In Mississauga’s music scene, few artists balance a powerhouse vocal presence with community advocacy as effectively as Stephanie Braganza. From original pop-rock compositions to animal rights activism, her career centres on authentic, purposeful expression. We step back from the stage lights for a glimpse into the heart of the songwriter.

Rob Aguiar: Every song starts somewhere, but not every track makes the final cut. Which song feels like the most honest representation of who you are as an artist, and why?

Stephanie Braganza: Probably “Feel A Little Less”. The song is about wanting to escape the prison my own mind had become. Writing it was cathartic, but it wasn’t a cure. I think it represents who I am as an artist because I often turn some of my most painful experiences into music. My hope is that it reaches people who need to hear it and helps them feel a little less alone.

RA: Is there a specific lyric, whether from your own catalogue or another artist, that deeply connects with you?

SB: Two lyrics immediately come to mind:

“Ripped out the roots along with my heart” (Feel A Little Less). The “root” is a close family member. It’s looked down upon to cut immediate family off, and it’s something I still struggle with. But imagine how deeply and how often your family must have hurt you to feel you had to resort to that.

“I am so afraid, what will I be without you?” (Until We Meet Again). I still get emotional singing this line. I took my late dog Pom-Pom everywhere, including to work. Near the end, I remember the anticipatory grief of wondering who and what I would be without him.

RA: Last year you released "Feel A Little Less" and "Until We Meet Again", a tribute to your late dog Pom-Pom that received partial funding from the Mississauga Arts Council. Much of your work ties to animal welfare. How do you balance using your platform for advocacy without letting the message overshadow the music?

SB: I don’t really see the music and the message as separate. Animal advocacy is a huge part of who I am, so it comes from a genuine place. My song “Chains of Silence” is a good example. The music video begins as a science fiction story where I’m abducted by aliens. The viewer sees me as the victim, hopefully feeling compassion for what I’m experiencing, before discovering that my treatment represents what cows endure in the meat and dairy industries.

I wanted people to feel something before realizing they were receiving an animal rights message. Even without the video, the lyrics stand on their own, pleading on behalf of farmed and exploited animals.

RA: You have a new single, “The Child Inside”, coming out October 22. You finished writing it over a year ago. Why share something so personal now, and what’s the story behind Poppsy, the stuffed dog on the cover?

SB: I actually wrote “The Child Inside” over a year ago, without knowing whether I’d ever release it. At the time, I wasn’t really thinking about an audience. I was trying to put feelings into music that I’d carried with me for most of my life, some of which I still struggle to understand or make peace with.

I think one of the hardest things about childhood experiences is realizing how much they can continue to affect you as an adult. You can grow up, build a life for yourself, go to therapy, only to realize those experiences are still influencing how you see yourself and the world. As a music teacher who works with a lot of young children, I’m often reminded of how different my own childhood was, making it even harder to come to terms with. That’s something I wanted to explore through this song.

As for why I’m releasing it now, I don’t think there was ever going to be a moment when I suddenly felt comfortable sharing it. I’m still anxious about it. This year broke me in a way I didn’t expect and made me realize how the same painful cycles continue to repeat themselves in my life. This song needed to be set free and fly, even if I can’t. I’ve always believed music can connect people through experiences they might otherwise feel alone in, and I hope this song can do that for someone.

Poppsy, the stuffed dog on the cover, was a source of comfort when I was little and didn’t feel safe. I still have him today. He’s a reminder of both comfort and pain. Having him on the cover felt like acknowledging that the little girl who needed him all those years ago is still a part of me.

RA: When writer’s block sets in, what’s your go-to reset ritual?

SB: When I get stuck, I don’t force the words. I go back to the feeling. Melody usually leads me into a song, sometimes before I have any lyrics! I record lots of voice notes because I’m afraid of losing the feeling I’m trying to capture.

The lyrics come in fragments, and I piece the story together around the melodies. “Until We Meet Again” took years to finish because writing about Pom-Pom was so emotional. Finishing it helped me heal a little more. Sometimes you have to sit with the pain long enough to turn it into something meaningful.

RA: Looking ahead, what three professional or personal goals are you striving for?

SB: First, to keep releasing meaningful original music that connects with people.

Second, to grow my one-on-one online voice lessons. I’ve been teaching for nearly 20 years and love helping students in Canada and the US improve their voices!

Third, to find a better balance between paid work and creating my own music. I’m grateful to be busy, but the work that pays for making music also leaves me less time to write it!

RA: At the heart of every great song is a story. Whether commanding a festival stage or sharing deeply personal music, Stephanie Braganza’s commitment to authenticity remains constant. We look forward to her next chapter.

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Artist Glimpse: Mississauga's Stephanie Braganza

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