Words by Sara Cederberg
Melbourne-based musician Allysha Joy channels a deeply introspective vision of love into her latest album, The Making of Silk. Known for the soulful depth of her voice, poetic lyricism, and commanding presence behind the Fender Rhodes, Joy intricately blends jazz, soul, and modern R&B, building upon her work as frontwoman for the renowned ensemble 30/70.
On this self-produced record, Joy explores love through vulnerability and social consciousness, echoing the writings of bell hooks and the gentle yet profound poetry of Mary Oliver. Her music serves as both solace and statement—an affirmation that, despite life’s impermanence and inevitable pain, genuine love endures.
Off Shelf: You’ve spoken about stepping away from the church and rediscovering your own voice. Looking back, how do you feel that journey of breaking away and then rebuilding shaped your perspective — both musically and personally?
Allysha Joy: I wouldn’t call it breaking away or stepping away. I don’t think spirituality or our life’s unwinding movements and discoveries are that simple. In this moment, I am just devoted to continuing to learn and continuing to try and be present, trying to love more, and that is a beautiful thing. I am spiritually devoted to nature and, as an extension of that, to our connected humanity.
OS: With love being at the core of this album, you speak of it in an expansive, almost spiritual sense — one that holds space for complexity, change, and vulnerability. What has this process of redefining love taught you about yourself and the way you connect with others?
AJ: Oh, so much. This album continues to teach me that love is regenerative, that the more you give love and allow others to blossom in their own way, the more you invite people in to be themselves and respect their spiritual growth ~ the more you expand in yourself as well. The more you create love internally. This album brought a lot of pain and trauma to the surface as well, and moving through that has been incredibly challenging, revealing, and healing as well.
OS: You’ve worn many hats as a vocalist, songwriter, producer, and keys player. How do you balance these different creative roles without losing the essence of what you want to say or the emotional intention behind each track?
AJ: This is exactly why I produce, play Rhodes, work on the film clips, aesthetics, styling, etc. – because I don’t want to dilute the feeling. Every aspect of the art has to be connected to the music, to the song’s intention, and to my intention as a musician and human. I began producing because I didn’t want the essence to be lost by translating my ideas to someone else, especially to men – who make up 90% of the producers in the world – who have not experienced my way of being in the world. Who can embody the essence of this music better than I can as the writer?
I just try and follow my desire for creativity and learning in every moment, in what feels authentic for the music and my values.
OS: Your music often has this confessional, raw edge — yet it feels inviting rather than guarded. How do you create a safe space for yourself to delve into deeper emotions and share them so openly with your audience?
AJ: That’s really nice to hear. I think this comes from the understanding that beneath the personal is the universal — all humans just want to feel loved and cared for and understood, and we are pretty much all dealing with the same fears, so I try to express the raw, vulnerable truth of my own experience through the music, knowing that I am not alone.
OS: Collaboration is woven throughout your work — from your role in 30/70 to the many talented musicians on this album. What does sharing that creative space look like for you now, and how have these collaborations pushed you to think differently about your artistry?
AJ: Collaborating was everything to me at the beginning of my career, and it’s still so enriching. I love writing with 30/70 because everyone is a master at their instrument, so the combination will always result in something special. I also just think creativity is limitless, with endless learning and possibilities, so I never want to hold myself back in a way or say no to the potential of collaboration
OS: You’ve mentioned wanting “to embody the change” you seek in the music industry — particularly regarding diversity and self-expression. Could you share some key lessons or challenges you’ve faced as a self-taught producer and keys player making space for yourself and others?
AJ: Yeah. There have been loads of challenges, and I feel like I’m constantly trying to push people to understand that women aren’t just little men… and that women aren’t trying to sound like men! Whether that be in producing, playing, or writing. But actually, I want to make music for women and non-binary people so that the music resonates in our bodies. I also just want to continue to push the industry to ensure that musical spaces are safe and sustainable for non-males in so many various ways. And there is still a long way to go.
OS: My last and favorite question — what are you listening to currently, new or old, that is bringing you joy and inspiration for future work?
AJ: My favorite things right now are so disparate… Zimbo Trio – Zimbo is my new favorite thing! Joni Mitchell – Hejira is always and forever on repeat. I’m always listening to community radio PBS in Narrm/Melbourne and The Lot in Brooklyn and recently, I’ve also been listening to lots of Dilla again… Welcome 2 Detroit, especially.