ROZET | 5 Minutes With

Artist ROZET‘s journey is as unique as their sound. Miami-raised Rose Booker-T (AKA ROZET) grew up amidst the cultural melting pot of America and absorbed Miami’s vibrant Afro-Electronic, hip-hop, and disco influences, which are noticeable in the music’s blend of cerebral synths, layered vocals, and driving basslines.

Their artistic development was shaped by a background in music, film, dance, and psychology, culminating in a style that merges performance art with deep societal reflections. ROZET’s recent singles, “Thinking A Lot” and “Feelings Aren’t Facts,” showcase this unique blend, tackling themes of self-obsession and pop culture with a hypnotic, danceable beat.

After years of honing their craft behind the scenes, editing music videos, and directing their own visual projects, ROZET has stepped into the spotlight. Their upcoming debut album promises to reflect their growth as a Black queer nonbinary artist navigating the complexities of both mainstream and indie music scenes.

With a tour coming up alongside TOKiMONSTA and Kitty Cash, and a slew of self-directed music videos on the horizon, ROZET is set to make a mark on the music scene. In our Noctis interview, we explore the exclusive conversation with ROZET about their influences, experiences, and the road ahead below.

Hey ROZET, thanks for speaking with us at Noctis. Let’s jump straight into it! How did growing up in Miami influence your artistic journey and the development of your immersive alias?

There are so many different cultures that gather in Miami — the music and art are constantly bending and fusing together. Miami’s dance scene has been a global hotspot, especially for Afro-Electronic, hip-hop, and disco sounds. It continues to be a hub for dance culture rooted in Black creativity. This influenced my sound when it comes to Afro percussion, fast-driving music, the sweet comfort of a hot plantain, and the calming waves. You’ll hear the cerebral elements in the music from soft synths and layered vocals, along with a deep sub-bass driving the four-to-the-floor dance beats. Additionally, the Ballroom community is finally being brought to the forefront in Miami and receiving the love it deserves. Miami is so vast — it isn’t just vacationing and chaos. The history of music and dance culture here is so beautiful.

Growing up studying music, film, dance and continuing education in psychology it was only natural that as I began to develop my own trajectory as an artist that these would all unite in an audiovisual format. This makes things exciting for me to not only just perform but stay connected to the purpose and effects performance has on society as a whole.

What prompted your move to Los Angeles, and how has the environmental change impacted your music and artistic vision?

I’ve been back and forth between LA and Miami for about nine years. Once I began my partnership with Young Art Records, I felt it was time to finally plant my roots there and be in proximity to my creative friends as well.

You mentioned finding freedom in performance art at a young age. Can you share more about your early experiences with music and performance?

My parents are teachers of music and actually met in a band when they were younger, so music and art were always in the household. I found an empowering essence in artists like Janet Jackson, Missy Elliott, and multifaceted artists like Janelle Monáe. From songwriting and music production to dance and filmmaking, these influences were pivotal. When I was a kid, our dad would take us to Blockbuster, and we got to pick out one movie or game. I gravitated towards the sci-fi and horror aisles, often choosing Blade, Aliens, or Janet Jackson’s live tours.

At the age of seven, I auditioned for a dance company but couldn’t afford the costumes or amenities, so I got a scholarship and became a gold medalist competitive dancer, travelling around the world to perform. In high school, I fell in love with music engineering and video editing. I was a theatre kid and later in life started writing and directing music videos for others and eventually my own. Having experience behind the scenes helped me find freedom in my performance art.

Your music is described as re-imagining a boundless genre of the future. How would you define your music style, and what are some of the key elements that make it unique?

I’d describe it as a third-eye tap with a firm press on the solar plexus. It has a cerebral sound with vocals and soft synths, yet always carries a harsh underlying message running alongside the sub-bassline. It is experimental with a pop structure overtone. Imagine a cunty yogi jumping into a mosh pit.

Looking back at your journey so far, what would you consider to be your most significant milestones or achievements in your music career?

Most significant milestones:

Winning the gold medal at the World Hip Hop Competition at eight years old.
Directing my first music video and short film right after high school.
Editing music videos and commercials for some of my favourite directors and artists.
Going on tour with sold-out venues.

Your new single “Thinking A Lot” has just dropped. What inspired this track, and what message or emotion do you hope listeners take away from it?

For the audio:

“Thinking A Lot” explores self-obsession and pop culture, mirroring society’s fixation on self despite global crises.It also encourages reflection on our shared humanity. & I decided to use a soft c*nty vampire-coded channel to communicate that. I grew up around ballroom and the vogue community which heavily inspired the vogue snare and driving bpm. But I hope people honestly just listen to it and make it their own look at yourself in the mirror and go the F off.

For the visual:

I wanted to feel the blood rush to my head using a form of inversion therapy symbolising pressure and relief via thought-provoking performance art.

Throughout history being suspended symbolised imprisonment and trauma. By embracing this position, I invite you to reflect on how personal struggles can influence our desire for self-initiated relief both literally and figuratively.

Your debut album HEAD is set to release later this year. What can people expect from this project, and how does it reflect your growth as an artist?

I’ve been in the industry since I was a kid and have the advantage of navigating the complexities and nuances of both the mainstream and indie worlds as a Black queer nonbinary multi-hyphenate artist. I’ve been able to apply that experience while coping with unfortunate encounters in this industry. I was stuck in a deal since I was 16 and only recently got to release my first song in 2020.

The HEAD EP is my first project after a long period of research and application. I couldn’t be more grateful to finally launch it and continue to unravel my mind and introduce the many layers of my spirit. I’m a hustler — I’ve been busting my ass trying to break through as an artist and have met with so much adversity, never having had the chance to fully blossom. I pray this is the moment. I know some of the greats know my name and are watching me. This time, I feel like I’m going all out.

What’s next for ROZET? Can you give us any hints about future projects or collaborations you’re excited about?

I’m going on TOUR with TOKiMONSTA and Kitty Cash in the fall! I am releasing some self-directed music videos, and the full project comes out right before the tour.