Carly Rae Jepsen Debuts 'Love Depressed' at L.A. Concert: Photos

Carly Rae Jepsen delivered a concise but impactful performance at the Peppermint Club in Los Angeles on November 9, marking the start of Billboard’s Live Music Summit. The event featured her performing a stripped-down, full-band set lasting approximately 30 minutes. Among the highlights was the unexpected debut of her track "Love Depressed," which Jepsen revealed had only recently been added to the show’s setlist.

The concert was presented by the booking agency THE•TEAM and took place on an unseasonably warm evening. Jepsen's appearance was introduced by Billboard co-chief content officers Leila Cobo and Jason Lipshutz, the latter holding a 2012 Billboard cover featuring Jepsen that celebrated her breakthrough hit "Call Me Maybe." That single notably held the number one spot on the Billboard Hot 100 for nine weeks.

Jepsen’s setlist included several fan favorites: "Runaway With Me," "Versailles," "Wild Child," and the closing song "Cut to the Feeling," a high-energy number she reportedly uses to end every show. The inclusion of "Love Depressed" offered a more soulful moment, with Jepsen inviting the audience to sing along. However, the audience’s enthusiasm made the invitation redundant as they were fully engaged.

The crowd at the Peppermint Club was intimate, consisting primarily of music industry professionals and insiders, which gave the performance a personal, interactive atmosphere. Jepsen expressed enjoyment in performing for a smaller audience, highlighting the connection formed during more intimate shows.

Preceding Jepsen’s set, singer Carol Ades opened the night accompanied by a guitarist, performing "Hope Is a Scary Thing," a song that gained exposure through its feature in the television series Off Campus. Ades is scheduled to join Jepsen on the forthcoming Day and Night Tour starting April 15 in Edmonton, Alberta.

The timing of this performance is significant as it directly precedes the formal start of the Billboard Live Music Summit, which commenced on November 10 at the 1 Hotel in West Hollywood. Jepsen’s participation as the opening act for the summit aligns with the event’s focus on live music and artist showcases.

Jepsen’s decision to introduce "Love Depressed" in this setting speaks to a strategic moment in her touring cycle and career trajectory. Debuting new material in a controlled, industry-focused environment allows her to gauge audience response and potentially shape setlists for future shows, including the upcoming tour.

The choice to perform a pared-back arrangement with a full band in a small venue contrasts with the large-scale pop productions typically associated with Jepsen’s work. This approach underscores a versatility in her artistry, presenting both the energetic and more introspective sides of her repertoire.

The inclusion of "Call Me Maybe" memorabilia during the introduction also serves to remind attendees of Jepsen’s enduring impact on pop music since her breakthrough in 2012, emphasizing a successful decade-long career that continues to evolve.

The presence of industry leaders such as Cobo and Lipshutz at the event reflects the importance placed on Jepsen’s performance within the live music community. Their involvement enhances the visibility of the show in the context of current music industry dynamics.

Jepsen’s setlist choices and the intimate venue suggest a deliberate effort to balance nostalgia with new creative directions, a move that could support sustaining her relevance in an evolving pop landscape. The new song’s soulful tone could signal a continuing expansion of her musical style.

Details about the reception of "Love Depressed" beyond this audience remain unconfirmed, as does any immediate commercial release or broader promotional strategy for the song. The forthcoming Day and Night Tour beginning in April will provide further opportunities to assess the role of new material in Jepsen’s live performances.

The Live Music Summit itself offers a platform for artists like Jepsen to connect with industry stakeholders in a setting that values live artistry amid shifts in music consumption and touring economics. This context adds layers to the significance of her Los Angeles performance beyond the mere presentation of songs.