“Westbrook sometimes nails a melody so sweetly it hardwires itself into your memory...”- Pete Best
Rosie Westbrook studied classical guitar and double bass at the Victorian College of the Arts, Melbourne, followed by post-graduate studies in double bass in Europe and America.
Since the mid 1980’s she has worked as a bassist with symphony orchestras; opera and music theatre productions; chamber music ensembles; as a session musician on many recording projects and with numerous contemporary artists.
In recent years this has included Mick Harvey (ex Nick Cave & the Bad Seeds); Sean Kelly (Models); Kim Deal (Pixies); Dave Graney & Clare Moore; Tim Rogers (You Am I); Mick Thomas (Weddings,Parties,Anything); Spencer P.Jones (Beasts of Bourbon).
Since 2006, Rosie has been touring the world as bassist with Mick Harvey in his solo band, as well as collaborating as an instrumentalist/composer with a number of European artists, including Thomas Wydler (drummer/percussionist with Nick Cave & the Bad Seeds); Amaury Cambuzat (Ulan Bator;Faust) and most recently,recording with Dieter Meier (Yello).
Rosie has released two solo CDs of her compositions: Wave in 2003 and Big As The Ocean in 2007. In recent years she has worked increasingly as a composer for film and television, including soundtracks for a number of documentary films profiling Australian artists: Reg Mombassa; Lindy Lee; Jon Cattapan and Del Kathryn Barton.
Rosie has also been performing a solo live set specifically composed for art installations and gallery openings – featuring electric guitar, double bass and whatever else she can get her hands on.
“Strewn with spidery guitars and smoking strings, Rosie Westbrook’s keening instrumental soundscapes can tease and scrape like the Dirty Three in an edgy mood and then mesmerise like the ocean itself. Rich in melody and delicately strung between exquisite beauty and nail-biting tension, Wave is like a sweet, slow-motion dream of falling.” – Michael Dwyer (Rolling Stone Magazine/The Age).
“…Delicate and majestic beyond words, Big As The Ocean is an instrumental invocation of unspeakable beauty and indefinable emotions.As the album undulates from the tinkling glass delicacy of Amoeba to the saxophone catharsis of Chant; from the surging and booming rock of Flow to the shimmering acoustic finger-picking of Lovesong No. 7, it rides nuances of emotion as light as a wisp of horsehair on the title track, and as ominous as the deep, serpentine atmosphere of Laguna…” Michael Dwyer (Rolling Stone Magazine/The Age).