A Quick Chat with Holly Hebe

Can you tell us about the inspiration behind Don’t Come Crying? Is this song based on a personal experience?
Don’t Come Crying has a double-edged meaning for me. I’d say first and foremost it’s about the turmoils of an on-and-off relationship and trying to fight the urge to let someone back in after they hurt you. It’s also a more personal reflection of some of my past behaviour, letting people walk all over me whilst I try to cut things off cleanly (but always managing to keep the door a little ajar somehow). This song feels like a bit of a line in the sand for me, and it was really healing to write.

How did the songwriting and recording process come together for this track? Were there any standout moments?
It was one of those writing processes where the main hook line ‘don’t come crying to me’ felt like it was dropped into my brain by a stork or something and it really stuck. I was really fuelled and inspired by the premise of that one phrase and built the song from there. I got to work with Ethan Reginato who did executive production on the track once I had established the sound world and instrumentation. It was so much fun to work on this one.

You recently performed Don’t Come Crying live at your sold-out headline shows, how did it feel to share it with an audience for the first time?
It’s quickly become my favourite song to play live! It was especially healing to hear it sung back to me so soon after release, especially the line ‘you fight for the sake of it, I’m not a fcking idiot,’* which is one of my favourite moments.

Your sound has been described as dreamy indie-pop with raw storytelling. How do you balance vulnerability in your lyrics with creating something that feels sonically uplifting?
I love replicating the meaning of certain lyrics or phrases in the sounds I use during the production phase. In the second verse of Don’t Come Crying, I used a rotor cabinet on my vocals to have them jitter from left to right, kind of emulating someone trying to speak their mind, but being nervous and timid about it. I think a lot about dynamics and meaning in my production to help shape the emotion, even if the sound world is sparkly and upbeat. It makes the creative process so fun and thoughtful.

You’ve had a huge start to the year – SXSW Austin, sold-out shows, festival slots. What have been some of your biggest pinch-me moments so far?
2025 so far has really given me a whole new drive towards my music! The adventures I have had so far have all been massive pinch-me moments, but the standouts would have to be eating pancakes at IHOP at 3am after my last showcase in Austin, hearing everyone singing my songs back to me at the Sydney and Melbourne shows, and everyone dressing up in their best Hebe-core outfits for the shows. It is so exciting and crazy that people are emulating my outfits, hair clips and all, when they come to see me live. All their effort and thoughtfulness isn't lost on me at all.

What’s next for you in 2025? Can we expect more music, more shows, or any exciting collaborations on the horizon?
You can definitely expect more music and shows, and some sneaky little surprises in there too. My team and I are always shooting ideas back and forth to each other and I can’t wait to see them come into fruition.