LOS ANGELES, CA- Before Grace Ives took the stage at the Teragram Ballroom, I found myself chatting with a handful of fans who had arrived early enough to secure spots near the barricade. Curious how they had discovered the Brooklyn-born singer-songwriter, I asked.
Their answer was simple: a recommended playlist generated by a streaming platform algorithm.
I’ll admit that I’ve never been particularly fond of letting algorithms dictate my musical diet. Some of my favorite artists have come from word-of-mouth recommendations, accidental discoveries, and countless hours spent digging through record stores, opening acts, and obscure corners of the internet. Yet standing in a room filled with eager young fans waiting for Grace Ives to perform, it was difficult to deny that sometimes the machines get it right.
A colleague of mine recently described Grace Ives as “the future of pop music.” After witnessing her performance at the Teragram Ballroom, I found myself increasingly inclined to agree.
Part of what makes Ives such a compelling artist is her ability to embrace the accessibility of pop music without sacrificing individuality. Her songs are melodic and immediate, yet they’re filled with the kinds of observations, anxieties, and emotional contradictions that make them feel uniquely her own. In an era where so much music feels optimized for consumption, Grace Ives continues to sound refreshingly human.
The evening began with an entertaining performance from Dance Art Center, the theatrical electronic music project of Nicolette Norgaard.
While rooted in electronic pop, Dance Art Center’s live presentation felt equally indebted to musical theater. Rather than simply performing a sequence of songs, Norgaard transformed the set into a miniature stage production, utilizing dramatic interludes, choreographed movement, and spoken transitions to connect one song to the next. At times, the performance evoked the playful theatricality of Chicago, with exaggerated expressions and tongue-in-cheek storytelling adding an additional layer of entertainment to the music.
The result was a performance that felt part concert, part cabaret, and entirely committed to its own eccentric vision. More importantly, it was fun. By the time Dance Art Center exited the stage, the audience was warmed up and ready for the night’s main attraction.
When Grace Ives finally emerged, the atmosphere inside the Teragram shifted immediately.
Throughout much of her set, the stage remained cloaked in darkness. The dim lighting transformed Ives into a silhouette in motion, drifting across the stage with an almost mysterious quality. Periodically, bright blasts of light erupted from upstage, momentarily flooding the room before disappearing just as quickly. At times, the lights were almost blinding, but the effect complemented the dreamlike nature of the performance.
The visual presentation mirrored the music itself. There has always been something elusive about Grace Ives. She isn’t a performer who relies on grand gestures or overwhelming spectacle. Instead, she commands attention through personality, movement, and songs that transform deeply personal experiences into something universally relatable.
Touring in support of her recently released album Girlfriend, Ives delivered a set that drew heavily from the new material. Opening with “Avalanche” before moving through songs such as “Dance With Me,” “Drink Up,” and “Trouble,” she quickly established the emotional and sonic landscape that defines the album. Throughout the evening, her distinctive blend of synth-pop melodies, layered vocals, and emotionally candid songwriting resonated with an audience that seemed eager to follow wherever she led.
What struck me most was how naturally the audience connected with the material. While Girlfriend marks a creative evolution for Ives, the songs never felt distant or inaccessible. Instead, they invited participation. Whether dancing, singing along, or simply absorbing the performance, the crowd remained fully engaged from beginning to end.
As the set progressed through songs such as “Mirror,” “Neither You Nor I,” “What If,” and “Lullaby,” the emotional tone gradually shifted toward introspection. Yet even in her most vulnerable moments, Ives maintained an undeniable sense of confidence. If Girlfriend is an album about moving from chaos toward clarity, then the live performance felt like an embodiment of that journey.
By the time she returned for an encore performance of “Stupid Bitches,” the audience was completely invested. Having previously written about the song when it was released as a single, it was fascinating to hear it now in the broader context of Girlfriend. What once felt like a bold statement now played like a triumphant conclusion. The song’s defiant energy served as the perfect final note to an evening centered on self-discovery, vulnerability, and personal growth.
Whether Grace Ives truly represents the future of pop music remains to be seen. Predicting the future is a risky business. What feels far less risky, however, is recognizing when an artist possesses a distinct voice and a clear artistic vision.
Grace Ives has both.
And judging by the enthusiasm inside the Teragram Ballroom, more and more people are discovering that for themselves every day…. whether through a friend’s recommendation, an opening slot, or even an algorithm-generated playlist.
Sometimes, the algorithm gets it right.
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LIVE CLIPS
Grace Ives Brings The Future Of Pop To The Teragram Ballroom | Los Angeles Concert Review
