there was no mistaking her sense of poise and control. Every shot was met with intent and consideration – a kind of deliberate self-curation unfolding in real time.
She tells me The Bell Jar shaped her teenage years – a book she returned to obsessively, drawn to Plath’s rawness around the female experience. That same exploration of femininity runs beneath Alessi’s discography, an undercurrent dripping with Coppola-esque, moody, delicate moments. Her music captures the subtleties of girlhood – the moments both big and barely there.
While many mainstream artists grew up in creative hubs like London or LA, Alessi’s backdrop was Derby – a hybrid of countryside and city, but not somewhere she felt especially free. “[In London] I was often around people who always knew they wanted to pursue music and told their parents early on. I didn’t have that clarity growing up. My parents reminded me – never in a harsh way – that music is tough, there’s little money in it, and many paths to get in. So for a long time, I saw music as a hobby, even though it was really all I did.”
“In my world, there was no real music scene in Derby,” she continues. “There was the odd busker, but nowhere to play live shows, and I didn’t know anyone who was pursuing music as a career.”
Not put off by the city’s lack of musical diversity, Alessi knew success wasn’t something that would be handed to her. There was no silver platter ready to whisk her away to London – if she truly wanted to pursue music, she had to put herself out there. “I started posting short clips on Instagram but blocked my entire year group because, growing up in a town that’s not very creative, trying felt almost cringe.”
Over time, she learned to embrace the discomfort, seeing it as part of the process. “Now, I’m okay with doing cringe things – it’s gotten me to where I am. Like Addison Rae said, ‘being tasteful is a privilege, and choice is a luxury.’”
She emerged, like many of her contemporaries, from the confines of her childhood bedroom toward the end of the COVID-19 lockdown. It was there she self-produced her early tracks, using an old MacBook and a cracked version of Logic Pro X, uploading DIY demos to BBC Introducing every week before being signed by Capitol/Polydor. Her first two EPs, which brought in millions of streams, “rumination as a ritual” (2024) and “for your validation” (2025), were curated from songs written almost entirely in that same bedroom. “I’d never worked with anyone else or been in a studio when I wrote those,” she tells me. That intimacy – the sense that you’re being let in on a secret – has never left her work. And while those early songs were shaped in solitude, they laid the groundwork for the emotional directness of “Voyeur”, her latest EP.
Left: Skin: Dior Capture Le Sérum; Dior Capture La Crème Jour. Face: Dior Forever Hydra Nude Foundation, Shade 1N; Dior Forever SkinPerfect, Shade 1N; Dior Backstage Rosy Glow Stick, Shade 015 Cherry. Lips: Rouge Dior On Stage, Shade 120 Iconic Rose. Eyes: Diorshow Overvolume Mascara, Shade 090 Overblack; Diorshow On Set Brow, Shade 00 Universal; Diorshow Stylo, Shade 781 Matte Brown
Right: Skin: Dior Capture Le Sérum; Dior Capture La Crème Jour. Face: Dior Forever Hydra Nude Foundation, Shade 1N; Dior Forever Skin Perfect, Shade 1N; DiorBackstage Rosy Glow Stick, Shade 103 Toffee; Dior Backstage Rosy Glow Stick, Shade 001 Pink. Lips: Rouge Dior On Stage, Shade 425 Wild Rosewood;Rouge Dior Contour, Shade 964 Ambitious. Eyes: Diorshow Overvolume Mascara, Shade 090 Overblack; Diorshow On Set Brow, Shade 00 Universal; Diorshow 5Couleurs, Shade 669 Soft Cashmere; Diorshow 5 Couleurs 743 Rose Tulle; Diorshow Stylo, Shade 091 Satin Black
Released July 24th, “Voyeur” combines Alessi’s confessional style with a sharper, more experimental alt-pop palette. Made with producers like Couros (Dora Jar, Saya Gray), Sam De Jong (Gracie Abrams, Lennon Stella), John Hill (Carly Rae Jepsen), and Sammy Witte (SZA, Halsey), the eight-track EP offers a sing-along stream-of-consciousness deep dive into her inner monologue – tender, chaotic, funny, and fully in control. Its third single, “Everything Anything,” is a highlight. A breezy alt-pop breakup anthem that splits the difference between self-aware oversharing and biting disbelief, the song recounts the absurdity of an ex moving onto her street. ‘Your silence is deafening, I thought you were everything, but you don’t want anything…’ she sings, in one of many endlessly quotable lines. Earlier singles “Same Mouth” and “That Could Be Me” round out a tracklist full of sticky melodies, sad-girl zingers, and cinematic self-doubt.
“I wrote “Voyeur” during my first time in LA – my first time in a foreign country completely alone,” she says. “I was in the studio every day, meeting new people. It was the most out of my comfort zone I’ve ever been.” But rather than holding her back, this disorientation became fuel. “I was actually making some of my best music. I had the confidence from my earlier EPs – I knew what I liked.”
Now, walking into sessions, she feels sure of her vision. “I could say, ‘I want a Juno synth,’ or ‘Let’s stack these harmonies,’ and trust it would work.” A far cry from the four walls where her earliest songs were written, the studio now feels instinctual. “I was able to command a bit more, and that’s still growing.”
“Voyeur”, she explains, feels like her most honest and instinctive work yet. “It has the uncomfortable lyrics and the weirdness that I’ve always wanted in my music,” she says with a grin. “I like the fact that you can see the progression between EPs – I didn’t come out fully formed.” As if the EPs are stories and journeys to go on by themselves. No chord, note, or melody in Alessi’s discography screams manufactured pop star. This transparency feels like a conscious choice. The title alone, she tells me, “was controversial for a lot of people, which I liked. Good art pisses people off. I’ve never wanted to make something and have everyone like it.”
She references Madonna as a driver behind that mindset. “I love Madonna – I feel like she was always down to piss people off. She had reasons behind it, and she was always so firm in her vision. I’ve always wanted to have that.”
That willingness to provoke, just like Madonna’s, doesn’t stem from ego, but from a deep-rooted belief in her artistic vision. “Someone said to me last year: ‘you never want people to receive your work indifferently.’ I’d rather someone hate it than not feel something.”
When I ask how that translates visually, she’s quick to elaborate. “With the visuals for ‘Voyeur’, I wanted to bring in elements of Roman Catholic imagery. My family’s half-Italian, so that influence has always been present – it feels very European, very instinctive to me.”
“There are so many ways worship and love intertwine – I draw on that a lot, especially the idea of confession,” she explains. “We shot the visuals in Italy, so we were surrounded by that atmosphere. There’s an inherent darkness in it all that I’ve always been drawn to – alongside the sick outfits and fashion, of course.”
She tells me that same “darkness” and “romance” inspire her while on stage. “I’ve always loved to perform,” she says. “My parents used to joke that I’d always do better at things when someone was watching.” There’s that sense of voyeurism. “Even at school sports day – I wasn’t the fastest runner, but the second someone started cheering, I’d pick up the pace. I get energy from that moment before walking on stage. Being up there with the band, with the audience, makes me feel more confident than I do offstage. When I’m insecure, stepping into that space reminds me I’m exactly where I’m supposed to be.”
That sense of readiness extends beyond the music. With Dior On Stage’s celebration of being in the spotlight, I ask whether she has a beauty ritual that helps her feel performance-ready. She lights up. “I love a good peel wipe,” she laughs. “My skin’s super sensitive – tour bus life doesn’t help – so I get breakouts, and peels actually work for me. Icing my face is a big one too, especially in the mornings. I don’t even know if it actually works, but it feels like it does, and that’s enough.” As for her signature stage look? “Blush and a smoky eye. That’s my thing.”
It’s a fitting look – deliberate yet unforced, much like her music. Everything about Alessi, from the smoky eye to the honest lyrics, feels like it’s been earned rather than designed. What lingers most from our conversation isn’t just her presence or poise, but the way she speaks so candidly about shame and softness. “I want to make things I thought were weaknesses into art,” she says. And she does – not by stashing them away, but by putting them under a spotlight, until they shimmer with something unignorable.
Pop has no shortage of ‘it’ girls, but Alessi Rose is climbing the ranks with a sound that makes it feel personal again. She might just be confessional pop’s most honest voice yet…
Photography by Rosaline Shahnavaz
Styling by Abigail Hazard
Words by Isabella Guarnieri
Hair by Chrissy Hutton
Make-up by Luz Giraldo using Dior Beauty
Nails by Jasmin SAMAVATI at One Represents using Dior Beauty
Photography Assistant Jem Rigby
Videography by Lauren Austin
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
