A Natural Birth Reawakens My Music

Your voice is not just for sounding “good.” Sometimes it’s how you survive a hard moment, how you move energy, and how you remember who you are. Osha Rose shares a raw turning point from giving birth to her daughter, when deep moaning and vibration didn’t just help her cope, it literally changed what she felt in her body. That experience flips a switch: her voice stops being a performance tool and starts becoming medicine, regulation, and truth.

From there, Osha rewinds to the roots of her musical journey, from childhood classroom songs that still live in her bones to the moment music began to feel like something she had to earn. She talks about West Side Story, stepping into a support role, and how easy it is to build an identity around being “the one behind the scenes.” Osha also opens up about relationships, including a long partnership with a musician, where she used her event planning skills to help a band thrive while quietly doubting her own right to create.

Then everything opens again through vocal embodiment training with Laura Rose and songwriting guidance that blends soul, structure, and real craft. Osha shares how songs started coming through in motherhood, how “Stripped” evolved from emptiness into something truer, and how an EP intended as dance yoga music turned into lyrical tracks like “Breakdown,” “Reflections,” and “Rise Again,” complete with DIY music videos. If you’re searching for vocal embodiment, songwriting process, authentic self-expression, or creativity after motherhood, this is a reminder that curiosity is a compass.

If this resonates, subscribe, share the episode with a friend who needs their voice back, and leave a review so more people can find the show.

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Transcript

Labor Sounds And Pain Relief

Osha Rose 0:00

Now after the experience I had giving birth to my daughter where the sounds that were coming out of me literally nullified the pain, what what could have been perceived as pain of contractions actually nullified that sensation. Like I like she, I was, you know, laboring with my arms draped around my sister's neck or my doula's neck and just moving my hips kind of in a figure eight and moaning. It was like this gut guttural, like oh like just deep moaning sounds that that vibration was what my body needed to open up to because basically, as we're feeling these contractions or waves, whatever you want to call it, it's your body like squeezing that child out. And if your body can do that, if your you know, hips have opened, like there's just certain things that I was grateful had had happened for me, but I didn't take any any medication. I I actually got scared reading some of the books about what they recommend you take, and that felt more painful to me than actually just seeing what natural birth could do. I read a lot of Ina May's books about um natural childbirths at her location down south and empowered myself. But so once I had that experience of my voice being like medicine or healing, it started to shift for me. Welcome to the Super Bloom podcast. This is Osha Rose, and today is a special episode where I'm going to share a little bit about my musical journey. So I always loved music as a child. I can remember Mr. Dunn's class. I was in Fuller School in Gloucester, Mass, and it was probably third or fourth grade. And we used to have recorders. Like they kind of look like a flute, but they're plastic. And we'd do songs like, Do you or I or anyone know where oats beets peas and barley grow? Or like, I don't know, I just remember these songs. I can even remember another song from fifth grade, and it was Mrs. Boothroyd's class, and it was the golden rule. And I just taught this to my daughter this year, and she reminds me of it when we're not sharing or doing something that we would want for somebody else. And it's it goes like this is the golden rule for you. Treat other people kind and true. Do to them the things that you would want them to do to you. You'll be happy if you do. Like that is still in me from age

Childhood Music And Early Wonder

Osha Rose 2:50

nine. And at some point, though, music became something I had to learn or like try to be better at as a kid. It's just, and I watch this with my daughter now. It's like she's so curious. She has questions about everything. I've joked with other parents about how I've learned about worms and how they're, you know, older than dinosaurs. And then, you know, that question led to what happened to dinosaurs. And then I learned there was an asteroid that hit 60 million years ago in Yucatan, Mexico. Like we're just naturally curious as a child. And at some point, I don't know exactly when it happened for me. That got conditioned out of me. And I started thinking I had to go take lessons or just it was outside of me, this music. You know, thinking back, it might have been that point where I really wanted to be in the West Side story in middle school. And I was practicing the part for Maria. I like the city of San Juan. And then somebody else would be like, I know a boat you can get on. Bye-bye. Plenty of flowers in full bloom, plenty of people in each room. I like the city. It was just this awesome time where I just loved singing and dancing and performing and just like putting on a show. But that year, this guy, Tony Gentile, he was the director, and he said, You're not an eighth grader, so you're a sixth grader, so you won't get a lead part, but you have a great voice. Like it would be great to have you on the show. However, I could also use an assistant director, and I think that you'd be really good at that. And I remember how excited I was to take on that role and just be at every rehearsal and learn about how the scenes needed to be run and the backups and the blocking on the stage and stage left. And like I just I loved learning all of that. I remember. But maybe that was kind of the shift where I thought, oh, I'm just gonna be the back, the back end, or like the support of the talent. But fast forward

West Side Story And Stepping Back

Osha Rose 5:00

to my early 20s, I had met this musician. I was 24, he was 22, but I had just come out of this five-year relationship with a man who was much older than me. He was, I was 19 and he was 32 when we met. But we were together for five years. And that relationship, I met him working at a corporation we both worked for. He taught me about the body in the sense of marathon running. Like he was in a marathon running group and taught me like it's it's 50% mental or no, 90% mental and 10% physical in order to do these things. So I was I was learning how to be in my body, but it was not a musical, artistic relationship. Um, I was kind of living this life of a 30-year-old as an early 20-something. So then when I met this musician at 24, I was just so excited for him and I loved everything he was doing. And I ended up getting work that was event planner work, and so I could use all of those skills to help his band, you know, book tours and, you know, just travel and just the venues and setting all of that up. So I was, as Julia says in the artist's way, I was living

Relationships And Creative Shadow

Osha Rose 6:13

in the shadow. And it wasn't until the very end of that, what ended up being a 10-year relationship, that I started to discover, okay, I'm ready to sing. And I don't want to keep taking voice lessons to learn other people's songs so that I can sing. Looking back now from where I sit now, I I understand the concept. Like when you're teaching someone how to sing, when when there's a song you love and it's within your range, or it's something that you can easily um like move through your body without much coaching, you get excited about that. You wanna you wanna learn more. And then you can teach the theory and all the you know the parts about what makes a song a song. But call it the Aquarian part of my brain. It's like, I always want to see things a different way, or like, well, what if we don't teach any of this? Like, what parts of it are natural? Like, there's there's cultures where music is how they they express their joy, like the drumming, the rhythm. There's cultures where they'll make sounds with their voice to help women grieve that have lost their child. There's there's an innate song and and rhythm and energy within us that no one can teach us. And I think that's something that I was conflicted with for all the years that I've taken vocal training and great, wonderful teachers, so many little pearls of wisdom that I still carry in my heart. Like sing from your C U N T was what one woman said to me. And I was like, I didn't know it at the time, but now with like the moolabanda and this energy lift, like, oh, I have this power in me to sing from the depths of my core. And I also feel like learning covers helps me determine or discover what I can do with my voice. You know, there's all this kind of opening up that's happening for me now as I'm as I'm learning how to accompany myself with my ukulele. But at the end of that 10-year relationship with the musician, I I was invited by him to sing. You know, he was asking me to be on some of the the musical albums he was creating, and I was so judgmental of my voice and I just wasn't ready. Now, after the experience I had giving birth to my daughter, where the sounds that were coming out of me literally nullified the pain, what what could have been perceived as pain of contractions, actually nullified that sensation. Like I like she, I was, you know, laboring with my arms draped around my sister's neck or my doula's neck, and just moving my hips kind of in a figure eight and moaning. It was like this gut, guttural, like oh, like just deep moaning sounds that that vibration was what my body needed to open up to because basically, as we're feeling these contractions or waves, whatever you want to call it, it's your body like squeezing that child out. And if your body can do that, if your you know, hips have opened, like there's just certain things that I was grateful had had happened for me, but I didn't take any any medication. I I actually got scared reading some of the books about what they recommend you take, and that

Birth Reopens The Singing Channel

Osha Rose 9:52

felt more painful to me than actually just seeing what natural birth could do. I read a lot of Anna Mae's books about um natural childbirths at her location down south and empowered myself. But so once I had that experience of my voice being like medicine or healing, it started to shift for me. And right after she was born, I found this vocal embodiment training with Laura Rose. And that actually helped me really start to step into okay, my body is the vessel, my voice is the channel, the sound that I only I have is medicine. And songs started to come through. I was singing songs to my daughter. Like there was a hip-hop song that came, it was like she was a baby, but I was like, hi, my name is Meela, and I'm here to say I'm learning to walk in a fiercely way. I haven't even crawled yet button, I might just skip all that because I don't have the time for it. That's a fact. I got places to go, I got people to see. And if you want to hear about it, then follow me. There's three more verses, and she knows this song now, and she's like a super like just freestyler, and I love hearing her sing like her version of it now. But these songs just started to come through, like songs when she was. I'm only rolling my eyes because it was hard at times to feel her level of like cry. Like, I feel like when you think of it on a nervous system level, these babies know what

Vocal Embodiment And Song Craft

Osha Rose 11:29

tone to cry at so that your whole body reacts to it. So she would scream. And at one point I'm holding her, and I'm just like, I could feel for her, and I was like, I want you to hold me, I want you to love me, I want you to be my everything. And I was like, oh, she's just I'm her everything. She can't move, she can't get anything if she can't reach it. And so the songs were actually also soothing me. And I went through a couple more trainings with Laura and her husband TJ for songwriting. And he his approach and her approach are very different, but it was this beautiful way of bringing together the ways I had been trained. You know, like TJ is very much into TJ Moss connecting with, you know, what feels good, but he's also aware of like they live out in LA or they're in, they're in California, south of LA. But he's been on that scene. Like he knows he's got like like albums that have gone medals and globes and golden colors and all of that. Like he knows how to get on the charts with like the hook and just the way it sounds. But Laura also knows how to do that, but also is more on the connecting with the soul of the sound and the energetics of your of your body so that you can bring through what's coming through. Like they both understand that, but they just they help you in a way together that I really felt like, okay, like I have this song, I haven't released it yet, but it's called Stripped. And when I first wrote the song, I was going through my last real like exploration with extracurricular drugs, we'll call it. But I was in a moment of just emptiness. Like I just I I had made some choices the night before that my body was was just feeling empty from the next day. And the song came through one way, and then later on it it kind of it evolved. But so the first version of the song was stripped down to the ball, nothing really matters at all. And then it just kind of goes on from that like energetics of like, why am I doing any of these things? Then when fast forward, that was like the end of 2018 into 2019. I moved to California. I got pregnant a few months later, like six months later, and I remember singing this song again, walking on the beach and being like stripped down to the ball. Is love. And then it went from there. Like, I am a goddess, I am a healer, I am a mother. And so I brought that song to one of my songwriting courses with TJ and Laura, and they helped me, you know, because that's kind of there's this tension, there's this release, there's this closing. And so it was helping me understand like what's coming through and what it's doing, and how I can maybe make it into a song. And so it hasn't happened yet, but I'm talking about it here to help me stay true to that being one of the next ones I release. But what has come through and what I have published and put out there and actually created music videos to go with, and you can see them here in the if you're on the YouTube channel for Superbloom, were songs I thought originally, I had uh somebody produce the beats for me, and I told him I wanted dance yoga music, like music I could dance to, music I could do certain things to with my body for um the yoga that I teach, like the Rosio hit workout style, belly dance, tribal dance, like all mixed into the yoga beats. And he did an amazing job. There's three songs. But what ended up happening once I started listening to the songs were lyrics started coming through. So the song Breakdown, it's got this like upbeat, like really awesome vibe. And that was kind of the peak of gonna be the three songs for my workout sample that I was gonna use it for. But these words started coming through like don't funk around, just break it down. Don't funk around, just break it down. Don't funk around, just break it down. Don't don't, don't, don't, don't, don't break it down. And then I ended up filming that music video first, all

Building An EP With Movement Music

Osha Rose 16:19

around the the island I live on in Gloucester. My daughter helped me. I I learned how to use the 4K equipment and just where to put it, how to do the angles, and then two more songs, um, reflections, which is the first kind of it's like the more ethereal. And those words, uh, it's just amazing what what happened. It's like those words just came through, and it was this reminder that everything's within us, and to trust in that and to love ourselves was kind of the essence of that song, and also just wanting to really find my way back to myself as a mom and and my my dancing and my music and all the all the things that maybe felt like they were a little still on hold with a with a at the time three-year-old. And then the final song, Rise Again, that one. So the whole the the whole EP took about a year and a half to get like started and finished and the music videos finished. But that song Rise Again is this beautiful tribute to the sensation of the Phoenix rising. This this knowing that we will rise again no matter what, if we if we choose to see this as part of the journey and not, you know, something something else. If we choose to see it as as helpful and part of our growth, then we will rise again. But there were these parts while I was creating the song where I I didn't have the lyrics yet, but I would just sing and moan, almost like when I was birthing my child, to the the parts in the middle. And then I kind of kept that. I just I let that be the chorus where it was just like ah, like just this letting it out, whatever sounds are coming through. And my hope with that song is it will find its way to women that really, really just want to move energy through them with their voice. And so now I'm still learning. I'm like teaching myself music as an instrument on the ukulele. And I'm still learning how to let that just happen and not try to sound like someone, you know, being being in a relationship for 10 years with a musician who was classically trained by Berkeley and then, you know, surrounded by all the bandmates and just the talented people. It there's moments where I think, you know, I haven't done anything yet to teach myself this. I don't, I don't actually know what I'm doing. Am I a musician yet? But it's just it's just the ego talking, and I know that. Whatever we are curious about, there's something there for us. It already exists within us. And music and dancing, it's always been there for me. It's just acknowledging that and letting myself fully feel what is coming up for me. If there's something in you that you've been curious about, something that you've been questioning, something you've been interested in over and over again, and it's been on your path over and over again, explore it. It might not be singing, it might not be dancing, it might not be ukulele for you, but you'll know. You'll know what it is. And

Learning Ukulele And Claiming Identity

Osha Rose 19:49

when we start following that path. So for me, following that vocal embodiment path after having my daughter turned into me working with Laura on creating this podcast. Like she created this one time, but she only did it one time, this voice of the influencer program, where we got to pick one thing we wanted to do. And I picked between an album and this podcast to create. And here we are five years later, and it's it's finally in a in a good smooth motion. But I I put a few episodes out, had this journey in Iowa that actually was part of what inspired Rise again. Like a lot of that, those lyrics are from that experience. And then the time that I've had in between starting the podcast to today is how I'm able to show up and say what I'm saying to you right now. It's like this this uncovering of my voice. It's not just for singing, it's not just for speaking on the podcast, it's for speaking my authentic truth. It's for understanding that when I do this, this is freedom. Like this is me unleashed, this is me unchained, this is me open and releasing all the blocks that I've been, like roadblocks that I've been putting in front of myself, stopping this path, this like natural way that I've been called towards. So that's it for now. Just wanted to give you a little like reflection, I guess, on my musical journey and just to remind myself that there are songs that are not on the ukulele that I want to bring forward. And so it's time to get into logic and teach myself how to make some beats. All right, more to come. Take good care. This is the Super Bloom podcast where we honor and acknowledge what may have gone dormant within so that we can truly thrive and live this life on purpose. All right, take care, enjoy the day. So much love. Bye.