Long before Y2K nostalgia became one of pop’s biggest trends and hyperpop entered the mainstream conversation, LIZ was already creating her own futuristic vision of both. Now, with the release of her latest album Prototype, that vision has finally come full circle.

The record blends glossy pop nostalgia, club-ready energy, hyperpop experimentation and emotional escapism into a cohesive world that’s unmistakably LIZ. Alongside the album arrives focus track ‘Jus Wanna’, a euphoric late-night house anthem produced with longtime collaborator Jimmy Harry and Dutch DJ FS Green. Drawing inspiration from house, UK garage and Y2K pop, the track perfectly captures the album’s vibrant, futuristic spirit.

Across a career spanning more than a decade, LIZ has consistently blurred the lines between bubblegum pop, R&B, dance music and avant-garde electronic production, earning admiration from the likes of Pharrell Williams, SOPHIE, Charli XCX, Diplo and Kim Petras. With Prototype, she’s celebrating artistic conviction, creative persistence and the power of staying true to your vision long before the rest of the world catches up.

We caught up with LIZ to chat about the new album, Y2K aesthetics, working with some of pop’s most innovative creatives and what’s next on the horizon. Read the Q&A below.

Hi LIZ! How are you? I’ve been a huge fan since near enough the beginning of your career – I had ‘Pandemonium’ on repeat when it came out and it’s still one of my all-time favourite sing-along anthems! Looking back, how has your journey as an artist been so far? What have been some of the highlights and challenges?

“Ah, ‘Pandemonium’! That song was actually a bold release for me. It was a totally unapologetic pop song that had no elements of the underground whatsoever. It’s almost punk in that way. Sarah Hudson is a beast of a songwriter.

“My journey as an artist has definitely had its ups and downs, but I can honestly say I’m proud of everything I’ve released. Each project represents a different era of my life and the scenes I’ve been a part of.

“Some major highlights have been working with Pharrell and SOPHIE – two incredibly kind, visionary and almost alien-like talents. One of the biggest challenges was the pandemic. I’d just released Planet Y2K and had booked an international tour for 2020 and 2021, only for everything to be cancelled. Of course, so many artists went through the same thing, but it was still a difficult moment.”

I absolutely adore your Y2K hyperpop aesthetic. Where do you draw inspiration from when it comes to your visual identity?

“For this album cycle, we wanted to lean into something a little more high-fashion and feminine. We looked at early-2000s Dior campaigns and played around with sensory textures like silicone, silk and glass.

“Of course, there’s always a little Britney and Zenon: Girl of the 21st Century mixed in there too.”

You’ve just released your new album Prototype. What are the songs on the record about, what does the album mean to you, and what do you hope listeners take away from it?

“Prototype is equal parts vulnerable, cheeky, sexy and sweet.

“There’s a lot of love and desire woven throughout the record, including some unrequited feelings that can transport you right back to emotions you probably felt most intensely in high school.

“I’d love listeners to reconnect with their inner nostalgic teen and embrace the anxious dreamer who gets lost in fantasy and daydreams.”

Can you take us through the songwriting and creative process behind the album? What was your favourite part of making it and what did you find most challenging?

“These songs were written over the course of several years. Some tracks didn’t make the final cut, but I feel these ten songs create a really cohesive body of work.

“World-building has always been incredibly important to me, and developing the creative direction alongside James Orlando was magical as always. We built mood boards, collected fashion references and developed the visual world at the same time as the music.

“I especially cherish all the days and nights spent working in Jimmy Harry’s studio in the Hollywood Hills while we slowly pieced this project together. He truly sees me as an artist and cares deeply about what I do, and I’m incredibly lucky to have him in my corner.”

You’ve collaborated with some incredible artists throughout your career, including the legendary SOPHIE. What have you learned from those experiences, and who would you love to work with in the future?

“My collaborators have taught me to trust that my ideas are valid and to follow my instincts.

“I remember the first time I was in the studio with Charli. She would freestyle melodies straight into the room mic without overthinking anything. Watching her work gave me the confidence to do the same, regardless of who’s in the room.

“JC Chasez approaches lyrics in a similar way. He’ll throw out rhymes and ideas for hours without worrying whether they sound silly or random. You never know what’s going to spark a great concept.

“I’d love to make a Miami Freestyle EP one day, so anyone who’s interested in that should definitely hit me up.”

Finally, what’s next for you? Do you have any upcoming shows, projects outside of music or anything else you’d like to share?

“I’ve been writing music for TV, film and advertising, and I also have a side project called Gold Punch that I’ll be releasing soon.

“Lately I’ve really enjoyed writing demos for K-pop artists too. At heart, I just love being in the studio and creating music.