Lizzie and the Makers

On their 2026 Everything’s Fine EP, Lizzie and the Makers unveil a nuanced reinvention of their already singular blend of Southern-tinged rock, dream pop, indie rock, and airy introspection.

With golden-voiced frontwoman Lizzie Edwards now the New York quintet’s primary songwriter, Everything’s Fine’s five songs are more overtly hooky and keyboards-forward than prior Makers material, draping epic, emotive melodies in otherworldly, subtly unsettling auras.
“I’ve grown as a songwriter and in my perspective on things,” mulled Lizzie. “There are still guitars in there but I’m leaning even more into the ethereal quality of the songs. A lot of it just has to do with everything we’ve been through as a global citizenship over the last five years.”

In contrast to The Maker’s prior two studio albums (2015’s Fire From the Heart of Man and 2021’s Dear Onda Wahl), Everything’s Fine was created by just Lizzie and Brooklyn producer Rob Guariglia (The Veronicas, Native Sons). Evolved from Lizzie’s keys-based demos, the new songs further define her vulnerable yet defiant signature, with Guariglia as a creative foil.

Lead Everything’s Fine single “Pills” is a gauzy, hugely relatable ode to pressing pause during trying times as a survival mechanism, its major-key melodicism laced with melancholy undertones and contemplative space. It channels Lizzie’s love for contemporary artists connected as much by subversive attitude as sound – St. Vincent, Wet Leg, Kacey Musgraves, Lola Young – alongside her longstanding love of PJ Harvey, Liz Phair, Ann Peebles, and Billie Holiday.

“Wasted” frames soaring, cinematic hooks with verses sepia tinted by Lizzie’s more ominous lower range. Lamenting time squandered with ill-matched partners, it veers The Makers closer to electro-pop than ever before, with staggering results. In contrast to “Wasted,” which was crafted with Guariglia in a single session, “Where the Light Doesn’t Follow” was a three-year Lizzie labor of love as she strove to do its deeply personal subject matter justice: standing with her mom in the wake of her father’s pandemic passing, seeking joy again amidst devastation.

All five Everything’s Fine tracks will be singles, each marked by unique, multimedia release events in non-traditional venues including a restaurant garden and a private home. As well as The Makers’ – bassist Brett Bass (Gregg Allman, Bernie Worrell), drummer Steve Williams (Sadé, Digable Planets), keyboard player Rob Clores (Black Crowes, John Popper Band), and guitarist Jim Parker (Nikki Lane, Jaime Wyatt and The National Reserve) – famously engaging live performances, these intimate, immersive happenings also showcase fellow creatives from Lizzie’s circle including tattooists, visual artists, and chefs.

“My goal with all of these songs is you hear it, and you don’t have to think about or analyze it; it just instantly makes you feel a certain way,” she concluded. “The songs are almost like a drug that takes you to another place, but a place that’s very specific to the person listening to it.”