Amidst the muddy haze of London’s non-stop twentysomething rat race, a world where Monday blues seamlessly transition into Sunday night regrets, Good Health Good Wealth is a lifeline tossed with barbed wire. Their debut record, This Time Next Year We’ll Be Millionaires, out on November 14, is more than just a record, it’s a musical guide through one week in the life of singer/songwriter Bruce Breakey, who pushes through burnout, brief peaks, and that pesky “what if?” voice in his head.

Bruce says, “It’s not a glamorous world. More often than not, I’ve spent my days fighting to keep my relationships, my sanity and my bank balance in check. But the little wins have always kept me going and at the end of the day, that’s all we can do, keep going. As ‘Full Circle’ says, ‘Be brave and believe or behave and die anyway.’ Because ‘This Time Next Year We’ll Be Millionaires’.”

Backed by multi-instrumental man-about-band Simon Kuzmickas, Good Health Good Wealth have fashioned a sound out of seemingly opposing forces, raw vulnerability and “eff it all, it’s all going to hell anyhow!” attitude, à la Arctic Monkeys’ kitchen-sink realism and The Strokes’ swagger, with a dark enough humour that prevents it all from degenerating into Portraits From Hell.

The genius of this record is in its conceit, every song is a day of the week, playing out like a diary page written with indie rock kinetic energy. It begins with a sparse piano musing on “Monday” (through “I Forgot”), Breakey grappling with his fraying mind: “But I could go out for one.” This is PAINFULLY relatable, a struggle between necessary self-care activities and another pint. However, by Wednesday, it all kicks in. “Full Circle” is a taut, riff-tastic song energised by enough frustration that it feels like pacing through rainy Soho, until “Beautiful Boy” introduces a painful longing via a melody that contours lyrics suggesting a loss of innocence in this madcap whirlwind that is London.

The album’s genius conceit is that every track embodies a day of the week, but not in tidy calendar order. Good Health Good Wealth use the seven-day cycle as a metaphorical spine, not a literal tracklist. “I Forgot” lands on Sunday (the reflective comedown), “Full Circle” channels Wednesday’s midweek spiral, and “Beautiful Boy” aches like Friday’s last grasp at innocence. The rest of the record unfolds like a scrambled diary Monday’s petty frustrations might hit track 1, Saturday’s crash could be track 5, but the emotional arc is what matters. It’s a week in the life, not a timetable.

From a production standpoint, it’s a lean machine with Breakey and Kuzmickas working with tips of the hat to Joseph Wander, Fredwave, and mixer Tom Waterman to guarantee each element is prominent without resorting to excess. The effect is a record whose beats allow each component to breathe, “angular guitars can pierce the mix, but there’s enough space for ’emotional punches’ to register.” Lyrics are peppered with Easter eggs. The Fonz’s cool detachment and Phil Lynott’s brooding swagger add instant cultural clout. Meanwhile, ‘cautious optimism’ erupts in the closing ‘Title Track.’ That’s ‘hopeful but deserved only after last night’s crash-landing.'”

What makes this more than your average indie record is the complete self-awareness. Amidst a scene where vulnerability is expertly expressed (Phoebe Bridgers or Fontaines D.C., anyone?), Good Health, Good Wealth revel in the chaos, burnout is not romanticised, but is by no means a source of suffering. They’re playing harmony with your quarter-life crisis, a nod in time with your inner chant to “that’s me!” After supporting high-profile festivals (Glastonbury Festival and Reading & Leeds) and their own headline tours, this is a record that exudes this energy.

If 2025 is your year of questioning it all, then “This Time Next Year We’ll Be Millionaires” is the record that’s like, “Me too, now let’s dance through the doubt.” Not every first record is a home run like this one, but Good Health Good Wealth comes out swinging, and this record is just the beginning.

Pour one out for the rest of this week, this one will be worth the hangover.

4.5/5

RACHEL BROWN

IMAGES FEAR PR

TOUR DATES

NOVEMBER

20th – Leeds, Headrow House (SOLD OUT)

21st – Manchester, Deaf Institute (SOLD OUT)

22nd – Glasgow, McChuills (SOLD OUT)

27th – Birmingham, Dead Wax (SOLD OUT)

28th – Bristol, Louisiana (SOLD OUT)

29th – London, Oslo (SOLD OUT)

30th – Brighton, The Hope & Ruin (SOLD OUT)

DECEMBER

13th – Dublin, Whelan’s (SOLD OUT)

FEBRUARY 2026 – SUPPORT TO BIG SPECIAL

13th – Norwich, Waterfront

14th – Nottingham, Rescue Rooms

15th – Newcastle, Digital

18th – Leeds, University Stylus

19th – Glasgow, SWG3 Warehouse

20th – Manchester, New Century Hall

21st – Birmingham, O2 Institute

24th – Bristol, Electric

25th – Southampton, The 1865

27th – London, Roundhouse

MARCH 2026 – SUPPORT TO BIG SPECIAL

6th – Dublin, Academy – Green Room

7th – Belfast, Ulster Sports Club

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