The blows of fate at a young age – though of course they can come at any time in life – leave marks that never quite fade. They shape you, become part of your story, and quietly alter the way you move through the world. Fortunate are those who are spared. For Holly Wellington, aka Holysseus Fly, a cancer diagnosis at only 25 was such a turning point. I begin with these lines because I truly feel that her music carries its depth, its vulnerability, and its beauty from walking through such moments — for who else could transform the depths of life into art, if not someone who has moved through them within herself?
Her upbringing was steeped in classical training, with jazz brushing the edges of her path, giving her both structure and freedom. It is perhaps this foundation that allows her to stretch her voice into places of raw openness without ever losing its strength. On her new EP A Red Sea, she carries us through a journey of parting and crossing: Anchors transforms the scars on her chest into symbols of survival, while Depths arrives like a whispered meditation that opens the door to hope. It’s a beautiful EP you find yourself replaying the moment it ends, simply to soften the silence it leaves behind. “It felt comforting to see my scars that way, as something anchoring me to life, keeping me here,” she says.
In our conversation with Holly, we talked about resilience and healing, about finding faith in small rituals, about her love of the colour red as the symbol of this artistic era, and about what it means to create with honesty while still protecting yourself.
header photo by Giulia Spadafora
A warm welcome Holly! We’re so happy to talk to you today. First of all, congratulations on your EP A Red Sea — we love it so much, it’s truly beautiful. How important are the reactions of others for you as an artist, or do you just do your thing?
Thank you so much! I really appreciate that. I think it’s nearly impossible not to be affected by the reactions of others, unless you’re completely, unwaveringly secure, which I don’t think many of us are! This being my second EP, I’ve definitely felt a bit more grounded compared to the first time around (I lost a lot of sleep over that one!).
I’m genuinely proud of this music and I love it deeply, so it means a lot to hear when it resonates with people. And then if someone takes the time to message me and share how the songs made them feel – that’s so incredibly moving. As a growing artist, it is so affirming to know that the art is landing and that it’s stirring something in others.
That said, I try not to depend on that feedback too much. The applause can definitely be addictive, but I know I need to stay connected to the real, lived experiences that inspired the music in the first place. I want to create art that sparks something in people, but I can’t be thinking about that while I’m making it. If that makes sense. It has to come from a true place. So, I guess the answer is it’s complicated!
You trained in classical music and also dipped into jazz, which really shines through your work in subtle ways. Do you think talent can be trained, or is it something you simply have?
I think you can have natural tendencies towards something, be drawn to an art form that you have a natural talent for. However I do think that anyone can train in anything and become amazing at it for sure!!! I believe everyone can sing.
In an interview you once said: “For me, mental health has had the most effect on my voice.” I know this is too big a theme to answer briefly, but what are a few practices that really help you take care of your mental health?
I think my faith is a core one, believing that there’s something bigger than me that I can trust when I don’t know the answer, trying to release control a bit. But also the usual stuff, try to go running, not drink coffee, go outside, take care of goats on a Thursday morning, morning pages etc. All that kind of stuff that is so hard to stick to but when I do it’s good!
“The applause can definitely be addictive, but I know I need to stay connected to the real, lived experiences that inspired the music in the first place.”
You were diagnosed with cancer at only 25, something no one can ever really prepare for. How did that life-changing moment reshape the way you approach music and life?
I think that question is too big for one answer but let me give you a few thoughts that come to mind. For one thing it gave me the kick up the arse that I needed. I was painfully insecure about my music before, it made me consider not being here and my legacy. So it made me start taking my solo music seriously as it is what I always wanted alongside all my collaborative work. Genuinely the first thing that came to my mind was, “I can’t die now I haven’t even released my first solo album yet”. I still haven’t, but it really is on the horizon.
It’s also made me release some toxic shackles, caring too much about what other musicians think about my work and embracing how much I love pop music. It’s helped me feel free to make music that feels more genuinely me.
You’ve also mentioned the anchor-shaped scars from your double mastectomy. How did you turn such a deeply personal experience into music and visuals, while still protecting parts of yourself?
I love using metaphors to process things like this. Around the time of my surgery, one of my best friends got a tattoo of a ship at sea and I’ve always been obsessed with the sea (I was born in a birthing pool!). That got me thinking about anchors and how they keep a ship steady and grounded.
It felt comforting to see my scars that way, as something anchoring me to life, keeping me here. They’re a mark of survival and safety.
For the live video, I wanted to take that pain and transform it. The red sequins, the gems on my scars, it’s about reclaiming the experience and making it beautiful. Anchors is also a love song at its core, it’s about being with someone in the midst of uncertainty and saying – you’re the person I want to be “swallowing uncertainty” with.
As for protecting myself… that’s something I’m always trying to navigate. I want to share honestly, but I also need to feel safe doing it. It’s definitely a balance I’m still learning.
“Believing there’s something bigger than me that I can trust when I don’t know the answer — that helps me release control a bit.”
Each of the three tracks on A Red Sea carries a lot of intensity. “Depths,” for example, with its spoken word and atmospheric backdrop, feels almost like a meditation rather than a typical song. What made you want to include this track as part of the EP’s journey?
It’s an interlude and an introduction to Anchors. It’s what I say in the live show too so I felt it worked to open the space up a bit between the tracks with it. I love interludes on a record.
How can we imagine your songwriting process — do lyrics come first, or is it usually the melody?
Chords always almost come first, I usually write at the piano. The melody and then lyrics. But honestly it can be a bit all over the place. I’ve been working on my production so recently some songs have been over sounds instead.
You co-wrote with t.l.k and produced at home with James Vine. What unique fingerprints did each collaboration leave on the EP?
The collaboration with t l k was really special. We didn’t know each other that well going into it, but we just jumped in and it worked. Their input touched every part of the process, and it opened me up to new ways of writing and thinking about songs. It was genuinely inspiring.
James Vine has been such a key part of Holysseus Fly from the very beginning. He’s my right hand through it all, the first person I share my demos with, and someone I completely trust to give me honest feedback even when it’s not what I want to hear.
For this EP, James wrote the beats, engineered my vocals and piano, and was by my side through almost every stage of the process. I wrote the songs, but his fingerprints are on every part of the production. It was a true collaboration.
Scrolling through your Instagram, I notice a lot of red. Was this a visual choice to mirror the EP, or is red simply a color you’re naturally drawn to?
Oh yes I came up with the red concept a while ago, it’s the colour of the EP, it’s the colour I see the songs, it’s the colour of this artistic era for me. All shades of red, and all textures. It’s a red hot sticky molten of red.
Finally, what is the most important thing in life to you right now?
Right now? Lunch. (smiles)
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