Grant Knoche Builds a Record You Can't Shake
At 23, Dallas-born, Los Angeles-based artist Grant Knoche has already cycled through chapters most pop newcomers haven’t experienced: international stages as a Kidz Bop performer, an impressive run on NBC’s American Song Contest with the self-produced “Mr. Independent,” and a growing footprint as a behind-the-boards architect for names that range from Christina Aguilera (producing the finale of her Vegas show) to Victoria Justice and ADÉLA—with a TWICE cut on deck. On paper, the path zigzags; in sound, Knoche keeps a single throughline—bass-driven, intimate pop built for the stage.
This fall, he expands his work with something more personal. GOOD LUCK GETTING OVER ME, out October 17, serves as a thesis about memory, agency, and the version of yourself you refuse to leave behind. The rollout has been equally intentional and playfully chaotic: where every two weeks across the summer, Knoche let fans vote between two unreleased tracks to decide the next official drop.
“I Miss Your Love,” his latest single, sets the tone—a clean, low-end pull under a vocal that sits close to the microphone, confessional without collapsing into whisper-pop. It’s the space Knoche occupies best. Big feelings and arrangements designed for the body as much as the bloodstream. That artistic duality naturally carries into his shows. A trained dancer, he consistently builds full productions that swing between high-energy choreography and piano-lit quiet, a contrast he’s road-tested on festival and Pride stages from WeHo to Manchester.
And at this point, with the next phase including a headline tour and an album that leans into authorship, GOOD LUCK GETTING OVER ME feels like he’s finally living out his dream in realtime.
Photo Credit: Devin Dygert
The album title GOOD LUCK GETTING OVER ME reads like a dare and a diary entry at once. What’s the core idea you wanted that phrase to carry—defiance, closure, or something in between?
Grant Knoche: Definitely something in between. I really wanted this album title to have a strong confidence to it, and with one of the tracks on the album already named “GOOD LUCK GETTING OVER ME”, it really felt like a great way to encapsulate the whole album. I think the title represents the energy of the album so well. It’s that post-breakup clarity and emotional chaos at once.
“I MISS YOUR LOVE” leads the charge. Why was this the right opening statement sonically and emotionally, and what choices in the production are doing the heavy lifting?
Grant Knoche: Well, technically, “I MISS YOUR LOVE” is a single leading up to the full album out on October 17th, and then on the album, it actually closes the album and is a bit of a nod to what’s coming. A lot of the album is about embracing yourself, your sexuality, experimenting, living your life, and doing it all with no apologies. “I MISS YOUR LOVE” feels like a great ending because it’s that moment of feeling grounded again and a bit of reflection. It’s a deeper dive into me as an artist overall. The first half of the song is pretty bare in terms of production and lets my vocal lead the way. Once it hits the drop, the synths and drums are meant to represent the flooding emotions of missing someone.
You let fans vote on unreleased songs every two weeks this summer. What did that experiment teach you about sequencing and audience instinct—and did any “losing” songs evolve because of the feedback?
Grant Knoche: I think if it taught me anything, it was to continue doing what I was doing, which is trusting my gut. Everyone has opinions and at the end of the day I must trust in what I’m creating and let that lead.
From industry exposure like Kidz Bop arenas before age 12 to the American Song Contest—what craft lessons stick with you from those two very different stages of your life?
Grant Knoche: Work ethic and drive. I really learned so much during these two amazing projects, and they just really reinforced how much I love doing what I am doing.
You self-produce your records and also build for others—Christina Aguilera’s Vegas finale, songs for Victoria Justice and ADÉLA, etc. How do you typically switch headspaces between “artist Grant” and “producer/writer Grant”?
Grant Knoche: It’s pretty easy and, honestly, a breath of fresh air. Working on other people’s projects allows me to shut off my artist brain and be open to whatever happens. I feel like I find a lot of inspiration through the process, and it allows me to create new music and find new sounds.
Your live show blends choreography, live vocals, and piano moments. As you design the fall 2025 headline run, what are the non-negotiables—and what’s one new risk you’re excited to try on stage?
Grant Knoche: Dancing and intimate Ballads are non-negotiables and live production on stage is a new risk I’m excited to try.
Dance has been central since age seven. How does a dancer’s brain shape your arrangement choices—tempo, pocket, negative space—when you’re working on something in that upbeat pop space?
Grant Knoche: The musicality and rhythm I’ve learned from dancing at a young age has really shaped the way I produce. I always strive to make something that makes you move regardless of genre.
