Adelaide’s fast-rising pop star aleksiah channels bare-minimum love into an irresistible self-worth anthem on “Bullsh*t, Baby!,” a radiant standout off her EP ‘Good On Paper’ that peels back the gloss on intimacy, shame, anxiety, and the hard-won work of being good to yourself.

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Stream: “Bullsh*t, Baby!” – aleksiah

Being good on paper will never be as important as being good to yourself.

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Being taken for granted only works until it doesn’t – until you finally see things clearly and decide you’re done for good.

In that instant, your self-worth snaps into place with a smile, a shrug, and a perfectly timed “enough.” aleksiah’s “Bullsh*t, Baby!” channels that realization into a catchy, larger-than-life indie pop release, a feel-good sway that rushes forward with buoyant energy and a cool, irresistible glow. It’s loud in spirit even at its breeziest, a three-and-a-half-minute burst of sonic sunshine whose heat radiates through glistening, mellifluous vocals and melodies that feel designed to lift you up and pull you along.

Fun is the word – truly – but beneath that shimmer is a fire that refuses to be ignored.

You’re a pop psychologist
Needle in your fables, tending to my fist
You’re the cool philosophist
Read the situation, tell me how it is
You say I’m a hurricane
Blown out of proportion, always in the way
And I know I’m scared of change
But maybe not today

Released March 6 as the Adelaide pop star’s first offering of 2026, “Bullsh*t, Baby!” arrives at the heart of aleksiah’s newly released EP Good On Paper, out now via Chugg Music and Stellar Trigger. The five-song project is her biggest release yet, folding “Bullsht, Baby!” into a sharp, self-aware pop world built around desire, anxiety, shame, performance, and the messy private truths that rarely look as polished as they’re supposed to. Following the breakout success of 2025’s Cry About It – an EP that brought her viral hits “Clothes Off” and “The Hit,” four South Australian Music Awards, and a spot in the NME 100 of 2026 – aleksiah continues to carve out her own lane in modern pop: Candid, confessional, and unapologetically self-aware.

Since her 2022 debut single “Fern,” Alexia Damokas has steadily built momentum through viral singles, critical acclaim, and a growing international presence, all while refining a voice that balances emotional honesty with undeniable pop instinct. When Atwood last caught up with aleksiah around “The Hit,” she described her music as “for people that take themselves a little too seriously, but wish they didn’t” – a mission that feels even sharper and more fully realized on Good On Paper.

Bullsh*t, baby, you just hate me
And you do it on the daily
Bullsh*t, baby, you’re so lazy
Come and end it while you can
Bullsh*t, baby, drive me crazy
You’re just keepin’ me for safety
Bullsh*t, baby, don’t just date me
If you can’t even give a damn

“Bullsh*t, Baby!” feels like a bold return to the spotlight – a reintroduction that doubles as a statement of intent, signaling an artist stepping fully into her sound and setting the tone for an EP that refuses to confuse being wanted with being well.

aleksiah wrote the song from the perspective of someone finally seeing a bad situation for what it is – and finally deciding to leave. “I seemed to have a really bad track record of choosing people to either date or see that really had no interest in me or who I was as a person,” she explains. “Some of them I felt really didn’t really care if I was breathing or not, and it was frustrating that I didn’t see that at the time and kept staying when I had no idea why I was really there or why I was wasting my time, so I wrote this song looking back at myself essentially being ‘girl, why are you so stupid just leave.’” It’s both reflection and reclamation, looking back with clarity and stepping forward with control.

That reclamation pulses through the song’s sound, where lightness and intensity move side by side. A tight groove and shimmering production give the track its buoyant lift, while aleksiah’s delivery carries a looseness that feels effortless and intentional all at once. “We wanted to have people hear how much fun we were having while we made this song,” she says. “I actually bounced around and was smiling throughout all the chorus takes.” You can hear it in every line – the way her voice dances across the beat, the way the chorus lands with both bite and brightness, turning frustration into something you can move to.

You’re a fake monogamist
Show me who you’re callin’,
tell me who you’re with
Always play apologist
Never really mеan it, redirect your sh*t
I am sick of playin’ dumb
You don’t really lovе me, I am not the one
And that’s okay, but please speak up
‘Cause honey, I am done

Bullsh*t, baby, you just hate me
And you do it on the daily
Bullsh*t, baby, you’re so lazy
Come and end it while you can
Bullsh*t, baby, drive me crazy
You’re just keepin’ me for safety
Bullsh*t, baby, don’t just date me
If you can’t even give a damn

That contrast is no accident. “I almost wanted to change the past in a way… I wanted to re-write that narrative, with more of a ‘this is your last chance’ kind of vibe,” she says, leaning into a version of herself that knows better, demands more, and finally walks away. Where once there was hesitation, “Bullsh*t, Baby!” leans into confidence, flipping the script on relationships that settle for less and refusing to stay in spaces that don’t give back. It’s a song about walking away – but it never feels heavy. Instead, it glows.

That glimmer is what makes “Bullsh*t, Baby!” hit the way it does.

It’s empowering without preaching, sharp without losing its sense of play, and entirely committed to the joy of its own release. As aleksiah puts it, the hope is simple: “To not let anyone take advantage of you… If you’re not happy, leave!!!” It’s advice delivered with a wink and a hook, wrapped in melodies that stick long after the song ends.

With “Bullsh*t, Baby!,” aleksiah doesn’t just call out bad behavior – she transforms it into fuel. This is indie pop at its most radiant and self-assured, a feverish, fiery anthem that knows exactly what it is and exactly how it wants to feel. In embracing both the sunshine and the sting, she delivers a track that doesn’t just make you smile – it reminds you why you should.

That fire burns across Good On Paper, but aleksiah never lets it settle into one shape. “Good On Paper felt a lot like a big diary entry as I was writing it,” she shares. “It all came out within the span of a couple weeks. I was feeling deeply insecure about how perfect other people’s lives seemed, and wanted to write a collection of songs that explored the ugly foundations hiding underneath the brand new carpet. Troubles with love/sex, anxiety and mental illness, societal standards, hiding behind facades, and working through all of it to get to the other side. I want people to listen to this EP and feel that they’re not alone, and hope that they know being good on paper will never be as important as being good to yourself.”

Across Good On Paper, aleksiah keeps peeling back the gloss, each song exposing another place where desire, shame, and self-protection tangle beneath the shine.

The dreamy “Faker” opens the record by turning sexual anxiety into brash, glittering pop confession, its title phrase landing like both a joke and a wound as aleksiah sings, “I’m in my head all the time, I can’t get past the line.” The sweaty, seductive orchestral pop anthem “Be the Diva” flips the good-girl script with wicked theatricality, pushing past shame and social permission until the bridge erupts into one of the EP’s clearest declarations: “I’m bigger than the people telling me what I am not!” It’s aleksiah at her most deliciously unrestrained, making the devil on her shoulder into a liberating inner voice rather than a warning sign. When she sings, “the fame unto the seeker, the grape unto the eater,” the song frames wanting as appetite, not arrogance – a pleasure to be claimed instead of explained away. By the final chorus, “diva” no longer sounds like an insult; it sounds like a crown.

On the other side of “Bullsh*t, Baby!,” the propulsive, synth-soaked “Punch Drunk Love” keeps dancing while the room tilts, catching the blur between desire and depression in the aching admission, “I just wanna feel like all the others do.” By the time “Think About It” closes the record, the shine has thinned into something rawer and more exposed – “I wouldn’t leave it behind, but, I think about it sometimes” – and the full shape of Good On Paper comes into focus: A pop record about the things we perform, the things we hide, and the long, uneven work of choosing ourselves anyway.

In the end, “Bullsh*t, Baby!” doesn’t just mark the moment you’ve had enough – it’s the clarity, the confidence, and the clean break that comes with finally walking away.

Within Good On Paper, it becomes something even bigger: The EP’s brightest act of refusal, a sweet, spirited takedown that sits between intimacy’s complications and selfhood’s hard-won release. aleksiah doesn’t pretend healing is tidy, glamorous, or easy – she just makes it sound impossible to resist.

Atwood Magazine caught up with aleksiah to talk about “Bullsh*t, Baby!,” the world of Good On Paper, the shame running through this era, and the confessional pop songwriters who continue to light the way. Read our conversation below, and stream aleksiah’s new EP wherever you get music.

An undeniable artist to watch, aleksiah is making pop music that hits every nerve at once – catchy enough to take over your body, cathartic and expressive enough to stay in your bones, and alive with the sweetness, bite, depth, and electricity that make her songs feel instantly memorable and arrestingly her own.

I loved you and your mess
But I can’t make this sh*t make sense
I loved you and your mess
But I know I can’t love you ’till death

Bullsh*t, baby, you just hate me
And you do it on the daily
Bullsh*t, baby, you’re so lazy
Come and end it while you can
Bullsh*t, baby, drive me crazy
You’re just keepin’ me for safety
Bullsh*t, baby, don’t just date me
If you can’t even give a damn

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:: stream/purchase Good On Paper here ::

:: connect with aleksiah here ::

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Stream: ‘Good on Paper’ – aleksiah

A CONVERSATION WITH ALEKSIAH

aleksiah: It was such an amazing year, a very busy one for me. Last year I feel like I started to feel really solid in my music and the direction it was headed, and I’m really glad songs like “Clothes Off” and “The Hit” resonated with everyone as well. I really want to keep building on bringing people into the aleksiah world and my biggest hope is to grow in my music.

aleksiah: I’ve always looked up to songwriters, they’re the magic makers in my mind, some of my inspirations are writers like Bonnie McKee, Sarah Aarons, Justin Tranter, Annika Bennett, so many more, I really look up to anyone that has the ability to make a pop song feel so confessional, candid and personal. It’s the kind of talent I aspire to have in my own music, so I’m excited to keep that going.

aleksiah: I seemed to have a really bad track record of choosing people to either date or see that really had no interest in me or who I was as a person. Some of them I felt really didn’t really care if I was breathing or not, and it was frustrating that I didn’t see that at the time and kept staying when I had no idea why I was really there or why I was wasting my time, so I wrote this song looking back at myself essentially being, “Girl, why are you so stupid – just leave.”

aleksiah: Thank you! We wanted to have people hear how much fun we were having while we made this song, so with my voice I actually bounced around and was smiling throughout all the chorus takes, kind of acting in a way haha.

aleksiah: I almost wanted to change the past in a way, whereas before I was begging for crumbs, I wanted to re-write that narrative, with more of a “this is your last chance” kind of vibe, so it was very much intentional! I wish I could go back and act like that when I was living through those relationships though.

aleksiah: I wrote this EP in the span of two very intense weeks, so all the songs were written at the same time. I think all the songs share the same outlook of some kind of shame, whether it’s centered toward yourself or if it’s being shameful of letting yourself be treated in a certain way.

aleksiah: To not let anyone take advantage of you, and to not be complicit in any kind of relationship, romantic or not. If you’re not happy, leave!!!

aleksiah: Good On Paper felt a lot like a big diary entry as I was writing it, it all came out within the span of a couple weeks. I was feeling deeply insecure about how perfect other people’s lives seemed, and wanted to write a collection of songs that explored the ugly foundations hiding underneath the brand new carpet. Troubles with love/sex, anxiety and mental illness, societal standards, hiding behind facades, and working through all of it to get to the other side. I want people to listen to this EP and feel that they’re not alone, and hope that they know being good on paper will never be as important as being good to yourself.

aleksiah: I would love to recommend some amazing pop artists, Adela, Eli, Saya Gray and Holly Hebe are some of my favs right now.

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:: stream/purchase Good On Paper here ::

:: connect with aleksiah here ::

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Stream: “Bullsh*t, Baby!” – aleksiah

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 © Jess Gleeson

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