清新的吉他，優(yōu)美的鋼琴，婉轉(zhuǎn)柔和的聲線，這個來自西雅圖的美麗女人給民謠界帶來了不同以往的聲音。Rosie Thomas很早就確立了她精致的特點(diǎn)鮮明的曲風(fēng)，但直到她加入Velour 100樂隊(duì)之后才得以成名，Rosie Thomas在這支以Dream-Pop為主的樂隊(duì)擔(dān)任主唱，隨后她退出樂隊(duì)，開始了自己的民謠生涯。2002年的那張《When We Were Small》好評如潮，使人們一下便記住了這個聲音甜美的女孩，她的歌聲中總是隱隱透著些滄桑感，盡管曲風(fēng)清新但卻有股成熟女人的韻味在里面，真假聲的變換頻繁卻又不讓人覺得膩，反而成為她最具標(biāo)志性的嗓音特點(diǎn)。 Singer/songwriter Rosie Thomas has been shaping her sweet, delicate song stylings since her early childhood, but she made a name for herself when she joined Motor City dream pop band Velour 100. Thomas sang and toured with the band during the late '90s before jumping ship for a solo career. Mixing up the folk-pop of Joni Mitchell with indie sensibilities, Thomas found herself surrounded by a new scene. She and Damien Jurado dueted on "Wages of Sin" for Sub-Pop's 2001 compilation Badlands: A Tribute to Bruce Springsteen's Nebraska as well as guested on "Parking Lot" on Jurado's Ghost of David. Thomas, however, introduced something more reflective, humorous, and intriguing on her solo debut, When We Were Small (Sub-Pop), in early 2002. When she's not making music, Thomas' comedic alter ego, a bespectacled pizza delivery girl who she's named Sheila, may also appear. Her winning streak continued in late 2003 with the release of her second full-length release, Only with Laughter Can You Win. If Songs Could Be Held followed in 2005. Thomas' song "Faith's Silver Elephant" was included on a compilation disc put together by Toronto's Paper Bag Records the following year. 2006 was also the year that Pitchfork made the dubious claim that Thomas and fellow musician Sufjan Stevens were expecting a child. Thomas later dispelled the claim, citing that it had been meant as an April Fools joke.