Interview with Ella Collier
- Sabrina Shahryar
- 4 hours ago
- 10 min read
What was the writing process like for “I DON’T DO DRUGS”?
Ella: The session for “I DON’T DO DRUGS” was my first time back in the studio since the heartbreak highlighted in this song happened. We wrote the song fairly recently, actually. In music industry time, writing a song and releasing it a month and a half later in the pop scene is a tall order, but I felt so strongly about this song, I changed my whole album release schedule to get it out. I was working with new people whose work I truly admired. I’ll admit I was a bit nervous. I jokingly mentioned to my friend Nicole, who’s a phenomenal writer in Nashville, how funny it would be if she came out for the session. That’s exactly what she did. She hopped off the plane (at LAX… just kidding, the Burbank airport… but close) and Ubered straight to our session. That’s who Nicole is; she shows up for you. Not only is she an incredible talent, but she is a great friend. Joe (one of the producers on the song) had an amazing synth sound (the one you hear at the start of the song) prepared to show me, and I instantly loved it. We played with multiple concepts, but that first melody and lyric, “I put it all out on the table,” kept coming up for me. Once we locked in that first verse and I randomly blurted out how I wanted the song to be called “I DON’T DO DRUGS,” it was off to the races. I didn’t know why yet, I didn’t know how yet, but I knew that’s what the song needed to be.
At the time, I was navigating a huge loss and heartbreak in my life, which resulted in me having to rebuild my career while the momentum was starting. As one tends to do when they’re coping, I was seeking external validation through men and accolades, all while grieving my favorite person not being in my life anymore. Staying sober during all of this was a complete nightmare, but also my north star. It’s so like me to include every detail of my life in songs. We wrote and recorded the song that day. It was definitely like every ounce of pity and hilarity in hopelessness splattered into the room and showcased this satirical mirage of trying to move on during heartbreak. I went home that night and knew it had to be released immediately. I thank my collaborators Joe, Dan, and Nicole for holding my experience with so much grace and letting this song turn into what it was while I threw all my darts at the wall.
What was the creative process behind the single artwork cover for “I DON’T DO DRUGS”?
Ella: I love this question. I am so proud of how the cover photo turned out. As I mentioned, I was so inspired by this song when I came home from the session. I was listening to it non-stop on repeat all night, which is when I came up with the visual concept you see for the song. I wanted to nod at the perfect parts of California and make the visuals centered around this Hollywood/California aesthetic since I talk so much about how California and the Hollywood dream we were supposed to chase together now has to be solely mine. I had always wanted to shoot at this rock boulder in the middle of the ocean; I felt it represented being stranded. I also intentionally picked the colors pink and blue, and white for this almost innocent dress-up feel, and my outfit looks out of place not only for my brand but for me as a person on purpose. I dressed up as this sweet, pretty girl and tried to be all the things you wanted me to be, and you still left me stranded. There’s elements of pity party, tantrum-esque energy, and this frustration held in the body in the photos because there’s nothing I can do. I wanted to emulate that energy of frustration, but the kind of frustration that has nowhere to go. I wanted the delicate nature of my outfits to juxtapose the energy I was giving in the photo, and the more harsh sound design in the song. It’s also intentional that all of the visuals for this song were shot in the light of day, while many of my other songs play in the night time. An added bonus and fun fact is the photographer is Nicole’s cousin, Emile, so we really had the whole family involved for this one, which I think made it even more special.
How does it feel knowing your debut album DANGEROUS is about to release?
Ella: I feel really proud. This is my first time rolling out an entire album. The commitment to making and releasing a project is like a long-term relationship; it has its peaks and valleys and takes work, but the love and passion is the foundation for a beautiful garden to grow from the investment and care towards it. I am also extremely proud of my vulnerability on this record as well as my unapologetic storytelling. I think there’s a version of me who would have been scared to write these songs, and I’m glad I did because the whole point is to put my experiences into song so somebody else feels seen. At the end of the day, this album is only supposed to reflect my experiences coming face to face with my ego in hopes to reflect the journey of the listener. If it can help empower or enlighten somebody, that would be my hope.
How did you decide on the title for the album?
Ella: I have a single called “DANGEROUS,” which was the first song I started for this album. At the time, I had no idea that it would end up as the centerpiece for this project, but I knew there was something special about it. In my song “DANGEROUS,” I narrate the exploration and romanticization of the “rabbit hole,” which is my version of the spiral of anxiety that feeds my drive to succeed, perform, overthink, break down, and build up. It can be extremely dangerous when I am in the middle of that rabbit hole, because I don’t have the bandwidth emotionally, spiritually, and sometimes even physically to have any perspective. I can’t see behind or in front of me; my ego takes over. Every single song on this project represents the manifestation of the extremes of the ego, from lust and desire to bitterness and jealousy, to pity, to greed, while also highlighting the thrilling, more “fun” aspects the ego brings to the table. Something “DANGEROUS” sparks adrenaline, quick dopamine, can look shiny and sexy, but also holds long-term power over your detrimental downfall. As an alcoholic who is sober now, I constantly toe the line between extremes and find excitement in them. Exploring these extremes in my music has been a safe way to process my deepest fears and desires, and also almost serves as a warning to the listener that this is what happens when you let the ego drive the bus, which can end up being very dangerous.
Are there any songs on the album that haven't been released yet that you’re excited for fans to hear?
Ella: YES! One of my most prized possessions is the last song on the project. I think it not only beautifully ties together the project, but it can also stand alone so beautifully. I find the last song on the project is a full circle moment of acceptance; acceptance of all the different versions of who you are, embracing your instincts, because at the end of the day, we are just beastly beings learning how to survive. The last song on the project is called “ANIMAL,” and I started writing it around the same time we wrote “DON’T FOLLOW ME,” which I have been blessed to see how it’s taken on a life of its own because of my fans and listeners. “ANIMAL” is extremely authentic to me and my story and gives me the permission to make mistakes and be as big and loud as I want. I hope it does that for you, too. I hope to also roll out a short film with this song that really represents the culmination of the project and what it means to work and live your dream while balancing the act of caring more than you’d like to say.
What was the songwriting/producing process like working with so many great producers and writers?
Ella: I always feel like any time I make music, in its purest form, which luckily for this project, I got to experience that the majority of the time, is a divine ordeal. My favorite songs always feel channelled from another place, like God placed the idea into my head, and the producer I’m working with that day’s angel guides helped them understand the vision I can’t explain into words. You never know what you’re going to get when you first walk into the studio that day, and it never ceases to surprise me and encourage me when we crack the code in the studio and leave with the songs we do. Some of my favorite songs on the project were made when I was completely emotionally/physically/and spiritually depleted and burnt out and/or heartbroken, but my collaborators squeezed the magic out of me like getting the final recipes to the lemonade.
Every writer and producer I have had the privilege to collaborate with on this project held this project with extreme care; they all knew how important and specific this task of making this album was to me, and they all showed up with the same amount of attention and care. I find that there’s reflections of their own journey’s facing their fears and deepest desires, too, in the songs, which is a key to having multiple perspectives of the depths of this experience. I am blessed for the talent and magic everyone brought to the music and to my soul on this one.
Was there a particular order you released each single?
Ella: Of course, everything happens for a reason, and every detail was important to me for this rollout. From how I wanted this project to be introduced, to how the journey of humanity and ego is not a straight line, we feel like we’re going up, then we crack and fall completely on our faces, just to get up again. The rollout intentionally takes you through these ups and downs. I started the album in a specific way and ended the album in a specific way. The details in between are up to the listener, because I have my personal reasons for how I best wanted to present the project, which brings me the peace to put the period on the final sentence of the story, but the interpretation, internalization, and receival of each song has been unique to each song, I am so interested to see how this project is received as a whole. I will also add that this has been a huge learning process for me, recording, rolling out, and releasing an album that can professionally show up in the pop world, be taken seriously, and also be digested and consumed in a world so overloaded with algorithmic attention as an independent artist with no label. I have had to really commit and dedicate a lot of myself in many ways to each individual song, but the people who have come together and believed in me to help make this project happen, from a collaborator's standpoint to a team and management standpoint, are the reason the project is even seeing the light of day.
Do you have any tips on going out sober?
Ella: Funny enough, I did just make a video on this in the spirit of my song “I DON’T DO DRUGS”
Which you can watch here.
I also wrote them out, of course, these I live by.
Ella’s tips for going out sober:
DANCE - lose your inhibitions in movement, you’ll be surprised how many people join you.
Make sure you have a sweet treat drink or a seltzer, my go-tos: sugar-free Red Bull, Topo Chico seltzer, or a Coke with a lime.
Be the most embarrassing at the party. ie, dance the hardest you’ve ever danced, use the photo booth, play in the arcade, hug strangers, no one’s gonna remember anyway, and you’ll realize how fun it really is to be you.
Talk to people! Don’t think twice about it, leave your ego at the door. I’ve been able to have some really meaningful conversations that I actually remember. At the end of the day, people are just looking for connection, and you’d be surprised how easy it is to connect with people when you show up in a real way.
^ SOCIAL ANXIETY IS SCARED OF SOBER PEOPLE! ^
If you smoke cigarettes, get the skinny capri magentas. They’re cute and take the edge off in a sober, cute way, plus you can have some really good conversations with people outside, not yelling over the music.
When it’s time to leave, it’s time to leave. Don’t stay for one second longer. You’ll be juggling a cute dance party with a 7 am pilates class and 9 am work call with ease and style.
Leave the people wanting more.
Talk to the doorman, talk to the bar tenders, show them they’re valuable, karma is a fun dance with recognizing other people’s contribution to the environment.
Keep it cute: never take a sip of anything anyone’s offering.
Did you meditate today? Meditate. Before you go. Keep it grounded, keep it cute. Set an intention for the night, you’ll see how the magic unfolds.
Slay your makeup, slay your outfit - neither will get messed up because you’re not messy anymore, and you will get some really good pictures, and feel confident without the mascara running down your face.
Always drive yourself. Never Uber. That way, you have control over when you come and go, plus you can safely save money.
Reminder: you are cool and normal AND unique without the help from chemical dependence, watch how easy you find dopamine going out like this x
What do you hope listeners take away from the song?
Ella: I say this in many interviews, but I hope the listeners of “I DON’T DO DRUGS” take away whatever THEY resonate with and need from the song, whether it’s to help them feel validated or get through a breakup, friendship breakup or a transitional period or if it makes them feel seen, confident and hot, or if it’s for another reason I haven’t mentioned here, that’s what music is for. It’s to create space for the listener to have their own experience. Everyone deserves to have that. I am just grateful so many people are listening and resonating.
If you could create the perfect environment for fans to listen to the album, what would it be?
Ella: This goes hand in hand with my last answer. I really find that the “perfect” environment is up to the individual listener. I don’t wanna put parameters on how this should be experienced. I feel blessed that my music can tend to resonate in multiple different spaces since we come from such a deep place lyrically, but also intentionally create the catchy pop feel that can be danced to, and a sonic world that can be taken in alone or in big rooms. The perfect environment for me is a place where someone feels seen honestly. That being said, I do hope they can be heard many times in a live context, though. I find that performing live is a culmination of everything I do, and that’s where I feel connected to you all the most.
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