BIOGRAPHY
Christopher Braide is a multi-platinum, 2x Grammy-nominated, Ivor Novello, ASCAP, and BMI award-winning British singer-songwriter, producer, artist, and musician based in Malibu, California. Across multiple decades, he has crafted some of the world’s most enduring pop classics, including seven UK and US #1 hits, blending art-pop and orchestral sophistication in collaborations with icons such as Sia, Lana Del Rey, Beyoncé, and Hans Zimmer.
Originally signed as a solo artist by Dave Stewart, Braide began his career under the mentorship of the Eurythmics legend, recording at Electric Lady Studios — an early chapter that revealed the melodic clarity and emotional precision that would define his future work.
He later co-founded the acclaimed Downes Braide Association with Yes keyboardist Geoff Downes — a long-running creative partnership whose albums, including Halcyon Hymns (UK #7, 2021), have become landmarks in modern progressive pop, merging classic British songwriting with widescreen cinematic scope.
WRITER & PRODUCER
Working with pop architect Simon Fuller and legendary A&R figure Clive Davis, Braide’s early success came through a succession of chart-topping hits:
“This Is The Night” (2003, US #1, 2x Platinum US, Billboard Music Award), “Dreams” (2004, US #1 Billboard Top Single Sales), “Invisible” (2003, US #8 Adult Contemporary, 2x ASCAP Awards), “Say Goodbye” (2003, UK #2), “Have You Ever” (2001, UK #1), and “Anything Is Possible” (2002, UK #1, Ivor Novello Award).
His work spans genres and generations, from “30 Minute Love Affair” (Paloma Faith, 2012, UK #2) and “Save Yourself” (James Morrison, UK #3) to “Ten Feet Tall” (Afrojack, Billboard Dance #10) and “Lullabies” (Yuna, 2012) — later reimagined by Diplo as “Forever” (2025, US #1 Beatport).
With Lana Del Rey, he co-wrote and co-produced “Million Dollar Man” from Born to Die (2012, 20 million copies worldwide), and for Nicki Minaj, he produced “Come See About Me” on Queen (2018, US #2).
RECENT SUCCESS
From his Malibu studio, Braide continues to write and produce for artists such as Sia, Lana Del Rey, and Beyoncé, while collaborating with Hans Zimmer, Diplo, and David Guetta, as well as film directors Baz Luhrmann and Brady Corbet, and actors Natalie Portman and Kate Hudson.
His decade-long partnership with Sia has yielded multiple Billboard #1s — including 1000 Forms of Fear (2014, US #1) and This Is Acting (2016, US #1) — with “Unstoppable” (1.5 billion streams) becoming a modern anthem of resilience, earning APRA Awards in both 2024 and 2025 for Most Performed Australian Work Overseas, and setting a record for over 100 weeks on Billboard’s Adult Contemporary chart.
Other milestones include “She Wolf (Falling to Pieces)” (David Guetta feat. Sia, 850M streams), “Flames” (2018, 1.8B streams, #1 Europe), and “Out There,” co-written with Sia and Hans Zimmer for the BBC’s Seven Worlds, One Planet, introduced live by Sir David Attenborough to over 100,000 people at Glastonbury.
ACCOLADES
• Winner, 2025 & 2024 APRA Awards – “Unstoppable,” Most Performed Australian Work Overseas
• Winner, 2023 BMI Pop Award – “Unstoppable,” Most Performed Song
• Winner, Ivor Novello Award – “Anything Is Possible,” Best-Selling UK Single (2002)
• Winner, 2x ASCAP Awards – “Invisible,” Most Performed Song on US Radio (2003/2004)
• Winner, Billboard Music Award – “This Is The Night,” Best-Selling US Single (2003)
• Winner, Teen Choice Award – “This Is The Night” (2003)
• Winner, Best Original Composition – Music + Sound Awards, “Out There” (2020)
• Grammy Nominee – This Is Acting (Best Pop Vocal Album, 2017)
• Grammy Nominee – The Great Gatsby (Best Compilation Soundtrack, 2014)
PHILOSOPHY & LEGACY
“Music has given me everything, and at times it has extracted its toll with equal precision. The industry can be both seductive and inimical — a labyrinth of acclaim and amnesia — but I’ve learned to find meaning beyond its quotidian theatre. The work itself became my compass, my quiet act of defiance against transience. I’ve been fortunate to build a life from these frequencies — songs that slipped beyond the self and took on their own sentience in the world.
In time, I came to see fame not as a summit, but as a distortion — a mirror that fractures more than it reflects. Around me, I’ve watched its casualties: once-radiant figures hollowed by the echo of their own mythology. Yet through it all, I’ve held onto something untouched — the quiet, almost childlike wonder that first drew me to sound. That innocence isn’t naïveté; it’s the one part of the self the world can’t commodify. It’s where the music still feels new.”
— Chris Braide