Lelia Broussard seizes the confidence women are taught to soften on Jupiter Winter’s “Golden Boy,” a radiant indie pop anthem that makes ambition sound utterly irresistible as it introduces her forthcoming debut album, ‘The Devil You Know.’

Stream: “Golden Boy” – Jupiter Winter

The voice in my head that used to say it was too late for me was wrong.

* * *

The golden boys never ask permission to want more.

They take up the room and trust the door will open, treating ambition like a birthright instead of a confession. Their hunger is praised as drive, and the world keeps clearing a path for them to go faster.

Bright, restless, and infectiously radiant, Jupiter Winter’s “Golden Boy” breaks from the sidelines in a rush of pulsing synths and glistening vocals, seizing the freedom, confidence, and space women are still taught to surrender. Its dreamy indie pop sweep carries the strain of wanting more while still doubting you deserve it, capturing the instant ambition sheds its apology, stops asking for permission, and steps fully into the frame.

And in that rush, “Golden Boy” becomes an anthem for anyone done waiting their turn.

Turning over a brand new leaf
Watch it grow into vivid green
Change is slow and hard to feel
One step backwards, I’m lost at sea

Tell me I’m pretty
Tell me I’m special
I know it doesn’t matter
But I just can’t help it

Atwood Magazine is proud to be premiering “Golden Boy,” the enchanting, self-possessed lead single from Jupiter Winter’s forthcoming debut album, The Devil You Know, out January 15, 2027. A sleek, spirited reverie with nerves sparking beneath its shine, the song drives straight into the collision between ambition and self-doubt, giving its hunger a chorus big enough to break free. Every hook pushes the artist closer to the life she wants – without shrinking herself to reach it.

Behind that charge is Los Angeles singer/songwriter, producer, and multi-instrumentalist Lelia Broussard, who created Jupiter Winter as a space to follow her own instincts all the way through. Written and self-produced from her East LA home studio alongside partner and co-producer Royce Whittaker, The Devil You Know places Broussard in full command of her music – and “Golden Boy” makes that freedom both undeniable and impossible to miss.

Longtime Atwood readers may also recognize Broussard from Secret Someones, the harmony-rich New York indie pop quartet we championed more than a decade ago. In the years since their split, she’s toured and written with The Midnight while steadily shaping a musical world of her own under the Jupiter Winter name. Her first release since 2024’s “We Are Not Machines,” “Golden Boy” reintroduces her and launches this next chapter with renewed purpose – placing Broussard’s voice, instincts, and creative autonomy squarely at the center.

Her return to the spotlight carries a broader reckoning with the double standard built into the very idea of success.

And while the fantasy itself may be fun to bask in, the imbalance beneath it cuts deep.

“‘Golden Boy’ is about wanting the freedom, confidence, and permission to take up space that so many women are taught to apologize for wanting,” Broussard tells Atwood Magazine. “It’s a song about ambition and self-doubt, but it’s also about stepping out of the sidelines and trusting the voice in yourself that says you’re allowed to want more. For me, this song and this album are about taking my power back and trusting that it’s not too late to step fully into myself.”

The music gives that resolve motion. Echoing keyboard chords fan out over a taut electronic beat, while layered textures carry a faint ‘80s dance-pop afterimage – with the likes Robyn and MUNA flickering at the edges, yet Broussard firmly at the wheel. Buoyant and inviting, the arrangement orbits just above the ground, lending “Golden Boy” an ever-so-slightly otherworldly pull – a subtle nod to Jupiter Winter’s cosmic name – while its fears remain recognizably grounded and earthly.

The production thrives on friction: Exhilaration braided with uncertainty, velocity shadowed by fear. “I wanted it to feel open and hopeful, but not in a blind optimism kind of way,” Broussard explains. “The sonic world on this record, and in this song, comes from me embracing my own strengths as a musician and not trying to fit into anyone else’s mold. It’s just me and what I like, what I want to hear. I’m not trying to be anyone else anymore.”

The verses make that ascent precarious. “Turning over a brand new leaf / Watch it grow into vivid green,” she sings, only to drift backward almost immediately: “Change is slow and hard to feel / One step backwards, I’m lost at sea.” The leaf promises rebirth, but the sea takes away her footing. The plea that follows – “Tell me I’m pretty / Tell me I’m special” – exposes how quickly resolve can bend toward external approval.

The chorus answers by accelerating. The repeated cry “I wanna go faster / Give me what I’m after” converts hesitation into momentum, while the melody opens wide enough to carry the demand beyond her own story. The golden boy embodies a whole permission structure: A person free to take risks, want loudly, and emerge celebrated rather than diminished.

I wanna be the golden boy
Out West in a brave new world
I wanna go faster
Give me what I’m after
I don’t wanna just be your girl
On the sidelines waiting my turn
I wanna go faster
Give me what I’m after

Like I’m the golden boy
Golden boy

For Broussard, that figure arrives with a familiar cinematic grin.

“The image that comes to mind is Tom Cruise in Risky Business,” she laughs. “The man who can do no wrong. He’s a playboy and she’s a slut. He’s powerful and she’s a bitch. The list goes on.”

Her sharpest lyric strips the fantasy bare: “Visionary or a bitch / Just an object you reduce.” The couplet names the bargain women are forced to navigate, admired until their appetite becomes inconvenient and punished when they refuse to stay palatable. The second verse keeps the cost visible – “I hate myself for the smallest things / Bruise so easy it’s killing me” – ensuring the song’s defiance never erases the bruises beneath it.

I hate myself for the smallest things
Bruise so easy it’s killing me
I’m a loner in a bright disguise
Jumping off but I’m petrified

Tell me it’s easy
Even if you don’t mean it
I know I’m going somewhere
Even if I can’t I can’t see it

By the final refrain, aspiration has become identity. What begins as “I wanna be the golden boy” ends as “I’m the golden boy.” The shift from “I wanna be” to “I’m” contains the entire arc: She no longer reaches for the title; she claims it.

“My personal takeaway from creating and putting this out is that the voice in my head that used to say it was too late for me was wrong,” Broussard says.

This realization opens directly onto The Devil You Know, Broussard’s long-awaited first full-length under the Jupiter Winter name. The album takes its title from the familiar inner narrator that keeps us tethered to old habits and outgrown selves, and “Golden Boy” answers it by choosing self-definition over delay. As the record’s first offering, it establishes the stakes in one vivid stroke: The hardest pattern to break may be the one insisting your moment has already passed.

Now, Broussard is ready to reveal the full breadth of what she has built.

“I’m so deeply proud of this record, and it feels surreal that the time has finally come to begin to share it with the world,” she smiles. “It feels honest and true to where I am today, and that’s all you can hope for as an artist. I put everything I have into every part of this. Not just the music, but the visuals and entire world of this record. I’m already so encouraged by the community that’s growing around this project of people who are inquisitive about themselves and the world around them.”

I wanna be the golden boy
Out west in a brave new world
I wanna go faster
Give me what i’m after
I don’t wanna just be your girl
On the sidelines waiting my turn
I wanna go faster
Give me what I’m after

Like I’m the golden boy
Golden boy

As an introduction to The Devil You Know, “Golden Boy” is magnetic. From its first keyboard swell to its last emphatic refrain, the song is built to move – but its staying power comes from the truth beneath the hook. It names a hierarchy so normalized it often slips by unchallenged: Men are celebrated for the same certainty women are asked to soften.

Broussard keeps that disparity visible without sacrificing pop pleasure, making private frustration singable and shared. Catchy, cathartic, and clear-eyed, “Golden Boy” gives everyone taught to second-guess their own reach a place inside its final declaration.

Stream “Golden Boy” exclusively on Atwood Magazine, and let its radiant pulse remind you that wanting more is reason enough to begin. Then dive into our candid conversation below as Broussard takes us deeper into the self-built world of Jupiter Winter – from the song’s forgotten beginnings to the long road toward The Devil You Know. Her answers reveal the years of persistence behind this moment: Jupiter Winter is here, and the future is Broussard’s to define.

I wanna be the golden boy
Out west in a brave new world
I wanna go faster
Give me what I’m after
I don’t wanna just be your girl
On the sidelines waiting my turn
I wanna go faster
Give me what I’m after

I’m the golden boy
Golden Boy

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:: stream/purchase Golden Boy here ::

:: connect with Jupiter Winter here ::

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Stream: “Golden Boy” – Jupiter Winter

A CONVERSATION WITH JUPITER WINTER

Jupiter Winter (Lelia Broussard): Thank you for having me! Over the years, I’ve spent a lot of time working with other artists, which taught me so much and allowed me the space to grow and evolve into who I am today. At the end of the day though, being an artist myself is so important and intrinsic to who I am as a person. I needed to create the space to make music fully on my own terms again, and Jupiter Winter is that place for me.

Jupiter Winter: I’ve spent years writing, touring, and supporting other people’s worlds, but this album is me stepping fully into my own. I try to write songs that are honest and curious about the human condition. I believe there’s something powerful in trying to say the truth out loud.

Jupiter Winter: In such a huge way. I’ve always held such reverence for the producers and collaborators I’ve worked with over the years, but I never thought that producing my own music, especially, was something I could fully do myself. I think finding that autonomy in making this record was more important than I realized at first. It allowed me to learn how to embrace my own strengths and unique perspective, to trust myself more in the process.

Jupiter Winter: To me, “Golden Boy” encapsulates a feeling of restlessness with this sense of hope and freedom underneath it. It feels like summer, driving with the windows down. This record goes to a lot of places, but I wanted to start with that feeling of freedom.

Jupiter Winter: I started writing “Golden Boy” just before the pandemic hit in 2020. I wrote the first verse and chorus, and then I forgot about it. It sat on a hard drive for years. I found it again late one night while listening to old demos from over the years with my husband, Royce, who is my incredible collaborator on this record, and I was immediately struck by that push and pull feeling. The next day, the rest of the song came very quickly. Every woman has a unique and personal understanding of the double standards and inequities we experience moving through the world. “Golden Boy” is my kind of tongue-in-cheek way of wondering how freeing it might feel to be a man.

Jupiter Winter: The image that comes to mind is Tom Cruise in Risky Business. Haha. The man who can do no wrong. He’s a playboy and she’s a slut. He’s powerful and she’s a bitch. The list goes on.

Jupiter Winter: Women are so often reduced to their beauty, youth, and palatability. It’s something I have wrestled with as a woman in her thirties, especially being in music and preparing to release this album. There is this idea that you are literally expired after the age of twenty-five. I think that is such bullshit, and I want to be an example to other women and artists that that just isn’t true. We have to work to stop ourselves from internalizing that narrative, and I think for systemic change to occur, it takes seeing others doing it. I hope this makes people feel empowered to be unapologetically exactly who they are.

Jupiter Winter: It begins by stepping into yourself and taking your power back. We all have our own hangups and issues to work through, but it’s up to us as individuals to investigate, learn to grow, and move past the ways that we hold ourselves back in life.

Jupiter Winter: I wanted it to feel open and hopeful, but not in a blind optimism kind of way. The sonic world on this record, and in this song, comes from me embracing my own strengths as a musician and not trying to fit into anyone else’s mold. It’s just me and what I like, what I want to hear. I’m not trying to be anyone else anymore.

Jupiter Winter: I’m so deeply proud of this record, and it feels surreal that the time has finally come to begin to share it with the world. It feels honest and true to where I am today, and that’s all you can hope for as an artist. I put everything I have into every part of this. Not just the music, but the visuals and entire world of this record. I’m already so encouraged by the community that’s growing around this project of people who are inquisitive about themselves and the world around them.

Jupiter Winter: The way people internalize songs and their meaning is such an individual experience, and I would never want to prescribe the way a song should be interpreted. I assigned my own meaning to it when making the song, but I think everyone’s takeaway is valid. It’s one of the things I love most about writing songs. My personal takeaway from creating and putting this out is that the voice in my head that used to say it was too late for me was wrong.

Jupiter Winter: I’ve been LOVING the Slayyter record. The bass lines on that record get me so obnoxiously pumped. She has such a strong vision and is one of the most exciting artists I’ve discovered recently. I love the new MUNA record. I’m also still listening to Winnetka Bowling League’s record Sha La La from 2024. Top-tier songwriting. Matthew Koma, of Winnetka Bowling League, was our label mate in the Secret Someones days, so it’s been exciting to follow this new project from him.

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:: stream/purchase Golden Boy here ::

:: connect with Jupiter Winter here ::

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Stream: “Golden Boy” – Jupiter Winter

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