“The Look at My Life” is the name of the biggest tour to date with which Gracie Abrams will also appear in Europe. From April 8th to May 28th, the 26-year-old will be traveling through the continent’s metropolises. In this country, Gracie Abrams will be appearing in Berlin’s Uber Arena on two consecutive days. Support: Singer-songwriter Jake Minch from Connecticut.
“In Luggage”: her third studio album “Daughter from Hell”. The album, which Gracie Abrams co-wrote and produced with Aaron Dessner, will be released on July 17th.
GRACIE ABRAMS
The Look at My Life Tour
Support: Jake Minch
- May 12, 2027 Berlin, Uber Arena
- May 13, 2027 Berlin, Uber Arena
PayPal Priority Tickets:
Tue, June 2nd, 2026, 9:00 a.m. (online presale, 72 hours)
www.paypalpriotickets.de
Telekom Priority Tickets:
Tue, June 2nd, 2026, 9:00 a.m. (online presale, 72 hours)
www.magentamusik.de/prio-tickets
Ticketmaster Presale:
Thursday, June 4, 2026, 9:00 a.m. (online presale, 24 hours)
www.ticketmaster.de/presale
General advance sales start:
Fri, June 5, 2026, 9:00 a.m
www.livenation.de/gracie-abrams-tickets-adp1303683
How Gracie Abrams turned her problems into one of the best debut albums of 2023
When the pandemic brought the world to a standstill in March 2020, millions of people suddenly had to cope with a lot of time at home. Some baked bread. Others took up pottery. And one very early Friday morning, singer-songwriter Gracie Abrams got high, delved into Taylor Swift’s discography and fired off a hit tweet: “I know places by Taylor Swift makes me feel like I’m being hunted down in the purge.”
“That was one of about a dozen tweets where I explained my feelings about their music in that state,” Abrams says, laughing. Other tweets she sent during this campaign suggest that “Innocent” is Swift’s best song and “Mine” makes Abrams want to wear dungarees.
The 23-year-old will have dozens of opportunities this summer to see the artist who shaped her – but not as a fan. Abrams will perform for her heroine in stadiums across the US as a support act on 30 dates of Swift’s “The Eras” tour. “It feels like the most ridiculous master class known to man,” Abrams says. “I will learn so much if I keep my head straight and listen and watch her do what she was put here to do.”
Abrams is Gen Z’s writer of melancholy and one of pop music’s hottest young artists. Her debut album, Good Riddance, out February 24th, shows that she has truly mastered autobiographical songwriting. She’s not the only pop star who writes heartbreak confessions in her bedroom, but she translates the guilt and doubts of young, failed love into her music better than most of her colleagues. “I miss you, I’m sorry,” a hit with over 100 million streams on Spotify, is both a farewell to a lover and an argument to the contrary: “You said ‘forever,’ in the end I fought it/Please be honest/Is it better for us?”
“Gracie’s lyrics are a mix of fragility and introspection that I can relate to,” Swift tells Rolling Stone. “They make me feel like maybe she and I started writing songs for the same reason. Just to try to understand our feelings. My favorite writers are the ones who never make me wonder why they wrote that particular song, because it just feels like they had to – like a confession or a catharsis. Sometimes it feels like she’s on the verge of tears or laughter while she’s singing, and we’re all sitting in a circle on the floor and listen as the story unfolds.”
On a warm, cloudy January day, Abrams and I sit at a beige table in a Hollywood diner she frequents, a few hours before the release of her new single, “Where Do We Go Now?” Abrams grew up in Los Angeles. For her, it is “an industrial town” in which her family is very strongly anchored: her father is the filmmaker JJ Abrams and her mother, Katie McGrath, is a producer and co-CEO of JJ’s production company.
Abrams wrote his first songs at the age of eight. Writing was a comfort to her. Performing in front of other people wasn’t it. “I wasn’t like a little kid listening to music on the radio and pretending to perform,” Abrams says. “I never wanted to be on stage.”
In 2019, she took a break from teaching at New York’s Barnard College to focus on music. She signed with Interscope and released “Mean It” that fall, whose gentle vocals, stirring chorus and vulnerable narrative became trendsetting.
Abrams says she felt like an imposter when she signed the record deal because Interscope had one expectation of her and she wasn’t sure she could fulfill it: to play live. “And then Covid came, I could do concerts on Zoom… literally in my bedroom, exactly the same thing I would do on Instagram – but I would see little people in squares,” says Abrams, referring to the original snippets she uploaded to Instagram as a teenager from her bed, the piano or a backyard. “It was a stepping stone for me, and I can’t express how much I needed it.”
“Good Riddance” took shape when music producer Aaron Dessner invited the musician to his Long Pond Studio in New York’s Hudson Valley. When Abrams began working on the album, she was fresh off a breakup, and the emotions on “Good Riddance” were raw. The album opener, “Best,” was the most difficult to write. The lyrics don’t sugarcoat anything and dig deeper with each verse as Abrams admits she wasn’t at her best in a past relationship.
For Abrams, writing the song felt like “sticking a knife in her stomach.” When she announced the project, she wrote about how “Good Riddance” forced her to be accountable. “I don’t think I’ve always been the most transparent partner,” she says, adding that she has struggled with confrontation. “I really wanted to get to a point in my life where I was entering adulthood where I was more honest with myself and stopped falling into the trap of victimhood and was more owning my shit.”
I ask Abrams what the people she sings about will think. She takes a moment to think about it and admits that she often thought she had to cut a song because of the subject matter. “I wrote a song and then I was very insecure when someone else knew I had written it,” she says. “It’s disturbing to think that you could hurt a person because of something you wrote.”
Dessner encouraged her to continue with the songs. “Aaron said, ‘You know, all the artists you’ve loved so far have all said, holy shit, can I release this?'” Abrams says. “Honestly, I sat down and just thought about Taylor inside. She’s had the most public career ever, and she still has the courage to say what she means.” However, she can’t know how the people she wrote songs about will react, “but I really love them, so I hope maybe they believe that.”
In Long Pond, Abrams lived with Dessner, his wife and their three children. Abrams often worked twelve hour days and spent time with the Dessner children during breaks. “His children made me want to be a mother one day, even though I honestly never wanted to be,” Abrams says, smiling.
Abrams finished recording her debut album on September 7, her 23rd birthday. The Dessner children wrote her an original song and played it on string instruments. “It’s the lead single,” Abrams jokes.
Aspiring Nepo baby?
Abrams hasn’t missed the online discussion about nepotism – a debate that came to a head on the cover of New York Magazine in December 2022, when she was labeled a “rising Nepo baby.” Abrams says she doesn’t find the term offensive and emphasized that she understands the discussion: “Obviously we can’t control where we’re born into, and there are a million visible and even more invisible benefits to having family members who work in the entertainment industry,” she says. “I know how hard I work. Of course I also know how much I separate my parents and the conversations about my career. But of course you can understand what it looks like from the outside.”
When Abrams got the call that she would be opening for Swift, she called her mother. She told her daughter that she sounded like she was shaking. Abrams then texted Swift, whom she had met through Dessner a few years earlier. “I just said, ‘I’m at a loss for words, but I’ll thank you for the rest of my life.'”
Through Dressner as a mutual friend, Swift and Abrams met when the superstar asked Abrams if she wanted to come to a party. “She texted me out of the blue two years ago. She is one of the brightest lights ever, a writing genius, an artistic genius, an angel from above.”
As she goes through her horror-movie-inspired thoughts on Swift’s “I Know Places,” Abrams and I agree that the final song on “1989,” “Clean,” is perhaps the best song on the album. Abrams speaks about Swift with great admiration and peppers our conversation with little fun facts. “Did you know that Imogen Heap worked on this song?” Abrams asks me (I didn’t know). “Both of them are obviously on my wish list for collaborations. When I saw them working together I was like, ‘Fuuucckkk’.”
At the diner, Abrams doesn’t order anything, instead waving her Cartier ring around as she talks about love, The Lion King, and Long Pond. She’s nervous – the good kind that comes when the single is hours away and the debut album isn’t long in coming. “I’ve definitely been biting my nails more this week than I ever have before,” Abrams admits, saying she’s finally coming to terms with the fact that her music will exist in more places than just her phone and her diary.
These days, Abrams is spending her time rehearsing – after touring with Swift, she’ll be playing her album on her own Good Riddance tour. “I feel more grateful than ever for what songwriting has given me as a person outside of music,” says Abrams. “I grew up using it as a tool to process shit, but… having done it and ending something… I felt like I had just done the grieving work, what was missing was really letting go.”
