W: Pattie Bell I: Phoebe Cowley
‘This Time Next Year We’ll Be Millionaires’ is set to be a significant artistic statement and the perfect end to 2025 following the bands huge breakout year. It appears to be the perfect blend of sharp, relatable London storytelling and infectious, eclectic music.
Good Health Good Wealth are capping off a phenomenal breakthrough year—marked by massive festival slots at Glastonbury and the main stage at Reading and Leeds, plus significant radio airplay—with their ambitious narrative debut album, ‘This Time Next Year We’ll Be Millionaires’. The record promises a deeply personal yet widely relatable look at the struggles of being a twenty-something artist in London, structured as a week-long story.
The album’s core strength appears to be its narrative structure, with each song representing a day of the week. This framework allows vocalist Bruce Breakey to chronicle a journey from daily frustrations and escapism into hedonism, self-destruction, and eventual comedown. Crucially, the press release emphasizes that this is "not misery porn," as parental love steers the protagonist toward optimism by the end. This arc of "break-ups, booze and bouncebacks" suggests a compelling, emotionally complete story.
The music seems to be as eclectic as the narrative is structured. The title track single is noted for its feelgood flow incorporating drum 'n' bass, summery indie-pop, and ska rhythms. Comparisons to artists like The Streets, Antony Szmierek, and Bloc Party suggest a modern, genre-fluid take on witty, observational UK music. Previous singles like 'Full Circle' and 'Beautiful Boy' (which deals with a moment of clarity after self-destruction) indicate a sound that can shift from melancholy to euphoric.
Breakey's lyrical style is consistently praised for its dark wit, understated insight, and everyman charisma. References to cultural touchstones like Victor Moses, Phil Lynott, and The Fonz hint at the album’s distinct, slightly left-field British commentary. His quote, "You can always rewind the tape and record over the bad bits, but that’s madness man, the rough makes the smooth," perfectly encapsulates the album’s theme of accepting imperfection.
The entire album being written and produced by Bruce Breakey and Simon Kuzmickas highlights a strong artistic vision. With additional production from Joseph Wander and Fredwave, and mixing/mastering by Tom Waterman, the final product sounds professionally polished while retaining the raw honesty of the duo's vision. The vinyl's inclusion of extra content further deepens the narrative experience.