Introducing: Ella Thompson

Melbourne’s soul sensation Ella Thompson returns with Ripple on the Wing, a powerful fusion of classic soul and contemporary vibes, set to drop on November 15, 2024, via Hopestreet Recordings. Fresh off BBC 6 Music spins from Craig Charles, Thompson teams up with a stellar lineup from Melbourne’s soul scene, including members of Surprise Chef, to create an intoxicating soundscape where harpsichord, organ, and lush vocal harmonies meld seamlessly with funky rhythms. Inspired by icons like The Shangri-Las and Renee Geyer, *Ripple on the Wing* journeys through love, self-realization, and empowerment, capturing the warm, unfiltered sound of a band playing straight from the heart.

1. Your new album Ripple On The Wing is set to release on November 15th. Can you share what inspired the title and the overarching themes of the album?

The album title comes from the lyrics of the song “Changes”: “Tiny thing, ripple on the wing, connect to the big. Where do I really fit? If we feel the same, would I fall? Like gravity’s law, I’d be lost for the last time.” This phrase sums up what many of the songs I write are about, particularly this album. It explores our interconnectedness and reflects the reason we tell stories: to connect and see ourselves represented through universal human feelings, ultimately helping us feel less alone in what feels like an increasingly fractured planet. It’s about finding our place in both the microscopic and the universal. That’s what soul music means to me—songs of love, resistance, and shared humanity.

2. You mentioned in your notes that making this album felt like a return to your roots as a musician. Can you elaborate on the specific influences from your childhood that inspired you during the songwriting process?

My parents played a lot of vocal jazz, and they named me after Ella Fitzgerald. Etta James was my gateway from jazz to soul, and I discovered Australian soul icon Renee Geyer when I was about 12. Her records from the 70’s blew my mind, she did a lot of covers of James Brown, Donny Hathaway, and Gladys Knight, so I learned about those artists through her versions first. When I was 15, Renee heard my demo, and I had lessons with her, spending hours listening to music with her. I went on tour with her at 16. Since then, I’ve wanted to explore many different genres, be in bands, learn to produce, and dive into dance music and synths, now making music under my own name but I feel like with this record and Domino, my last EP/LP, I’m returning to my first love.

Renee always said, “Don’t take the jewels from the top of the treasure; you’ve got to dig to the bottom to find the real stuff.” It’s a full-circle moment for me. That’s what’s great about soul music—there are so many lanes within the genre and treasures I haven’t discovered yet. In Melbourne, we’re lucky to have high-quality community radio DJs, so growing up listening to PBS, you always discovering.

3. The album features an impressive lineup of musicians, including members of Surprise Chef. How did collaborating with such talented artists shape the sound and feel of Ripple On The Wing?

I hope this record represents our soul music community in some way. Melbourne (Naarm) has a rich lineage of soul music and some of the world’s most dedicated practitioners. It’s a community I’m really proud to be a part of, and I couldn’t ask for a better group of friends and collaborators. Finding the right people takes time, and I’m such a big fan of everyone who contributed to this album. It’s an exciting time for Melbourne soul music, with some incredible music being made that inspires me to improve my craft.

4. You blend acoustic and amplified elements in your music, incorporating instruments like the harpsichord and flute alongside classic funky drums. What was your creative process like in achieving this unique production palette?

The album has a few flavours, but sticking to a cohesive palette was definitely a guiding principle. Liam McGorry and I wrote all the songs together; Liam plays a bit of everything, but his main instrument is the trumpet, and he writes killer horn lines. The horns play a big part in the sound, adding to the triumphant energy. The harpsichord and flute contribute to the cinematic renaissance funk vibe we were chasing. We recorded the rhythm section for all ten songs over two days to capture that raw, live ‘band in a room’ sound, followed by a few overdub sessions for the remaining instruments. We were fortunate to record the harpsichord in Hudson Whitlock’s lounge, where it lives, and also recorded the organ and vibraphone at the College of Knowledge house/studio.

5. With a mix of personal empowerment themes and classic love songs, how do you balance your personal experiences with broader musical influences in your songwriting?

Many of my songs focus on overcoming something. Writing has always been my vehicle for processing what I have experienced or am currently going through, helping me make sense of the world. It definitely lifts the burden, and I hope others can relate to it. Some of my songs are more observational, and I’m interested in mythologies, realising that our joy, pain, struggles, and triumphs have all been felt before.