ALYSSAD

A name shortened, an image discarded

ALYSSAD is one person working under a compressed version of her own name. Behind it is Alyssa de Boisblanc, who spent her early years as a working child actress before building a music project that reads, by her own account, as a repudiation of that period. The biography on her own site frames the shift plainly: the grunge presentation and the darker writing are set deliberately against the innocent image she carried out of her screen work. The alter-ego framing is hers, not a journalist's invention — the project is described as exactly that.

The reference points she names are a mixed set: Lana Del Rey, The Pretty Reckless, Melanie Martinez and Halsey. They map reasonably onto what the records do. Del Rey and Martinez account for the theatrical handling of a lyric and the character-driven staging; The Pretty Reckless accounts for the guitars. The word she uses for her own voice is haunting, which is the sort of description an artist reaches for when the production is carrying a share of the atmosphere.

The copyright notice at the foot of her website still reads 2023, which is a fair marker for when the project started in public. Everything that follows has happened inside three years.

Five singles, built one at a time

The catalogue is small and has been assembled release by release. puppetmaster arrived in 2023 as the debut, carried by a music video that did the work of introducing the character; butterf(lies) followed in the same year. Holy Ghost came in 2024, issued with a second track, LOVE ME AGAIN, attached to it. bitter taste of a god appeared in 2025. cool girl, the most recent record, was released on 31 October 2025.

That is five singles across roughly three years, with no album and no EP. Holy Ghost and puppetmaster remain the two most-played songs in her own catalogue, which means the debut has not been displaced by anything that came after it — unusual for an artist still adding records, and a sign that the early video did more for her reach than any subsequent single has.

The releases go out through DistroKid rather than a label; her own site links to a DistroKid page for Holy Ghost. The project is therefore independent, and a cadence of roughly one single every six to twelve months is consistent with self-funded studio time rather than a label release schedule.

Lending the voice out

Two of the tracks associated with ALYSSAD are not her own. She features on Feels Like Heaven by SALTER, released in 2024, and on THE DEVILS HANDS (are idle playthings) by Jack Martino, released in 2025.

The first of those matters more than a guest credit normally would. Feels Like Heaven sits inside the three most-played tracks on her Apple Music profile, ahead of two of her own singles. A meaningful share of the people listening to ALYSSAD arrived through somebody else's record, which is a different kind of audience from one built off her own releases and tends to be harder to convert into ticket buyers.

The Whisky, and the rooms either side of it

The Whisky a Go Go's own calendar carries an ALYSSAD billing on a Lita Ford night, alongside Rawnsley, Prima Donna Rising, Emma Zeck and Villa Nova. The Eventbrite listing for that Lita Ford and Villa Nova show at the Whisky dates it to Thursday 11 April 2024, running from 6pm to 11.30pm, promoted by Oblivion 5150 Studios.

Six acts across five and a half hours is a support-slot economy rather than a headline one, and the billing should be read as such: a slot on a crowded Strip bill under a name that sells the room. It is also the standard apprenticeship route for an unsigned Los Angeles rock act, and the Whisky is a harder room to get onto than most of its neighbours.

Beyond that night, the live record is thin in public sources. There is no archived setlist for an ALYSSAD performance, and her own site carries no past-shows list — only the date currently on sale.

Where it stands, October 2026

Nearly a year has now passed since cool girl on 31 October 2025, and no newer release appears on her streaming profiles. The discography has not moved in twelve months.

Booking runs through KMA Management, listed on her site, and a single date is on sale. The shape of the project at this point is clear enough: five singles, no long-form release, an independent pipeline that has gone quiet for a year, and a live presence confined to Los Angeles showcase bills rather than touring.

The gap is the thing to watch. A catalogue this small does not sustain a headline set, and the next release — whenever it lands — will decide whether the live work moves past four-act showcase nights.

On stage now

The one date listed is at Backbeat, the music room at Hotel Ziggy on Sunset Boulevard in West Hollywood. Showtime is 7pm, the room is 21 and over, and entry is free with an RSVP through Eventbrite. The bill runs Anna Thompson, ALYSSAD, Crash My Car and Arieleno Prins, and the night sits under a new-music showcase banner rather than being an ALYSSAD headline.

The format sets the terms. Four acts from a 7pm start means a short set, a house PA, house lights and an audience partly present for the other three names. Second billing on that running order puts her on early, in front of a room that is still filling. Nothing in the listing points to a production element — no staging, no visuals, no support act of her own choosing.

It should be said plainly that the live claims available here are the venue's and the artist's. No published review of a current ALYSSAD performance could be found, and her own site carries no press quotes, so there is no critical account of what the set actually does on the night.