Lazy Day Released Video For “Getting Good”

With the Nov 8th release of their debut album, Open the Door, just around the corner, Lazy Day – the moniker of London-based songwriter Tilly Scantlebury (they/them) – return with a final pre-release taster of the record. The single is accompanied by a Music video directed by Abi Sinclair.

New single ‘Getting Good’ finds Scantlebury at the peak of their powers – crafting urgent, insistent indie-rock swept along by momentous choruses and driving repetition of its titular refrain. An exploration of the paradox of becoming good at things that are bad for you, Scantlebury tackles procrastination head on: the powerful mantra of the song serving as a battle cry for indie-rock slackers everywhere, a wake-up call to the doomscrollers, a klaxon to the daydreamers.

“The song is about my menial but recurring feelings of failure,” explains Scantlebury. “And how I can become really good at behaviours that aren’t helpful, habits that stop me from doing what I need to do. I’m not sure that many people would recognise this kind of avoidance in me, but I wanted to stare at that secret tendency of mine head on.”

“Open the Door is about possibility and capacity,” they continue, “but ‘Getting Good’ is about those times when I’ve been too worried to push the door open myself, and it’s been easier to keep it closed”: ‘I know I could be good if I just left the house now / And stepped into the world, it’s not that I don’t know how.’ Writing the song helped me refocus on the things I really truly want to be good at. Getting good as a continual process, but one that requires you to move on.”

‘Getting Good’ comes accompanied by a video, directed by Abi Sinclair, that follows Scantlebury stepping out into the world and facing the everyday, while equally reflecting the album’s wider themes of domesticity. As they explain: “The themes of Open the Door in many ways are focussed around the home, and I wanted the video to be located there. We used a contraption called a ‘Snorricam’, which was attached to me and gives this intense single point perspective. Normally when the viewer is that close to a protagonist there’s a feeling of intimacy and understanding, but we wanted to deliver the opposite as the day-to-day frantically circles around me.”