When heartbreak hits, most of us unravel or simply hold on for dear life. Liv Jones, aka ives., the Auckland-born singer-songwriter, pianist and producer, pressed ‘record’. Pouring the last few years – loss, love, distance, and a fierce rediscovery of self – into her new album ‘Siren’, she delivers a nine-song suite that turns private unravelling into public catharsis. Lucie Watson caught up with her over a coffee in London.

Meeting with Ives in a Shoreditch cafe on a sunny autumn morning, I was captivated by her story; a journey of heartbreak and loss (not just the romantic kind), told with twists and turns.

For Liv Jones it began at 19, when she wrote an appeal to her parents – both with professional backgrounds – asking to pursue dance in Sydney. Alongside dance the studies included singing and acting, and one teacher in particular encouraged Ives to write original music. She did, releasing her debut indie pop EP ‘Romantic’ during Covid.

While the global pandemic was difficult for everyone, living by then in Auckland, Ives also carried the responsibility of looking after her mum who suffers from multiple sclerosis. After an intense period indoors surrounded by family and a long-term boyfriend, she was blindsided by an unexpected breakup. Soon after, her mum entered full-time care. Life as Ives knew it had completely changed.

Having music to write, and working remotely with her producer Mark Perkins, aka Merk, became a lifeline.

“It gave me such a sense of purpose in a confusing time. It gave me a chance to make something beautiful out of the pain I was in… it gave my pain a reason. It stopped being a hobby and turned into something necessary!”

In January 2024, Ives decided to move to Melbourne for a fresh start, and to save money to invest in recording her debut album. The project’s unlikely patron? Floristry. Working full-time at a florist shop allowed her to funnel every spare dollar into studio time, mixing and mastering. Melbourne also gave her welcome solitude.

“It was a very insular period. Being alone is crucial, especially after a long relationship. There was no one to ‘show up’ for, except me, and it forced me to take care of myself.”

When her grandad passed away at the end of 2024, Ives returned to Auckland to spend time with family and work on her album. It was then her mother encouraged her to take a leap of faith and move to London to pursue music.

“My mum told me, ‘There’s nothing for you here. You need to go and live your life.’ I owe it to her to do this properly.”

In June Ives arrived in London, with no expectations and ready for a challenge. By August she found herself in Copenhagen, at the prestigious Grape House studio (where people like Arlo Parks and James Vincent McMorrow had recently recorded), working on new songs. She writes almost exclusively at the piano – preferably on a family heirloom, no less.

“I grew up playing my great-grandmother’s pianola – it’s hilariously out of tune and impossible to service, but it’s where songs arrive.”

Her 2025-released debut album is called ‘Siren’, after the mythological figures in Homer’s Odyssey, who entangle sailors with their magic song.

“For me, these are snapshots of a period of my life – loss, grief, heartbreak, but also hope. My mum’s always telling me to write a happy song… but I’m not there yet. Still, there is hope in my song The Waves, which has an ascension at the end,” she laughs.

If the calmness of the album makes it sound effortless, the origins are anything but linear. Some pieces began as poems, others from chord loops. One vocal take was intentionally recorded in a wardrobe and one standout track, I’ll Wait, arrived via a Dada-esque writing game.

“We pulled six random sentences from books, cut them up, put them in a hat, laid them out and stitched a story together in a day.”

Fall Apart was, she says, the hardest.
“I had to stop recording because I was crying. Putting this one out feels like letting-go of a life raft. Heart is the Home started as a poem for my ex. We laid it over a melody I’d written during our breakup and it worked.”

They decided to keep the original demo version rather than re-record, as they recognised the rawness of it. I mention that Lights is my favourite.
“That was my first crack at producing on my own!” she beams.

On the production collaboration with Mark Perkins, Ives couldn’t be more appreciative, given he had encouraged her to do the album in the first place. They first worked together on three singles ives. released in 2016 and 2017.

“Mark definitely coerced me into it and I’m happy about that. He’s my translator. He makes my feelings go into sound. He has no ego, he’s just there for the music.”

While she was still in Melbourne, and before locking in the singles, Ives staged a DIY listening party.
“It was invaluable. Hearing unmastered mixes in a room, watching what resonated, helped us choose the singles. Honestly, I’d recommend it to every independent artist.”

The rich Ives’ visual world is built with more long-time friends, Pippa Haslam (animation) and Peter Furlong (videography/creative direction).

“It’s special to make art with people who’ve known you since you were eight! We shot the Heart is the Home video in a field in Hackney. It’s been a blur of synchronicities – finding the right people at the right time. It definitely feels like I’m meant to be here.”

Performing live is the next frontier. A listening party in London is on the cards. She wants to show up and play as many gigs as she can, and has already put together a compact live rig. Turning 30 recently has also given Ives a new found sense of self.

“I like it here,” she smiles. “There’s comfort in knowing I’m resilient – I’ve survived crazy stuff. It’s like, ‘Oh this? I can handle it.’”

The release of ‘Siren’ brings both relief and risk.

“When you put music out you’re letting it go – it’s no longer yours. I realise I’m giving a big part of me away by releasing this, especially as it’s honest and vulnerable. But if these songs helped me, maybe they can help someone else. If one person feels less alone, that’s enough.”