Half Moon Maggie Rose

• 1 Used To It 03:50
• 2 Red Shoes 02:48
• 3 Weekend Lover 03:06
• 4 The Mission 03:16
• 5 The Other Woman 02:53
• 6 Half Moon 03:31
• 7 Everything’s Changed 03:52
• 8 Hiding In Plain Sight 04:03
• 9 Gentle Man 05:33
• 10 This Life 03:51
• Total Runtime 36:43

Info for Half Moon

The latest album from Maggie Rose, Half Moon reveals the rare magic of hard-won momentum meeting a creative spirit in peak bloom. After devoting more than a decade to deepening her craft and unlocking the full force of her extraordinary voice, the Nashville-based singer/songwriter experienced a rapid rise in recognition, including scoring back-to-back GRAMMY nominations for her 2024 LP No One Gets Out Alive and 2025 single “Poison In My Well” and earning an Emerging Act Of The Year nod from the Americana Music Association in 2025. Rather than succumbing to the pressure of heightened expectation, Rose immersed herself in the making of her new album with effusive abandon. With its lovely alchemy of soulful symphonic pop, R&B, and Americana, Half Moon arrives as a document of divine expansion and self-discovery—ultimately extending an invitation to embrace every facet of ourselves with grace, courage, and a wide-open heart.

Co-produced by Lawrence Rothman (Amanda Shires, Margo Price) and Daniel Tashian (Kacey Musgraves, Leon Bridges), Half Moon took shape through a charmed and fluid process that began with the three musicians meeting up every few weeks to write in Tashian’s home studio, taking advantage of his abundant stash of instruments (e.g., Mellotron, upright bass, a saloon-style piano). “We’d leave each session with these beautiful, fully conceived demos, and after a few songs it became apparent that something special was happening,” says Rose, who was eight months pregnant at the outset of the album’s creation. As they gave voice to the complexities of her inner life—her lived experience of womanhood, the sacredness of her closest bonds, the thrill and overwhelm of expecting her first child—the trio of collaborators surrendered to a shared journey Rothman sums up as “a year-long wild ride of writing, producing, crying, laughing, babies being born, and dreams coming to life.

Six months after the birth of her son Graham, Rose headed to the historic RCA Studio A in Nashville and recorded Half Moon with an elite lineup of over two dozen musicians, finding the album’s true cohesion through the kinetic energy of people gathering in a room and giving the songs their fullest life. Along with top-tier players like guitarist Tom Bukovac (Emmylou Harris, Stevie Nicks), bassist Dennis Crouch (Elvis Costello, Robert Plant & Alison Krauss), and keyboardist Peter Levin (The Highwomen, Jason Isbell & the 400 Unit), that lineup included Rose’s touring band: percussionist Tim Burkhead, bassist Judd Fuller, guitarist M.P. Gannon, and multi-instrumentalist Cav Mims. The follow-up to her 2025 EP Cocoon, Rose’s fifth studio LP marks a bold departure from the rootsy soul of No One Gets Out Alive—a Best Americana Album GRAMMY nominee featured on best-of-the-year lists from the likes of Rolling Stone. Thanks in part to its lavish string arrangements and velvety horns, Half Moon unfolds with both sophisticated ease and daring grandiosity—a direct reflection of her newly widened emotional world. “There’s a bigness to this music that was really exciting to explore,” says Rose, who names the orchestral pop of the Brill Building era among her touchstones for the album.

Partly recorded at Sound Emporium Studios, Half Moon takes its title from its soul-searching centerpiece, written just two days before Graham was born.

A gorgeous showcase for the vocal prowess that’s found her hailed as one of the finest singers in Nashville, Half Moon begins with the slow-burning grandeur of “Used To It”—a rapturous expression of longing and lust, spotlighting an artist in total command of her inimitable voice. “Even before most of the album was written, I knew I wanted ‘Used To It’ to be the first track," says Rose. “It felt like the start of a new thread for me; there’s something elegant and elevated in its structure, but it’s got some teeth as well. From a sonic standpoint, I wanted it to open the record because it feels like an unwrapping: there’s a smoldering, simmering build-up to a bombastic ending, pulling the listener into the album’s journey.” Next, on the wildly fun “Red Shoes,” Rose’s vocals take on a joyful ferocity as she delivers a dance-ready anthem of unapologetic pleasure. “It’s a song about forgetting your responsibilities and everything happening in the world and just going out and having a good time, which I think we all deserve,” she says. And on “The Mission,” Rose strikes a winning balance of assured sensuality and playful flirtation—a dynamic echoed in the groove-driven track’s glossy guitar tones, effervescent strings, and vibrant hand percussion. “There’s a confidence to ‘The Mission’ that feels really good to me,” says Rose. “At the core it’s a love song, but it’s also about owning your sexuality and however that manifests for you.” While Half Moon’s A-side radiates a lighthearted vitality, its B-side brings nuanced introspection and tender emotionality to tracks like “Gentle Man”—an acoustic-guitar-led meditation on the trappings of masculinity. The album’s latter half also includes “Hiding In Plain Sight,” a wistful piece of self-reflection penned with country luminary Natalie Hemby (one of her few co-writers on the LP apart from Rothman and Tashian). For Rose, the album intimately chronicles a season of profound personal transformation—a period in time she refers to as “this amazing moment of expecting and then giving birth, and re-emerging with a completely new part of my identity.” In sharing Half Moon with the world, she hopes to provide listeners with a similar sense of refuge and release. “We’re in an extremely vulnerable time, so I hope this record gives people space to feel whatever they need to feel,” says Rose. “I hope it helps everyone to be more gentle with themselves and give themselves grace—and reminds them that, just like the moon, we don’t need to shine full and bright all of the time to do what we’re meant to do. Like the moon, the whole of us is always there but just revealed differently depending on the light.”

Maggie Rose

Maggie Rose
When it comes to music, Maggie Rose doesn't let other things define her — not prevailing trends, not marketing labels, not even her own past.Maggie Rose defines herself. A woman of exceptional versatility and variety, the Nashville-based artist draws from the many musical genres at play in the city — a love of storytelling and substantive lyrics learned from country music, an affinity for finely crafted pop production, R&B's commitment to an irresistible groove. Familiar elements all, but Maggie Rose combines them in a singular way. It's always honest, always her. Maggie Rose's new tracks "Just Getting By" and "Pull You Through" show a powerhouse singer in complete command not only of her live-in-the-studio recording sessions but also of her creative and prolific career. Recording in Nashville with an 11-piece band, Maggie's making the most exciting music of her life as she taps into a soulful country side in the vein of Linda Ronstadt and Adele. Maggie envisioned a unique level of rawness for these sessions, an approach to recording she had never taken before. Rather than building the tracks through overdubs, she wanted all the players -- the rhythm section, the guitarists, the vocalists -- in one place together, taking cues from each other and responding in the moment. Her band consists not of the city's studio talent but of members of The Morrison Brothers Band and Them Vibes, as well as friends from Nashville's music scene who are plenty talented in their own right and have played with Kelly Clarkson, Brothers Osborne, Steven Tyler and others. The sound springs from the shared experiences of a community. Maggie's entire career has prepared her for this moment. She's just now reaching a point where she can fully express the music she always has held inside herself. "I have a level of confidence now that's allowing me to make my music the way I want," she says. "I have been waiting to seize this opportunity and I didn't even know it." "Just Getting By" and "Pull You Through" encompass the lifetime of a relationship. "Just Getting By," which Maggie — a newlywed — wrote in the wake an argument with her husband, shows a couple wrestling to establish a unified identity. "It's not simply about the feeling of falling head over heels in love or of being in an argument, it's about profound commitment to one another," Maggie says. "It's about having hope and believing in yourselves. It's kind of romantic that we're in hustle mode as much as we are. I feel like I'll look back on this time of my life, and it will seem dreamy to me." Maggie wrote "Pull You Through", a soulful ballad, while she was engaged, imagining years into her future -- and the implication of the phrase “’til death do us part." "You grow up your whole life knowing that's part of the wedding ceremony, but to hear it and realize its gravity is overwhelming," she says. Shortly after she wrote the song, Maggie's grandparents, married for 66 years, died seven weeks apart. "Suddenly, these people who had been together for decades were gone," she says. "In retrospect, their passing made the song mean that much more to me, as I understand more about what committing your life to someone looks like." The new tracks come just months after Maggie's acclaimed 'Dreams > Dollars' EP. In 2016, CMT named Maggie one of its Next Women of Country, and this year she has toured with Martina McBride and opened dates on Tim McGraw and Faith Hill's Soul2Soul tour. Taken with recent releases 'Dreams > Dollars' and 'The Variety Show Vol. 1,' "Just Getting By" and "Pull You Through" reveal a singer crafting a sound as varied and nuanced as her musical interests. "It's nice to be able to feed my creative spirit as often as I want and not be a one-dimensional artist," she says.

This album contains no booklet.