After a year in which Good Health Good Wealth seemed to be everywhere at once – lighting up Glastonbury, punching through the main stages at Reading and Leeds, and racking up airplay across Radio 1, 6 Music and BBC Introducing – you’d be forgiven for assuming the London duo were already seasoned veterans. But 2025 has simply been their breakthrough writ large: a whirlwind festival run, a sold-out European tour with Big Special, and today the release of a debut album that sharpens all the stories they’ve been hinting at all year.
This Time Next Year We’ll Be Millionaires unfolds across a single, spiralling week – seven days stretched into a decade’s worth of twentysomething graft, self-sabotage and fragile hope. Each track locks onto a day in vocalist Bruce Breakey’s life, tracing the emotional whiplash of trying to build an artistic career in a city that delights in swallowing ambition whole. The frustrations pile up until escapism tips into full-blown hedonism, yet the album never wallows. Instead, it crackles with dark wit, stray cultural references – from The Fonz to Phil Lynott – and a pulse that darts between drum ’n’ bass, indie-pop shimmer and ska-flecked buoyancy. And at the centre of it all is Breakey’s everyman candour – a voice that navigates through the album’s interplay of rhythms and influences with deliberate precision.
Through its ups and downs, the album finds moments of tenderness: little wins, a little parental guidance, and the sense that tomorrow might actually be better than today. It’s personal but instantly relatable – tracking break-ups, late nights, and the missteps of trying to make your way in London – while leaving room for stubborn optimism to shine through.
In anticipation of today’s release, CinemaChords caught up with Bruce Breakey to explore how the band alchemize influences as far-flung as Madness, Ian Dury, hip-hop, and punk into something distinctly their own; how his bandmate Simon Kuzmickas’s Lithuanian roots sharpen, challenge, or play against his London-born sensibility; and how one of the album’s most striking lines – “You can always rewind the tape and record over the bad bits, but that’s madness man, the rough makes the smooth” – threads through their approach to making music.
