Eliza Noxon, a light-skinned woman with shoulder-length dark brown hair and glasses, smiles while seated against a bold geometric woven textile in hot pink, black, teal, and warm sunset tones, wearing a light gray sleeveless romper with a bright yellow bag and red shoes. Behind her is a large, colorful woven rug or tapestry with bold geometric shapes.
Eliza Noxon, a light-skinned woman with shoulder-length dark brown hair and glasses, smiles while seated against a bold geometric woven textile in hot pink, black, teal, and warm sunset tones, wearing a light gray sleeveless romper with a bright yellow bag and red shoes. Behind her is a large, colorful woven rug or tapestry with bold geometric shapes.

Eliza Noxon

Eliza Noxon crafts songs that are direct, honest, and deeply human. Blending traditional folk with an indie-rock sensibility, her music explores the tender chaos of loss, identity, and the aching strangeness of growing up. With open tunings and expansive arrangements, her debut record Good Monsters with Bad Habits is at once electric and intimate, a portrait of fractured identity, enduring love, and the long shadow of grief.
She debuted at twelve with her first single, “Hummingbird,” which appeared on Netflix’s Orange is the New Black and has since garnered over eight million streams. In 2017, she released her first EP, Save Your Breath, and has been slowly building toward Good Monsters ever since. The record was produced by Rilo Kiley bassist Pierre de Reeder, a longtime influence and collaborator.
Good Monsters marks a turning point for Eliza. It began as an attempt to make sense of early adulthood, leaving home, graduating high school, stepping into the unknown. But after the death of her brother in 2019, the album became something else entirely: a lifeline. “Writing these songs saved my life,” she says. “They allowed me to express the depths of my grief without fear of judgment or worry.”
While threaded with memories of her brother, the album ultimately tells a story of survival, how she’s reassembled her sense of self in the years since. The result is raw, vivid, and deeply resonant.
Her sonic touchstones include Big Thief, Typhoon, Pinegrove, and Feist, with lyrics that favor emotional clarity over polish. The music is as searching as it is grounded, reflecting the open tunings and open questions at its core.
Outside of music, she holds degrees in Education and Interdisciplinary Artistic Studies from Brown University, a major she designed blending performance, visual art, and sonic exploration. Since graduating, she’s worked as a puppeteer’s assistant in New York, taught kids to milk cows on a farm in Vermont, and spent a year aboard a schooner in the Caribbean, teaching sailing and sea shanties to underprivileged youth

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