Set against woodsy melodies and delicate strings, Late Bloomer Season finds Roy reflecting on the twists and turns that brought her back home with acceptance and empathy. “I do feel a bit like a late bloomer, because this is technically my first full length release as well… I’ve taken the long way round. This album feels like the truest representation of who I am.”

While recording Late Bloomer Season, Roy only had one directive in mind—to tear up how she’d worked in the past. This meant no over-produced vocals, live instrumentation, and new production partners. “It felt like a radical shift in how I approached the music, because I had only been creating in one specific way in London,” she confesses. The “tender, vulnerable songs” she’d been collecting for years required a similarly open approach from her collaborators. “I worked with Joel Waddell as an engineer on this project. It was definitely overwhelming. In the first couple sessions I felt really scared and vulnerable. I’d been working on previous projects that I had released with the same producing partner, so it just felt like a whole new chapter.”

Roy knows she could succeed simply writing for and backing other artists onstage. It would have been easy to sit back and ride that wave, but that’s not why she makes music. “Ultimately, the reason that I do music is to be my own artist. Wearing different hats and having those other skills are just byproducts of needing to survive as an artist and in the industry.”

Roy doesn’t know what comes next—whether she stays on the east coast, heads back to London, or returns to the road. What she does know is that she’s no longer chasing an outcome. She’s finally comfortable sitting inside the process—and trusting herself to figure out the rest.