Choosing Ease in Every Moment – An Interview with Alexandra Love of Beautiful Chorus

What if the path to joy isn’t about striving harder, but about listening more deeply—to yourself, to the moment, and to the frequencies that surround you?

For Alexandra Love, founding member of Beautiful Chorus, the journey into music and spirituality was never about chasing fame or fitting into mainstream molds. From her childhood experiments in imagination and creativity to picking up the violin and that first vulnerable open mic, Alexandra has followed an inner equation—one that always points back to joy.

Her work with Beautiful Chorus has since blossomed into a global movement of harmony and presence. With songs like Faith’s Hymn and Pachamama amassing tens of millions of streams, Alexandra’s vision is both cosmic and grounded: to create “frequency touchstones” that help listeners move up the energetic scale, moment by moment.

In this conversation, she shares how intuition guides her creative process, why authenticity itself can feel like a form of meditation, and how the Ease First framework shapes both her art and her life. Continue reading—or listen in by subscribing for free on Spotify, Apple Podcasts, Amazon Music, or YouTube—to discover how Alexandra Love is helping the world return to joy, one harmony at a time.

I am very curious about your own journey of spirituality, consciousness, and mindfulness. As you were growing up, was there some sort of faith tradition or spirituality that was a part of your life, or did that come later?

Alexandra Love: That’s such a good question. I was surrounded by a lot of different religions through friends and family, but I always felt like there was more to life. That’s what I’ve been focused on—trying to understand that equation for myself.

An equation? That’s a unique word to use when talking about spirituality.

Alexandra Love: An equation, meaning I noticed that some people seem to have a great time on earth, while others have a terrible time. So, I tried to assess what those who were thriving were doing differently—comparing and contrasting —and then figuring it out from there. Over time, I realized that joy seems to be the thing to follow.

I read that you experienced some meditation or mindfulness classes as a child. Can you tell us a little more about that and how it impacted you as you grew up?

Alexandra Love: It was brief, but there was a program when I was in first or second grade where we would put our heads down on the table and imagine a scene or scenario. Later in life, I joined a program called Odyssey of the Mind. It was all about thinking outside the box, coming up with creative solutions to challenges, and even building things like robots or flying objects.

Imagination was huge in our house, and my parents always encouraged it. That foundation of creativity has shaped everything I create now.

As you grew up, were there certain markers or experiences that helped you feel more tapped into that joy you mentioned?

Alexandra Love: Everything. If I enjoyed something, it connected me to joy. If I didn’t, it pointed me toward what I did enjoy. Either way, every experience contributed.

Can you tell me about your introduction to music? I know you started playing the violin at a young age. Was that an instrument you chose, or did your family introduce it to you?

Alexandra Love: I chose it and played violin for about 11 years. After that, I explored other instruments through band and orchestra. Singing wasn’t part of the plan—I actually went to school for film. But while I was in film school, I sang at an open mic just for fun. Someone there encouraged me to keep going and introduced me to the concepts of recording, mixing, and mastering.

It was a natural progression, guided by intuition rather than a set plan. Following that path proved to be really fun.

Following that joy.

Alexandra Love: Exactly.

What was it about that first open mic experience that you enjoyed? Was it the song you were singing, or the audience’s reaction?

Alexandra Love: It was both—the song I was singing and the feeling of vulnerability in a safe space. Singing can be incredibly vulnerable, especially when you’re young and standing in front of people you don’t know. But that night, it felt safe, and I loved being able to open up in that way. It was a great experience.

For those who may not know your backstory, would you share where you were musically at the time and what eventually led to the creation of Beautiful Chorus?

Alexandra Love: I really started making music as a teenager, experimenting outside of just instruments and my own solo work. In college, I joined a group called Soliloquies of Sound, and later I had a few solo projects. I sang jazz, R&B, and I’ve always loved house music, so it was a mix of different musical experiments.

I also created an album with a group called In Curses, and for its debut, I wanted to do something special. One morning, I woke up with the idea of having a chorus of 12 women sing the harmonies I’d written for the album live at a festival. So I made flyers—very old-school—and posted them in cafés to see who would be interested.

I found the women, taught them all the harmony parts, and we performed at the Festival of Light and Sound, which I also created. The plan was to sing together just that one time, but after the show we all looked at each other and said, “This is so fun—we should keep going.”

That’s when I planned our first tour around the United States. We even sang at the Integratron in California. It was a five-week tour with 10 to 12 women, traveling in a big old 15-passenger van. We packed everything in so tightly we couldn’t even see out the back, and we’d send blessings to the van every time we climbed a hill. It was such an adventure. That was back in 2012, and that’s how Beautiful Chorus began. From there, I just kept following the joy.

Twelve women on tour—that’s incredible. Was it all in one van, or did you have multiple vehicles?

Alexandra Love: It was one van. A 15-passenger, crammed full of people and gear. It was old, but it carried us through. Definitely a good time.

Did you book those first shows yourself? How did people say yes to you?

Alexandra Love: I had been booking for other groups I was part of for many years, so I already knew who to reach out to. Our primary audience was yoga studios and similar spaces, where we would sit together on the floor, sing, and bring in crystal bowls. And really—who wouldn’t say yes to that? It’s such a beautiful experience, and people were so excited to have us. The kindness and enthusiasm we received on that first tour made us want to keep going.

How would you describe the musical style of Beautiful Chorus to someone who hasn’t heard it before? What makes it unique?

Alexandra Love: That’s always a hard one, since I’m inside the creation of it rather than outside describing it. But if I had to, I’d say it’s repetition designed to expand frequency, with layers of harmonies that make it easier to transmute whatever you’re experiencing. Music is such a bridge, and I love building layers—different harmonies, polyrhythms, elements moving in their own ways—to create that effect.

I want to read back a sentence you’ve used to describe your work and ask you to unpack it. You wrote: “Songs that I write for Beautiful Chorus are meant to be frequent touchstones for those looking to practice moving up the energetic scale.” What do you mean by frequency touchstones?

Alexandra Love: To me, it’s something you can return to anytime you need a reminder of a specific frequency you want to experience. It’s like having a touchstone you can hold to reconnect with that state of being, moment by moment.

So it’s almost like a desire—you feel something, and you go back to the music to return to that place. You also mention moving up the energetic scale. For someone who might not be familiar with that language, what does it mean?

Alexandra Love: In the simplest terms, it’s about feeling better, moment to moment. If you’re feeling irritated, for example, moving up the scale might mean shifting into relief, calm, or joy. It’s about choosing what feels better for you in that moment. There’s no single automatic scale—it’s personal.

I’d just say it feels meditative, more than mainstream pop or R&B. Why did you choose that more meditative direction?

Alexandra Love: I chose to make it authentic. Authenticity feels meditative—when people can truly be themselves, or experience someone’s true self, it creates a sense of safety and calm. I wasn’t aiming for “meditative” as a category. I was focused on being genuine to what I felt, what I was learning, going through, realizing, and wanting to convey. Authenticity is simply what came out naturally.

I’m curious about your writing and recording—your creation process. If you sit down to write a song (or if it just comes in life), can you walk me through it?

Alexandra Love: I don’t follow a set process. It’s usually inspired in the moment: an idea arrives and I’ll sit, stand, take a walk—whatever feels right. What works best for creativity is doing what feels right, moment to moment, as often as possible. So, my process is listening to myself in the moment—how the energy wants to be conveyed, how it can come out, and how I want to craft, mold, and sculpt it.

When you create a song, does it start with a feeling you want to capture, or with words, or a theme? How does it usually begin for you?

Alexandra Love: It really varies. I don’t have a predictable A-to-Z process. Sometimes I’ll be thinking about a situation and want to convey that through words. Other times, I’ll start with a feeling and put words to it, instead of words to a thought. And sometimes I’ll hear music, and it just sounds like the words belong in a certain way. So it shifts every time.

I’m also curious about the length of your songs. They’re not the typical three or five minutes—they’re all over the map. Is that more of an intuitive decision, especially when something is repetitive, like a mantra? How do you know when it’s time to end?

Alexandra Love: It’s intuitive in the moment. But we’ve also learned that people love longer versions of our songs, so we’ve released extended versions too. Right now, we’re working on things like an eight-hour sleep video with one mantra cycling the whole time. So the initial timing is intuitive, and the secondary timing is really based on what people ask for.

I’ve definitely had those moments where I wish a song kept going, so I just loop it on Spotify.

Alexandra Love: Right! If you’ve got a list of songs you want longer, send it to us—we’ll take it into consideration.

I’d love to ask about two of your most-played songs on Spotify: Faith’s Hymn and Pachamama. They each have around 46–47 million streams, which is incredible. Could you describe “Faith’s Hymn” and why you think listeners connect with it so deeply?

Alexandra Love: Faith’s Hymn is so special because it was one of the earlier songs with more voices on it. It starts very organically, just a cappella. I think people resonate with it because of its melodic structure—it can apply to almost any type of life situation. To me, it feels like a soundtrack for meaningful moments, and people have often shared the same sentiment.

And what about Pachamama? Why do you think that one has connected with so many people?

Alexandra Love: Pachamama is an older song that really speaks the language of the earth. It has a deeply grounded feeling, with imagery of eagles, dolphins, and nature, reflecting the interconnectedness of everything. People have told me they experience it almost as if traveling through the earth—moving seamlessly from place to place, as though levitating in their imagination. It carries that sense of grounded presence while opening into something expansive.

You’ve written so many songs. How many do you think you’ve written in your life?

Alexandra Love: I don’t know—that’s a great question. Probably hundreds. If we count unreleased songs, then the number is definitely thousands. But released? Maybe around a hundred.

With Pachamama, do you remember writing that song?

Alexandra Love: I didn’t actually write it. We gave it the structure it has now, but the original songwriter was Ronald Hickel. That’s why our version is called the Beautiful Chorus version—it honors the original.

When you were recording it, what was going through your mind? Were you feeling the earth as you sang?

Alexandra Love: When we record songs, it’s about being fully present with the imagination of what we’re saying. That was true with Pachamama, Faith’s Hymn, and all of those early tracks. It’s about conveying the feeling we hold within ourselves onto the recording—but in a way that’s still listenable.

If you listen to Human Nature or the Rhythmic Meditations album, especially Fierce Grace (based on a Ram Dass lecture) or The Waves We Give (inspired by Bruce Lee’s wisdom), you’ll hear that approach. Our intention was to bring the truth of those teachings through in the most authentic, audible way.

When you’re making a song, you’re like a bridge. You’re channeling something from one place and translating it into something people can hear. That’s the space we enter when recording—to be the conduit.

So you’re channeling, not just expressing your own feelings.

Alexandra Love: Exactly. Even when I’m singing about something I’ve personally realized, I’m not trying to express my feelings about it. I’m trying to bridge the underlying truth of the concept itself.

How do you integrate that spiritual, channeling flow with the technical aspects—like harmonies, rhythm, beat, timing, or recording? Those can feel very different.

Alexandra Love: To me, they’re not separate. True art naturally holds both precision and creativity. It’s not about forcing integration—it’s about honoring each element and letting them exist as they are. Together, they already form a cohesive whole made of infinite parts.

For you, it comes naturally, the same way I might ask questions on a podcast. People might wonder how I know what to ask next, but I don’t analyze it. I just do it because I’m curious and present.

Alexandra Love: Exactly. Presence makes it flow.

You started with a dozen or so women in 2011, and I’ve read that you call Beautiful Chorus “ever-evolving.” How has it evolved over the years? Has that been about people’s availability, personalities, or something else?

Alexandra Love: It’s definitely been a process. The three women who are with me now were part of the original twelve, which is really special—they’re the OGs. Over the years, the group has shifted for different reasons. Sometimes it was the vibe of the person, scheduling, sometimes people moved away or chose to pursue their own solo music careers. It’s always been a natural process of following what makes the most sense in the moment.

And in this current season, what does the rhythm of your collaboration look like? Do you meet at set times, or is it more spontaneous?

Alexandra Love: We get together multiple times a week and work on whatever feels fun in the moment. I developed something I call the “ease-first framework,” which simply means we follow ease. That can mean making music, planning projects, creating videos, or just hanging out and catching up. It’s a mix of everything, but we spend a lot of time together.

From a leadership perspective, how do you navigate being the front person for Beautiful Chorus? How do you guide upcoming songs and events, and what does leadership look like for you?

Alexandra Love: I don’t doubt my intuition. I trust my ideas, share them freely, and then we figure it out together as a group.

So you tend to initiate with ideas that come up. Does that ever lead to conflict, or is it mostly easy and go-with-the-flow?

Alexandra Love: Everything we do is rooted in love. Even if we disagree, the foundation is that we’re figuring it out on the way to figuring it out, and everything will be fine. We don’t really have conflict in the traditional sense, but we definitely have conversations about everything. I want everyone to feel as joyful as possible about what we’re doing. If an idea doesn’t land with someone, we work through it until everyone is excited.

That sounds like a really intentional way of working together.

Alexandra Love: Yes. Following joy and making things as easy as possible takes practice. At first, we had to clear out obligations that weren’t joyful or easy. But once we locked in our “Ease First” framework—putting every choice through that filter—it saved us so much time and made the process more exciting and enthusiastic.

You mentioned “cleaning up” things that didn’t fit into that framework. What does that mean?

Alexandra Love: If you don’t already live by assessing your joy first in each moment, you can easily become obligated to things that don’t truly bring joy. When we first implemented Ease First, we had commitments we’d already agreed to—things we wouldn’t have chosen if we were prioritizing ease or joy. So we had to finish those, clear them from our schedule, and then move into making new choices based on: Does this feel fun?

But how do we do that in real life? What about when there are financial obligations, when someone needs to generate income and can’t just choose joy all the time?

Alexandra Love: It’s a transition—moving from doing things out of obligation, need, desperation, or lack into doing things for the sake of thriving and joy. I don’t have a perfect formula except this: at the very least, imagine your highest ideal. Just like driving a car—if you look to the right, you tend to drift right—keeping your ideal in mind helps guide your choices.

The shift from decisions made in desperation to decisions made from satisfaction and fueling joy is natural, but it takes time. Earth is time-based, so the process isn’t instant. For us, it was definitely gradual.

How do you approach the Ease First framework on a daily, moment-by-moment basis in your personal life? When you wake up in the morning, what does that look like?

Alexandra Love: It’s constant checking in with myself. Presence all day long. If you’re not used to that, it can feel overwhelming or exhausting—like, oh, me again. But that’s my day, every day: consistently checking in, so that at the first sign something doesn’t feel right, I can pause, assess, shift, or pivot.

That probably requires saying no—or “no, thank you”—regularly.

Alexandra Love: Correct. Any synonym of no.

How do you do that comfortably? For many people, saying no is hard.

Alexandra Love: If you’re uncomfortable with it, practice alone. Say no out loud when no one’s around. It gets easier the more you do it. You teach yourself to do what you want to do, and over time, it becomes natural.

How often do you say no?

Alexandra Love: I don’t really frame it as saying no anymore. I think of it as always saying yes—to myself. I might be saying no to someone else, but in truth, I’m saying yes to what’s aligned for me.

That’s fascinating. What about your own listening habits? Do you go back to Beautiful Chorus songs for meditation or enjoyment, or do you listen with a critical ear for future ideas?

Alexandra Love: The song I’ve been listening to the most lately is Proud of Me from High Frequency Love Music. I want to really experience and feel pride in myself. I am proud of myself, but having the song playing in the room helps me embody that differently.

But no, I never listen to our music and think about what I’d do differently. I couldn’t do that. Outside of that, I don’t listen to our music much—I usually sit in silence or listen to comedy.

Comedy?

Alexandra Love: Yes, listening to or watching funny shows and movies. I also used to do improv comedy at a theater here, which was really fun. Some of the women in Beautiful Chorus and I are actually starting an improv team now, just for the sake of mischief. Improv is pure play—you make things up, and everyone agrees to it.

Are you calling it Beautiful Comedy?

Alexandra Love: No, actually—it’s called Big Bald Asian. You might be able to guess who’s in it, but I’ll let you figure that out.

I love that. Very fun. Let’s talk about the space you’re sitting in. What can you share about that? It’s the set for your Lovecasts on YouTube, but tell me more about the space itself. What’s going on here?

Alexandra Love: I love that question—what’s going on here? I created it as a Love Dimension office for a character I play called Ms. Ever Love, who gives advice on all kinds of things. This set is different from the Lovecasts set, but it exists in the same Love Dimension spaceship, with the same intention and foundation.

When I was a kid in Odyssey of the Mind, we would build sets and lean fully into creativity. That’s the spirit behind this space. I just asked myself what would be fun to do in the moment, and this is what came out of it. Over time, it evolved, and then the idea for the character arrived. I’ve had to become really comfortable with not knowing the entire vision before beginning—just creating for the sake of fun and trusting it will come together piece by piece.

And what actually makes up the space? Are the creations black light, fluorescent, painted—what’s happening visually?

Alexandra Love: Everything. There are black lights, glowing paints, neon pieces, gemstones with lights behind them, and hand-painted elements. It’s very detailed. You can’t always tell from a pixelated screen, but a lot goes into it.

Did you mastermind and build all this yourself, or did you have a team assist you?

Alexandra Love: This set was just me. The Lovecast set, though, was my idea, and then the other women and I built it together, piece by piece.

For those who haven’t seen the Lovecast, can you describe the set?

Alexandra Love: The Lovecast takes place on the Love Dimension ship. Each of us has a mushroom desk with our things for transmitting love frequency to Earth. The ship itself is powered by mycelium, and mushrooms appear throughout the set to symbolize that life force.

I have to think you must have experienced mycelium to imagine this.

Alexandra Love: I’m just creative—but yes, I’ve experienced mycelium in many ways. We even have a song called Brilliant Mycelium about the voice of the mycelium itself. We respect it deeply—it’s everywhere.

I’ve experienced your music while on mycelium, and it’s even more profound. Beyond that, tell me what’s next for Beautiful Chorus.

Alexandra Love: We have a remix coming out with a really special feature on November 7th, and the video for that song premieres on 11/11. Next year, we’ll be releasing new albums, touring, and creating weekend portals in different cities.

We’ve also just launched BC Cosmic Kids, a channel designed to be completely kid-safe. Beautiful Chorus as an artist collective continues to expand with an older audience, but this new channel ensures children can connect with the music too—while still giving us space to be irreverent and mischievous elsewhere.

Do you have other projects you’re working on outside of Beautiful Chorus, or is that 100% of your focus?

Alexandra Love: If you saw our Notion pages, you’d see hundreds of different projects slowly growing and expanding. We have so many ideas, and we roll them out gradually, each in its own time.

I know you also have a Mighty Network community. Tell us about that—what can people experience when they join?

Alexandra Love: It’s so fun. We share daily frequencies and check-ins, go live in the space, and drop things there before anywhere else. People can have direct conversations with us, and eventually, we’ll be adding classes, virtual retreats, and shows. It’s a vibrant and supportive community.

And where can people experience more of your work online?

Alexandra Love: BeautifulChorus.com, or just Beautiful Chorus on any platform.

Alexandra, thank you so much for sharing your story and process today.

Alexandra Love: My pleasure. Thank you for having me. And truly, I don’t mind deeper questions. Even if some things are simply the way they are, I enjoy diving into the details.