PHOTOGRAPHY SZILARD ORBAN - WORDS MAISIE JANE DANIELS
Every so often, an artist comes along who seems to embody motion itself—fluid, dynamic, and always pushing forward. Enter Soarr, the newly-rebranded brainchild of Ella McMurray, whose journey from contemporary dance floors to DIY recording studios has taken flight in the most exciting ways.
When F Word first featured Ella years ago, she was quietly making waves as an up-and-coming singer-songwriter. Fast forward to now, and not only has she rebranded as Soarr, but she's also fully embraced her multidimensional artistry, blending movement, music, and visuals into something altogether unearthly.
In an exclusive F Word interview, we talk about everything from the character-building chaos of her first jobs to her time spent as a full-time builder, to the deeply personal and conceptual way she approaches her music. Soarr is all about power, liberation, and creating soundscapes that lift you up—whether you’re spinning in your bedroom or just vibing with her visuals.
Oh, and if you’ve ever wondered how a favourite word turns into a whole creative identity or how dance shapes sound, you’re in for a treat. Soarr is equal parts fearless and fun, and her journey will leave you inspired to soar a little higher yourself.
Maisie Daniels: Hey Ella! Welcome to—or should I say, welcome back to—F Word!
Ella McMurray: Yes! It was a few years ago; I think it was maybe in 2021?!
MD: Yes, and you were going by your name Ella McMurray. You’ve recently rebranded under the name Soarr. Can you talk us through the rebranding process and what inspired this shift to Soarr?
EM: My songwriting inspired the change. It was changing and I saw that as a new opportunity to redirect and look at everything with fresh eyes. I listened to all my music—I come from a contemporary dance background—and that kind of music just sits really right with me in most ways. So then I started making music with more influences from that, and it just started to not make sense with my name. I’ve had a lot of people over the years ask when I’m going to have an artist's name, and I didn’t think it was needed. Then me and Lily (my sister) were talking one day and then she just asked, What’s your favourite word? And Soarr has been my favourite word for around four years. We started writing it down and putting it together with my music, and sort of acting like I was Soarr already, and it really started to work.
MD: Nice, and the connotations of the word “soar” feel fitting—it’s all about lifting up…
EM: Yeah! When I was thinking about it with my music, that made way more sense than a play on my name because it fit with all the dance elements and a play on that.
MD: Talk us through your journey to becoming the artist that you are today.
EM: It started with a lot of bad music [laughs]. I used to be a dancer—that’s what I came to London for, and that was my dream my whole life. At home, I did piano until I was grade 2, and until I was around 11 years old. Then I started fiddling around on GarageBand for years when I was younger. When I went to uni, I got Logic and actually started to hone in and think about it properly. That was for about three years, and I started to get better—production was really fun. I spent all my spare hours doing that, and then I found out that I could be quite good at it. All of my friends were in London, so I thought, If I’m doing this, I can use it as an excuse to come to London and live here. I’ve worked every job under the sun to be here. And yeah, I’ve just tried to keep it up!
MD: What’s been the worst job you’ve ever worked?
EM: [Laughs] Oh my God! I’m not going to tell you what it’s called—it was an East London pub, and I had a boss (I think she was 82 years old). I wanted her to be a cute old lady, but she was just a pain, so yeah… Things like, on the day, you’d find out that you were working. It was all cash in hand. No contract.
MD: [Laughs] I had a landlord like this… let’s call it character building.
EM: Absolutely. It was my first job, so it made me resilient, and she was not a nice lady. I didn’t stay there for long…
MD: And you’re currently a builder?! Tell me how that all came about.
EM: Yes, that’s what I do for a job at the moment! Builders could still carry on working during lockdown as they were outside—and my dad’s a builder—so he was building houses down the road from our house and asked if I fancied doing some labouring. It’s moving stuff, making sure the bricklayers have got everything they need, etc. So I started doing it then, and since moving back home for a little bit in the last eight months, I’ve been doing it again. So I’m a full-time builder! [Laughs]
MD: Love it! How’s it working with your dad?
EM: It’s good. I was writing his Christmas card and was saying how much I love working with him [smiles].
MD: That’s so bloody cute.
EM: He’s a legend! The work itself is quite enjoyable—it’s essentially labouring, so I’m being told what to do, and my brain switches off and I can think about everything else that I like.
MD: Let’s go back to dance! You’ve seamlessly combined your roots in dance with your music. How do these two disciplines inform and inspire one another in your creative process?
EM: That’s a really important part of my process. Particularly when I’m on my own (although I’ve got more comfortable when I’m in a room with other people and letting the movement come into play. When I was younger, I didn’t want to think about that—it was more, Let’s write a good song.) But when I’m on my own, that’s basically all I think about. I start with a beat, and if I have time and I’m not in a rush, I’ll just really start feeling out how I will move to this on stage. Or, when I’m moving, that will inspire a rhythm or a melody. I try not to go for the first thing that comes to my head, and then if my body does something else, I’ll be like, Let’s try that then. So I definitely try to let them bounce off each other, but luckily it comes to me a bit quicker now.
MD: When performing live, do you intend on having something choreographed, or would you let yourself go with the flow?
EM: I think it depends on the track. I’m up for both—I’m way more of a naturally contemporary dancer, so I think that improvisation would be more in my comfort zone. But I’m trying to get into more choreo—I’m working with a really cool movement director, Pfion Vince, so I feel like if I can be guided in the right way to a different style, then I’d follow a routine.
MD: You’ve taken a hands-on approach, self-directing, filming, and grading three of your music videos. Which aspect of this process excites you the most, and why?
EM: That’s quite hard actually! I think all in different ways. I like learning new things, but I also like trying to be good at them, so it’s frustrating when you’re trying to do something for yourself and it’s not working. I’d say probably the thing I enjoy the most, although it’s the most tedious, would be the video editing. As production is really similar, I think that’s where I was able to transfer skills nicely. And messing around with the edits (and not taking it too far, as I can get carried away!).
MD: Are you self-taught with all of this?
EM: Yeah! At an old job, I was a receptionist at a film studio, and I had a few friends who had lots of amazing photographer friends. One of my friends said, This is the programme that I use, so I got it. And I watched him edit, and yeah, it’s quite self-explanatory!
MD: After self-producing your first three singles, you’ve started working with trusted producers and creative collaborators. What does that shift feel like since doing it all yourself?
EM: I worked with people for ages when I was younger, and I’ve taken quite a big gap—I’d say about 1.5 to 2 years—without working with new people (alongside working with people here and there inconsistently). So now, jumping into sessions with new people is a bit daunting, but I think it’s for the better.
MD: How do these partnerships shape your vision?
Ella McMurray: I think they’re really important. It matters what the person is like in the room. I’ve been fortunate that I’ve been around some amazing people who are mostly just really kind. Facilitating what I want whilst showing their expertise, which is what I’ve come for really. Finding a balance between mine and theirs.
MD: What role does visual storytelling play in how you want your music to be experienced?
EM: I think they’re vital now. Before, I was scared to use my movement, and now that I am using it, it makes so much sense. It’s a visual art, so seeing it is important. I think a visual can completely change what you can take from a song. It’s good to have both, but having a video and collaborating with people who can make amazing videos is definitely what I’m doing now.
MD: Your single Mr. Popular explores the cycle of social “coolness” and the echo chambers people live in. How did this theme come to you?
EM: It was inspired by one person in London. I’m not from London, so I came in with the feeling that I have to penetrate this circle and get in. When you do look at it as an outsider, it just all looks a bit silly. I understand the value in it, but I think I found it refreshing taking a step away. It was inspired by one person and the scene that they have around them. And the way people act around different people—and you see it and you’re like, Are you alright? [laughs]. But yeah! I know that people do have to change for particular days and situations, but that was the main inspo.
MD: As a music artist, how do you navigate social media—do you see it as a tool, a challenge, or both?
EM: Yeah, both. I love Instagram, and I’ve loved it since I was a child. Mainly because on Instagram you see some amazing profiles, and it is just this canvas, essentially, that you can make look amazing.
MD: What would you say is the main component of a great song?
EM: At the moment, I go by concept. It doesn’t have to be deep, but I usually start with a key word. A lot of my notes pages are just full of one word that I pick as the title, and then I get onto a new note. So, it might be plants, and then I’ll go from plants and I will brainstorm on the note. For me, that’s the pinpoint. That’s what I look at and listen to, especially if I know what the song’s about. It’s also interesting for me, having a concept and then letting people hear my music and thinking that they have their own idea of what it is. That’s the main thing: having structures that feel like they’re going into each other with reason.
MD: You mentioned previously that it comes more naturally for you to write music in the winter.
EM: Yeah, I think my most natural type of song isn’t happy, and I also find minor chords come to me much easier. I do find it more comfortable to write in the winter, but mainly because the darkness gives me an excuse to be inside for hours and not feel like I need to be outside. But I do love writing in summer—I’ve liked it more these days… writing at midday when I used to be writing till 5 a.m.
MD: Do you have a specific space where you write?
EM: Yeah! I used to write in my uni room, on my laptop, and then when I moved to London, I was writing in my room. It was only when I was working with other people that I would go into their studios, but I’ve always made everything in my bedroom. During lockdown at my house (where I’m from), me and my dad turned a little back section of the garage into a studio. So yeah, I love it there, it’s very cozy!
MD: When I listen to your music and watch your visuals, I find it empowering. What makes you feel empowered?
EM: Thank you. Of anything?
MD: Yeah!
EM: Honesty with a sense of community. When there’s a discussion about something and the discussion is all pointing in the right direction, that makes me feel most empowered. Also, random, but being in the choir.
MD: Tell me more!
EM: I used to be in the choir, and that was such an artistic empowerment. Having 30-40 people sing at once…
MD: Would you ever go back?
EM: I think I would! Definitely. There are choirs all over London, I just need to find one.
MD: Who is your dream collaborator?
EM: Sonically, I think Eliza, but also maybe her producer Finn. They work so well together, and they have created such a sound that I don’t think anyone else has mastered that well. Also, not going to lie, Frank Sinatra, if he was around.
MD: As you continue to build Soarr’s identity, what do you want people to feel or think when they experience your music and visuals?
EM: Power. In whatever way that they need to feel it. I want to feel like I’m a vessel for them. Also, liberation. One of the lovely things about when I started playing with the name Soarr and then started using it with my dance was that the whole thing was about feeling that you can do anything. You can keep going. My music isn’t written about those topics, but I want it to feel like a huge soundscape and something a bit unearthly.
MD: What do you have coming up?
EM: This year is going to be a Project, which is something that I’m most excited about. That’s music that I wrote ages ago, and it’s being finalised at the moment. Then, a show. I’ve not done a show as SOARR before.
MD: That’s so exciting. How are you feeling about that?
EM: I’m nervous! But I’m super excited. I’m definitely in a better position to do a live show now.
MD: Do you see Soarr as a character, or are you Soarr?
EM: Soarr, to me, is more of an enhancement of me. The elements of me that I love, and want to play with, and I like being dramatic. I did Saturday theatre school as a kid, and it’s only in the last few years that I’ve realised that’s still within me, and I like the theatrical play on what I could be. Elements of me, but definitely amplified.
MD: Do you believe in manifestation?
EM: I do, definitely. I think I’ve fallen out of it a bit, though. I used to do it loads, but I got into the swing of saying it in my head but not wanting to put it out there too much because I also don’t like letting myself down.
MD: Finally, this is F Word magazine—what’s your favourite "F" word?
EM: Fuck is my favourite "F" word. Mainly because I say it in every circumstance, especially when I’m excited [laughs].
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