Upon release, it debuted at number three on the Billboard 200 and earned a Guinness World Record as the highest-ranked album by a K-pop female soloist on the chart.

It doesn't even have to be about a boyfriend, just any type of toxic relationship.Comprising 12 tracks, Rosie has been described to represent "a burst of honesty" from the singer, showcasing Rosé as a co-writer of the entire record.

[7] Explaining the album title, Rosé revealed that she had chosen Rosie, a nickname derived from her first name, Roseanne, which she allows "friends and family to call [her]", to express her desire for listeners to feel closer to her.

[8] She further shared that Rosie was conceived as a personal "little journal" after she found herself in a recording session in Los Angeles following the conclusion of Blackpink's Born Pink World Tour (2022–2023).

[9] A reflection of her personal experiences of a failed relationship, Rosie has been primarily characterised to be a "breakup album" that explores Rosé's feelings of heartache, loss, anger, and desire.

[10] Additionally, the album provides insight into her navigation of life as a "20-something woman" under heavy public scrutiny, showcasing a perspective into the complexities of youthful emotion.

Encouraged by positive feedback from her friends, Rosie was then developed across several weeks and months-long trips to the city, leading to a year of writing songs and meeting new producers while still feeling "confused and lost".

[11] The record begins with "the stripped-back" piano ballad "Number One Girl," setting a "contemplative tone" that introduces Rosé's raw and "emotional" vocal performance.

This reflective mood shifts in the second track, "3am," which blends acoustic elements with subtle 808s and trap beats, exploring lyrical themes of love and imperfection.

"Too Bad for Us" uses a "stripped-down" arrangement to emphasise intimate storytelling, while "Dance All Night" closes the album with a "chilled-out vibe," meditating on moving forward despite heartache.

[13] On 11 February 2024, in celebration of her 27th birthday, Rosé teased the release of her new solo music, previewing a snippet of her upcoming song "Vampirehollie" on her then newly opened Instagram broadcast channel.

[35] Additionally, she conducted radio interviews with Sirius XM,[25] iHeartRadio,[36] Elvis Duran and the Morning Show,[37] and On Air with Ryan Seacrest alongside its adjunct program American Top 40, which she guest-hosted.

[38][39] She also discussed the album's conception alongside her experiences as a solo artist in interviews with The New York Times and Apple Music 1's The Zane Lowe Show,[40][41] as well as on a magazine feature in Paper.

[61] On 9 December, TikTok launched the #rosie campaign to celebrate the album release, offering in-app experiences, a limited-time profile frame mission, and exclusive videos.

[81] Rosé later performed a six-song set, which included the tracks "Toxic Till the End", "3am", "Vampirehollie", "Two Years", "Drinks or Coffee", and "Apt.

[90] Meanwhile, Rolling Stone's Maura Johnston praised the album for its showcase of Rosé's solid songwriting, pop-savvy versatility, and her ability to package her disarming honesty into charming songs that allow for an "inviting listen".

[10] Thematically, Jason Liphsutz of Billboard commented the album to be a "thoughtfully considered portrait of relationship complications and personal complexities", remarking that the collection "impressively [split] the difference between intimacy and arena-ready pop".

[13] According to P. Claire Dodson, Sara Delgado, Donya Momenian, and Aiyana Ishmael from Teen Vogue, Rosie is a "cathartic album" that dives into Rosé's insecurities without fear.

[92] Stephanee Wang of Paper summarised the record as a "capital-P pop album with shades of intimate Swiftian storytelling and cathartic, soaring hooks [where Rosé] paints a narrative of a love gone wrong".

[6] In a mixed review, Christina Jaleru of the Associated Press wrote the album to be "an emotional rollercoaster easy to empathise with", describing it as "heartfelt, but slightly sleepy".

She also observed Rosé's solo material to be sonically different from that of her band, dubbing Rosie's tracks to be "that of a coffee-house dweller with a sideline in romantic drama", in contrast to Blackpink's high energy electro-pop output.

[93] South Korean music critic Kim Do-heon noted that while the album follows the popular "formula of recent female singer-songwriters such as Taylor Swift, Olivia Rodrigo, and Sabrina Carpenter," it lacks Rosé's unique identity.

[94] Mark Richardson of The Wall Street Journal similarly noted Rosé's vocal versatility in the album as it "settles into an accomplished survey of prominent pop styles", citing the musical influences of Rihanna, Taylor Swift, Billie Eilish, and SZA; however, he further commented that although there was no fault in the musical production, there was difficulty in perceiving Rosé's identity through the album.

[88] In agreement, Financial Times' Ludovic Hunter-Tilney conclusively stated: "These are decent songs, but their generic design detracts from the idea of presenting us with the real Rosé.