Baby Rose is not normal. Whether it’s her two solo albums — To Myself and Through and Through — or her latest project, Slow Burn with Badbadnotgood, the legend in the making can flex her pen as much as her unmistakable voice to transform parts of life into songs.

“Together, [Mereba and I] personified North Carolina into ‘Caroline’ and made an ode to her for being this loving grandmother, in a way. I know we were bad as f**k; we didn't really know how much we loved you, and we would talk s**t in an angsty way,” Baby Rose told REVOLT.

In this installment of “Studio Sessions,” the soulful siren talked working with Vince Staples on his upcoming album, how collaborating with Badbadnotgood influenced the way she makes music, and more. Read the exclusive chat below.

When did your connection with Badbadnotgood turn into an album?

We met in the springtime. I had brunch with my A&R, Eddie. I mentioned to him how great it would be to work with Badbadnotgood. Arthur Verocai was in town, and I mentioned wanting to meet him. We were just talking about dreams that could happen. But Eddie helped set it up. When I was meeting with them, it was really under the guise of just introducing myself.

I’ve been a fan of theirs for forever. I showed them some music I had been sitting on for my album or whatever, and they were impressed by it. They said, “We should just try something.” We made what became the project's last two records that night. We said, “Maybe we should do a whole project together.” I'm glad we did. We made many more songs than what’s on the project, too. We made about 15 songs.

They’re a full band, and you’re a solo artist. How did you blend your creative process with theirs?

Recording with them was the first time I've ever recorded on tape. That process was very different for me. It was very freeing from this idea of perfection and having everything together before you go and do it. We would go into the studio and catch a vibe together. We’d pick up an instrument, have a fresh slate, and feel the vibe of the moment. From there, I went through melodies in my mind. By the time they got their stuff down, I wanted to have enough to go in there and lay the record because I wanted to be on that type of energy. They’re fresh; I’m fresh... Let’s go and lay it.

I caught on pretty quickly. They would tell me, “You should go and do a scratch vocal.” I said, “No, I want to do the song.” It was like being a part of a body instead of being the head of something. I didn’t overthink things. That's why the songs are simple outside of “Slow Burn,” which I had the most time to write because their flight got delayed, and they had worked on that before. That one is more wordy. I never really had time to overthink it. I freestyled the second half of it. I was doing the melodies, then David said, “What if we did this by the days of the week?” That was enough to put me on a roll.

Compared to a process like creating your song “Go,” what was it like to collaborate with Mereba for “Caroline” from Slow Burn?

She came to the studio on the one day we worked together because she was getting ready to go out to Atlanta. We would all eat lunch together every day in the studio, set the table, and do family style or whatever. We talked about how she was born in Philly, and I was born in D.C., and we both moved to North Carolina for whatever reason. We shared that, but we actually met in Atlanta.

She was signed to Dreamville for a time. I've had two of my major breakthroughs happen via Dreamville, and I’ve never been signed to them. We both also live in Pasadena. Together, we personified North Carolina into “Caroline” and made an ode to her for being this loving grandmother, in a way. I know we were bad as f**k; we didn't really know how much we loved you, and we would talk s**t in an angsty way.

How long did it take you to make the full Slow Burn project?

It took about a week and a half. During a week in December, we made about 13 records, and then we had the two records we did the very first day we met. Mixing took about a week; shout out to Travis [Pavur]. He recorded and mixed the record. It was pretty seamless.

Beyond this project, what do you need in the studio to make your best music?

I need a stress-free zone. I don't need anybody in there thinking, “Oh, we need a hit song.” I need folks who are supposed to be in there creating a record. I need a notepad. Also, maybe some palo santo. Also, I need my water bottle. In this process, we did incorporate black coffee, which is new to me. We always had a pot of coffee going, and I think the smell of it was warm and cozy. I was constantly drinking black coffee, which is rare for me.

What memorable session have you had recently?

Oh, working with Vince Staples. He's so funny and awesome. He’s got a different work ethic that's out of this world. He’s been locked in on his album. I don't even know if I could speak to it yet because I don't know if he's announced it. But I'm about to be on his record.

What’s an unreleased song of yours you hope to put out one day?

I have called this song “God Suite.” I'm pretty sure when I go to heaven, they will be playing that s**t (laughs) when I come. It was the culmination of three records that happened to be in the same key, and all had this prayer sentiment. It’s one-to-two-minute parts of each of the records combined. It's very Pink Floyd Dark Side of the Moon-esque. It's like birth and death. It's for the aliens who need to know the human experience. It’s my six-minute opus. It is my most profound work.

Are there any lyrics from the track you’d be willing to share?

The verse goes: “You made my soul from scratch/ A beating heart attached/ An ever-flowing mind/ My body breathes in life/ Yet, the story goes/ I fight through highs and lows/ Feel weary, lost alone/ Trying to find where I belong.”

What do you have planned for the rest of 2024?

It’s filling up. I’m doing the Montreal Jazz Festival. I'm doing the Hollywood Bowl Jazz Festival. That will be my first time ever being at the Hollywood Bowl. I believe I'm going to be touring. I have the festival in London. I think I have a European tour that may be happening. It’s going to be a beautiful year.