A Bold Solo Debut from the Lead Vocalist of Sarah and the Safe Word
Sarah Rose, the alternative artist, lover of animals, and lead vocalist of Sarah and the Safe Word, has a solo project known as the Sarah Rose Project. She is releasing a self-titled album for that solo work on Friday, June 6th, 2025! We got a chance to review her album in advance of this release. How did Sarah’s album move us? Read on, and find out more!
“Send Flowers”: A Fantastic Opening Track
From the very outset of this album, it’s clear that Sarah pulls no punches whatsoever. “Send Flowers” is one of her strongest tracks, and it shows. The song is remarkably lively and works as a storytelling beat from the get-go. This not only nods back to SatSW’s album Welcome to Winterwood but also does so in a way that is somehow very not SatSW. I say so because it was quite refreshing as a track.
“Sparrow County Line (feat. Shayfer James)”: Smooth Sound
Sarah has gone on tour with the featured artist for “Sparrow County Line”, Shayfer James. I even interviewed them both following Shayfer’s tour leg in Rochester, NY, wherein I also heard this song performed live. It’s as good now as it was then, and that’s saying quite a lot. This song is nothing short of sexy, in the most respectful way I can say so in a professional capacity. There’s something to be said about the musicality. It feels like it could go remarkably well with a heavy burlesque act, and that makes this track one of my favorites for the album.
“Claws Out!”: An Anticipated Track With A Fun, Dizzying Feel
“Claws Out!”, the third track from this solo album, switches the tempo up to something frenetic and dizzyingly fun. This first single from the album is jazzy and swings very nicely. When Sarah inevitably performs this live, I fully expect the audience in the standing room to be swing-dancing in the pit. Make this so, Sarah Rose fans – it is your destiny now!
“Devil”: A Heavy Tone Returns On A White Horse
The following track, “Devil”, marks a tone shift to a heavier sound. There’s a bunch of Wild-West, Southerner influence to this track; I, for one, always happen to welcome that. However, I wonder if it isn’t a huge departure from the music we’ve come to expect from Sarah and the Safe Word in the past. Still, it makes for good, solid listening.
“Bar In Hell (feat. Ratwyfe and Taffeite)”: Ominous and Intriguing
“Bar in Hell (feat Ratwyfe and Taffeite)”, the next track, sounds in many ways like our intrepid vocalist is serenading someone at the very end of days. The featured artists on this track are doing a great job at furthering this with their verses as well. Furthermore, there’s something about the brass section, especially near the outro, that brings this particular track together wonderfully.
“No Money (feat. Jamee Cornelia)”: Relatable To A Fault
This brings us to the halfway point of the album with “No Money (feat. Jamee Cornelia)”. If ever there was a more relatable Sarah Rose Project single, or even one from the Safe Word, this has to be the one. And I may not have “that fame,” but I know that idea that there’s no money to speak of in my wallet, far too well. Frankly, it’s a damn good song and there’s something remarkable about how Sarah and Jamee Cornelia both make this track into something that society as a whole can jive with fully, down to Sarah’s commentary at the very end.
“Wicker Park”: Snazzy and Confident Tones
“Wicker Park” feels like one of those tracks that may be easier to miss amid the all-important singles and other outliers of the album. But, it’s just as important as any other track in here. It feels like a bit of an antithesis to “No Money”, but it’s a bookend closer to the midpoint of the album. There’s a high level of introspection to this track, and its jazziness can’t be overstated. Overall, a delight.
“God of the Woods”: Sinister, But With Much Whimsy
The eighth track, “God of the Woods”, sounds to me like a Bacchanalia of warm-blooded nature. Sarah is absolutely in her element with this track, in such a way that just feels right. There’s not a lot to say about how great this track is beyond “100%, no notes, excellent work.” I suppose my only complaint is that it, like so many of the other tracks on here, is too short for me to fully absorb at one listen. But that’s kind of the point, right? I find myself listening again and again.
“Five People In A Two Person Room”: Zany… But Perhaps Telling?
This next track feels like Sarah is saying something about the Safe Word, at least when the band was five members large. I could be totally wrong on that one, but I have a gut feeling. Ignoring that in favor of musicality, the drum solo is so cool. I love that part especially. It makes me want to twist and/or shout in the very best ways.
“I Don’t Want To Dance”: A Stark Departure
While I don’t want to be a bummer, “I Don’t Want To Dance” feels like the most wanting track of the album. It’s not bad, but in this author’s humble opinion, Sarah feels very out of her musical element here. Where is the romp that we got from “God of the Woods” or “Send Flowers”? To me, it isn’t skippable by any means, for none of these tracks are skippable, but this one just wasn’t for me.
“Paper Ships (feat. Park)”: A Fitting Ending
This final track, “Paper Ships (feat. Park)”, feels like an important eulogic piece. There is much introspection in this piece. While it departs from the overall feeling of the rest of the Sarah Rose Project album, it feels more reverent and sorrowful. The song is also a serious and bona fide rock song, with the instrumentation to match. There is nothing bad I could say about “Paper Ships”, except that, in its wake, the album leaves no more tracks. However, as short as it is (again, like all tracks in this album), Sarah has said everything that I reckon she’s needed to say.
In conclusion, the self-titled album from the Sarah Rose Project is truly fantastic. We have laughs, we cry, we reflect, and we revel, all in the span of a little over a half-hour. It’s great, and once you listen you’ll know what I mean.
Sarah Rose Project releases on Friday, June 6th. You can pre-save the album on Spotify soon!
