B-Side Guys

Money changes everything, except human loneliness. Irish singer-songwriter Stephen McCorry tackles this paradox in “Rosie,” a stripped-down soul ballad that turns the familiar story of a dancer and customer into a nuanced exploration of authenticity and need.

Drawing from the warm, piano-driven traditions of 1970s R&B, McCorry crafts an acoustic arrangement that serves both the intimacy and the theatrical nature of his narrative. The choice of retro soul as vehicle proves particularly effective, as the genre has long specialized in finding emotional truth within performance.

The lyrics navigate difficult territory with surprising grace. Rather than settling for simple exploitation or redemption narratives, McCorry’s protagonist wrestles with his own reliability as narrator: “Well, do I move you to move / Or is it all for show?” This questioning extends beyond the immediate situation to broader themes of genuine connection in commodified spaces.

The song’s structure mirrors its emotional trajectory, building from tentative questions to moments of apparent breakthrough (“I can see those hearts in your eyes”) before collapsing into acknowledgment of emptiness. The repeating refrain “I guess I’m empty now” gains weight with each iteration, suggesting the toll of maintaining illusion for both parties.

As a preview of his upcoming debut album ‘Gliding Amongst The Crows’, “Rosie” demonstrates McCorry’s ability to find fresh angles on well-worn themes. By focusing on the ambiguity of the situation rather than its obvious power dynamics, he creates something more honest than either condemnation or romanticization could achieve.