New single ‘waiting on time’ continues to showcase Bria’s personal experiences through her candid and autobiographical lyrics about life. Written about her own mental challenges and the importance of having time to heal, the tender lyrics are coupled with jangly guitars and a cheery melody, building in measured intensity to a euphoric chorus of release.

Bria says, “’waiting on time’ at its core is about going through mental challenges and losing yourself in the process, and the healing process that comes after. For me, it takes time to feel like myself again after I’ve gone through something difficult, and this one is just about the wait and the inevitability that I will find myself again. When I’ve been at my lowest, it’s hard to see through the fog of it all so I wanted this song to be a reminder to myself – and in general – that if you do all the right things to get yourself out of the rut, the fog can clear, it’ll just take some time.”

Alongside new single ‘waiting on time’, Bria has announced the debut better joy EP heading into blue produced by Mike Hedges (The Cure, U2, Manic Street Preachers). The 6-track EP features previous singles ‘carnival’ and ‘what a day’ alongside new single ‘waiting on time’, as well as three brand-new tracks, ‘couldn’t run forever’, ‘quiet thing’ and ‘can I land the plane?’.

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Brand-new track ‘What a Day’ tells a story of generational trauma, inspired by Bria’s real life family events. Produced by Mike Hedges (The Cure, U2, Manic Street Preachers) and mixed by Robbie Nelson (Rolling Stones, Beck, Hozier), ‘What A Day’ is paired with ironic lyricism and catchy hooks and is a glimpse into relatable generational experiences that can shape a modern generation.

Bria says, “selfishly, I kind of had a moment where i wanted to blame someone else for parts of me I didn’t quite understand. It’s not about not taking responsibility, it’s about understanding yourself in context, forgiving yourself for your behaviours that are not necessarily your fault. And no one is exempt, generations before us went through so much and repressed so much, so it kind of makes sense to me that it trickles down to our doorstep. At least now that I’ve written as song about it, something good has come of it, so thanks Granny.”

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After a feverish period of creative maturing, she delivers a full-length debut full of personality and off-the-cuff lyrical ease. Heading Into Blue was produced by the legendary Mike Hedges (The Cure, Manic Street Preachers) and features guitar by Travis’s Andy Dunlop. “I might not know myself completely yet,” says the 27 year-old, “but with this music, I’ve landed organically on something that feels completely me”.

The first single ‘carnival’, mixed by 2 time Grammy winner Robbie Nelson, is out now. Gearing up for the first single from the album – ‘carnival,’ which was inspired by the positive outlooks of those she most admires, Bria reflects on the lyrics, “Sometimes I just want to be a cup half-full kind of girl but my mind has different ideas.”

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New single ‘Situations’ is a reflective yet punchy track with gritty vocals, a fast-paced upbeat melody and jangly, scuzzy guitars. Lyrically it looks back at past actions and examines how things could have been handled differently after having the time to heal. Produced by Steve Osborne (New Order, Happy Mondays) and Mike Peden (Lighthouse Family) and mixed by Caesar (Boygenius, Wet Leg, Beach House), the track continues to showcase the band’s ability to balance dark lyrical content with buoyant melodies.

Bria says; “At the heart of this song is an apology. An acknowledgement of past actions, self-reflection and owning up to the times you let someone down. No-one’s perfect, sometimes running away from something feels like the easiest option at the time, but it can only fuel self-doubt and guilt later on. It’s like pressing the ejector seat to be able to survive, but missing out on the adventure itself because fear holds you back. It’s all the things I wished I could have figured out sooner and had the guts to say face to face.”

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New single ‘Talking Around’ documents betrayal and the harsh realisations that come with both truth and lies. Building with velvety yet gritty vocals, the song launches into a frenzied chorus of guitars backed by a sharp melody and forlorn vocal reprises “dark days, what a sad truth, dark days, did I really know you”. Produced by Steve Osborne (New Order, Happy Mondays) and Mike Peden (Lighthouse Family) and mixed by Caesar (Boygenius, Wet Leg, Beach House), ‘Talking Around’ continues to showcase Better Joy’s enticing fusion of contrast and the ability to balance dark lyrical content with exhilarating melodies for a unique take on alternative pop.

Bria says; “’Talking Around’ tells the story of a fall out and calling out someone who twists the truth to suit their own perceptions and reputation. Trust is a powerful bond and when broken, it’s destructive. You end up hearing their muddled-up version of events, and it can show a side of that person you didn’t know was there. It makes you question the entire relationship you had and also your own judgment of other people, sometimes making it harder to let people into your life.”

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An alternative love song that pores over a relationship, ‘Dead Plants’ continues to showcase Better Joy’s addictive fusion of contrast. Balancing brooding lyrical content and distorted shoegaze guitars with a layered melody and jaunty chorus that revels in the bittersweet beauty of love “I love you, but you make it hard to like you”, the track is both life-affirming and nostalgically melancholic. It was mixed by Caesar (Boygenius, Wet Leg, Beach House). The video, directed by Cal McIntyre (The Last Dinner Party), is a deadpan humoured visual set to a woodland backdrop.

Bria says, “’Dead Plants’ explores the complexities of love; when relationships are drying out and you don’t have a lot left to water them with. When they’re one-sided; when you’re at the end of your tether but the love is unconditional, so it’s both a nightmare and equally hard to let go; to accepting and understanding that someone won’t or can’t change. The love isn’t lost, it’s reinvented and re-shaped to cater to our own needs and boundaries.”

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