ELIZA, the English singer-songwriter, fronts DSCENE Magazine‘s September 2026 Digital Cover Story, photographed by Katie Aird with styling and creative direction by Lewis Stratton. In the fashion story, ELIZA appears in pieces from Dior, Feng Chen Wang, Untitlab, Eudon Choi, Pleiades, Lag World, Anthony Vaccarello, Miu Miu and Issey Miyake. Morgan Wyn handles makeup, while Tobia Bartolini styles the hair. Alexandria NG and Logun Screen assist on fashion.
INTERVIEWS
She first gained wider recognition with her self-titled 2010 debut album and later released In Your Hands, A Real Romantic and A Sky Without Stars. She also contributed vocals and writing to Disclosure’s 2013 single “You & Me.” Her latest album, The Darkening Green, arrived in 2026 with nine tracks exploring love, city life, emotional pressure, human connection and the pull toward nature. ELIZA approached the record with greater freedom, spending less time refining individual production details and following what felt right.
In conversation with DSCENE contributor Lewis Stratton, ELIZA speaks about the making of The Darkening Green, her approach to songwriting and collaboration, and the importance of maintaining authorship within her work. She reflects on how her creative process has changed over time, the influence of London on her music, and the balance between instinct and intention in the studio. The conversation also touches on time, personal change and the direction she wants to take next.
Your work feels very self-contained and intentional. Has it always been that way, or is that something you’ve grown into?
Hello, I’m aiming to not be self contained otherwise I would never reveal anything of myself into the music. You’ve made me question what it is about myself I might be holding back which is always in need of investigation. I’m definitely intentional with my lyrics and music, always wanting to go somewhere within and really get to the bottom of what I’m feeling about whatever subject I’m exploring.
There’s a clear shift between your earlier public image and where you are now. What did you have to unlearn to get here?
Always on a constant path of unlearning the systems we’ve grown up in. Industry wants to wrap itself around art and anything that could make it money. It can only suffocate creativity. Creativity wants nothing to do with business. I learned that no one knows the future, don’t fall for anyone who says they do! I’m sure there’s lots more I’ve unlearned/learned but it would take the whole magazine up!
Looking back, do you feel a sense of continuity between your earlier work and what you’re doing now, or does it feel like a complete reset?
It’s hard for me to comment from this position but I’m sure a part of young me exists now too.
Creativity wants nothing to do with business.
You collaborate regularly, but your work still feels very singular. How do you maintain that sense of authorship?
I love collaboration and wouldn’t be able to do what I do without my collaborators. I’m also across every detail so that’s probably why – It’s where the controlling part of my nature really thrives… probably to my detriment at times.
The new work feels very clear and stripped back, but still precise. What changed in how you approached making this album?
When making “A Sky Without Stars” we were extremely meticulous and considered about every detail. With this record there was definitely a little more freedom and sometimes we were more throw away… if it felt good that’s all that mattered. We didn’t spend hours on the sound of a high hat on this one. Just went with the flow a bit more.
I’m definitely intentional with my lyrics and music, always wanting to go somewhere within and really get to the bottom of what I’m feeling about whatever subject I’m exploring.
When you’re building a body of work now, do you think in terms of a full world, or does it come together more instinctively over time?
I’ve experienced both. The project I’m working on right now was an idea before the first song was written for it. But my last 3 projects were experiments and adventures and I didn’t know what we’d find at the beginning of those journeys.
How does your environment feed into what you make?
Most of my music is literally about the chaos and pressure we feel in London to pay for our lives here, to grow in the systems that work here and the parallel craving for nature and calm and peace.
Do you need distance to create, or can you find that clarity within the noise of everyday life?
Luckily I can find clarity here, possibly because it’s home and it’s all I’ve ever known. I do get distracted as well though.
More music. Always.
There’s a lot to hold, your work, your personal life, everything that comes with being visible. How do you stay connected to yourself through all of that?
I must admit I’ve not been well practiced in yoga and meditation the past couple years since becoming a mother. Probably a time I need it most but I always prioritise my music when I’m not with my son and probably need to find a better balance. Music does bring me a lot of energy and does connect me to myself so directly. But I could do with more quiet and calm.
Has your relationship to time changed at all, in terms of how and when you create?
I’m probably at the studio a bit less now and for shorter hours but I’m very inspired so am making lots of music. In the past I might have gone everyday and got barely anything done. I think I’m more focused now. Time is precious!
What feels like the natural next step for you? Is there something you’re moving towards, or are you staying open to what unfolds?
More music. Always.
Talent: ELIZA
Photographer: Katie Aird
Styling & Creative Direction / Interview: Lewis Stratton
MUA: Morgan Wyn
Hair: Tobia Bartolini at Werth Represents
Fashion Assistants: Alexandria NG and Logun Screen
