Liz Stringer

“’Liz Stringer is one of the most powerful singer singwriters I’ve heard in a long time. I was instantly moved by the raw honestly of her voice and I’ve never heard anybody who writes like her’”

Frazey Ford

“Liz Stringer has become one of the most respected singer-songwriters on the national scene”


Anyone recalls a Chrissie Hynde-like balance of unsettling lyrical directness and pop composure”

– Rolling Stone

“All The Bridges blows in like a gust of fresh Antipodean air, revealing a vibrant and assured talent.”

– Exclaim!

“All the Bridges’ “…gives us the most imposing distillation of Stringer yet… transcending the influences of
individual producers, musicians and genres”.

– Martin Jones, Rhythms Magazine

“I am a big fan of Liz Stringer – and you can tell her that!”

– Bonnie Raitt

“The evolution of Stringer’s musical career is an ongoing process – always simmering, always producing something, whether it be an intimate solo record or a rollicking band album. Basically, Liz Stringer is doing her own thing, her own way, and that’s why we respect her so much.”

– Samuel J. Fell, Rhythms Magazine

“In anybody’s language, Liz Stringer is a star.”

– Jeff Jenkins, HOWZAT


Liz Stringer was playing piano before she could talk. The dye was cast young. She grew up in Melbourne, Australia, the youngest of three kids. Her Dad was a music teacher, her Mum a literature and history teacher. The house reverberated with music of some kind constantly. There were instruments and books on every surface. And the backyard was littered with Aussie rules footies, cricket bats and tennis racquets. Ball sports and art. It was a good way to grow up.

At thirteen Liz won a music scholarship to an elite private girls school. She spent a few years there, making the most of the grand pianos and the sports facilities. It was a supportive, but rigid, environment. At fifteen she started playing guitar. At sixteen she went to Germany, started a band and recorded her first demo with her friends. Onto cassette. She cut her performing teeth in Germany. And learned how to drink beer and smoke cigarettes. Everyone smoked back then.

She returned to Melbourne, went to her local high school, and began to write more and more songs. The guitar went everywhere with her. She busked for beer money and worked in a terrible buffet restaurant after school to save for a return to Europe.

After she finished high school she went back to Germany, picked up the band where they’d left it, borrowed a black Fender Stratocaster and a Bassman amp, secured a rehearsal studio in a World War II bunker and rehearsed religiously over the next three years. They played a few gigs. And had a lot of fun.

Then she went to England. To follow love, and obtain enough work to sustain her continuing life in Europe. She learned how to barkeep, she wrote more and more songs, played some solo shows and began to focus on the acoustic guitar again.

In 2003 she returned to Melbourne. And by 2006 had made her first album, “Soon” with her best mate, drummer Adam May. Twelve years later, she’s released five subsequent albums, toured all over Australia and in other corners of the world and calls some of the most influential roots musicians in the world among her doting fan base. Stringer’s highly anticipated sixth studio album was recorded in February and March of 2018 at Union Sound Company in Toronto’s east end, under studio co-founder and producer/engineer Chris Stringer. This recording, comprising the most personal and direct lyric content seen from Stringer’s pen to date, marks the most forthright articulation of her widely celebrated musicianship and sheer dedication to the art of the song, a combination proving to be an increasingly rare and potent force.

Due for a 2020 world-wide release, and accompanying tour dates in Australia, North America and Europe, Stringer’s 6th studio album heralds an artist that is arriving into her own as she sets her eyes to a rightful place at the table of the most significant and respected songwriters of the modern era.