Debbii Dawson Readies Where Have All the Good Men Gone? EP, Drops Euphoric Title Track

Debbii Dawson has a new EP due 6/26 on RCA, and its title track leans into a strange, celebratory energy: bleak subject matter wrapped in neon ’80s pop euphoria. The song, also called “Where Have All The Good Men Gone?”, is jaunty where its title sounds resigned — a hallmark move for an artist who turns cinematic sweatband-era kitsch into something unexpectedly sincere.

The LA-based singer first flickered into wider view after a viral moment on Americas Got Talent in 2022 with an ABBA cover. She followed that visibility with two EPs, Learning in 2023 and How To Be Human in 2024, and last year issued singles such as “Gut Feelings” and “I Want You.” This new release feels like a continuation and a refinement: pop that remembers the past without getting trapped in nostalgia.

Production-wise, the track is a collaboration with Joel Little, known for his work with Lorde. Dawson co-wrote and recorded the song with him, and the result foregrounds her crystalline top line over a pulsing, economical arrangement. Theres a same-sense-of-velocity to it that will call to mind Chappell Roans uptempo moments, but Dawsons tilt is sunnier, less barbed.

“Every day, I watch the news and think, \”Wow, this is terrible.\” And every day seems worse than the day before. I find myself wondering if there are any good people left on this planet, why am I seeing supervillains everywhere I turn? I was binging Smallville at the time, wishing that Superman would swoop in and save the day. Thats the headspace I was in when I met up with Joel Little at his home in Los Angeles. I found a spiderweb in my car, but no spider, so I took an Uber to his house just to be safe. We wrote the song pretty quick because he had a flight to Middle Earth, also known as New Zealand, to catch. We bounced some production ideas back and forth over text but really dove in the next time we were together in person. A fun fact is that a large portion of the production for this song was done on the Korg RK-100S2 keytar, its so versatile and has been a staple in many of my recent projects. At the time, I had also just seen Toto and Men At Work in concert, and it left me walking on air. What an immensely talented group of people; they were definitely additional inspirations. I wanted to write about our grim reality in a non-emo way. I hope this song shakes listeners up a bit and causes action. Good people are hard to come by these days, but if we each try to be the good were so desperately looking for, we just might have a chance.”

The lyric is pandemic-era malaise refracted through a pop prism: the complaint about “supervillains everywhere” plays like contemporary folklore, and the video leans into that melodrama — Dawson battles a cartoonish antagonist and finishes with a keytar solo, a small, triumphant joke that doubles as genuine musicianship. Shes not making ironic pastiche so much as mining the emotional sincerity inside these flamboyant gestures.

Technically, the record nods to hardware and live performance. Dawson cites the Korg RK-100S2 keytar as central to the production, and she name-checks having just seen Toto and Men At Work, which she calls a buoyant inspiration. Those references matter: they place the EP in a lineage of big, stage-ready pop rather than bedroom synth nostalgia.

This new single and the forthcoming EP feel like a strategic tightening of Dawsons sound. Her earlier material hinted at this potential; here, the hooks are sharper, the production leaner, and the mood more deliberately theatrical. Whether shes aiming for viral immediacy or long-form artist development, the choices on display suggest someone thinking about pop as both spectacle and moral argument.

The Where Have All The Good Men Gone? EP is out 6/26 on RCA.