How does a committed opera singer become an LA cool girl in the blink of an eye? Just ask Ella Rosa, the classically trained Brit who’s now making a name for herself in the City of Angels. When her former career no longer felt like a fit, she dived into the electronic music world, trading rigorous auditions for studio sessions and sets at clubs. She’s still just as craft-focused as ever—her recent performance at The Echo, complete with costume changes, backup dancers, and siren-esque vocals, is all the proof you need.
We were lucky enough to catch up with Rosa after her 10/26 set at The Echo, where she played new singles like Nails as well as hits like OFF+ON. We talked about everything from the impact of dance music to Rosa’s love for rabbits to reproductive rights.
You grew up immersed in classical music and studied opera at the New School. When did you first feel the pull to change genres and do something totally different?
It was so distinct. I think the turning point was in my second year of uni. I was doing all these auditions for opera productions that were happening in Italy and France. I felt really privileged to even be in those rooms, but… I’m sure everyone has been in a space where everyone around them really wanted something, and they just didn’t. Everyone around me really, really wanted to go to this audition, and we were running overtime, and I left because I had a session. I was like, this is why I shouldn’t be doing this anymore. I just didn’t care, and I find it hard to do things I don’t care about. So there was no question for me; the hard part was breaking the news to the people around me.
When did electronic music start calling to you? Did you become interested in it as you were studying opera, or did you go through a period where you were searching for the right sound?
I’ve been interested in electronic music and the club scene for a long time. I was like twelve to sixteen when dubstep started to come around. I’m sure a lot of people have had similar experiences of finding Skrillex or Borgore, going to a festival, and discovering these crazy new sounds. It was such a moment. It turned introverts into extroverts. I was definitely interested in being around people who made electronic music, even before I made music myself. Before going to uni, I did a bunch of toplines for producers and DJs in New York.
How does your formal background inform your work? Are there certain techniques or lessons from your classical training that you’ve carried with you?
It definitely moulded my work ethic. We, opera singers, were held to the same schedule and standard as instrumentalists, and instrumentalists are known to be in the practice room all day. And to this day, I love going to the opera, and I listen to Classic FM. I’m always looking for young composers whom I can be obsessed with for a season.
You grew up in the UK and later moved to Los Angeles. What is it about LA that makes you feel like this is the place for you? The place where you can be the most creative version of yourself.
I’ve never been able to put it into words, but my friend said it quite nicely the other day. She said that everyone in LA makes you feel like your dreams aren’t just pipe dreams; they’re not stupid. People take it to the next level in LA. My dream of being a touring artist doesn’t seem that huge when I’m surrounded by people who are influencers and content creators, and making money from just doing that alone. I like the fact that LA is literally La La Land, in the sense that your dreams don’t feel too lofty.
Let’s talk about your new music. Your song Nails is coming out very soon. What can you share about it right now?
Well, the other songs on the project are doused in a bit of seriousness. Nails is one of those songs where I honestly just wanted to have a fun pregame song. The genre is electronic, for sure. It’s about getting my nails and hair done so that I can feel confident enough to leave my home and go on a date.
You talk a lot about loving your six-inch nails. How did you develop your sense of style when it comes to what you wear onstage and how you present yourself in the public eye?
I like being malleable and following whatever I think is cool at the moment. It changes so often; one minute, I’ll only wear black, and the next, I’ll really like colours. I stay super flexible, but the throughline is probably a dark, futuristic style. I like things that are chic but also a tiny bit out there. I would say this year has been my year of black and dark blue and grey.
Tell me about some people and visuals that have been on your hypothetical mood board lately.
Rick Owens is someone I look up to. I love the Dior fashion show I just watched; it was so beautiful. But Helmut Lang has always been my number one—if I could only wear one designer for the rest of my life, it would be him.
You just released Under the Thumb, which is a very special track: it’s your first co-production credit and the first song on your forthcoming album where you’re singing full-blown opera. How did this one come together?
I had the flu a week before writing that song, and I was feeling very isolated and absolutely crazy. When I went to sleep, I would have these insane fever dreams. I came up with the idea in that state. I worked on it with Chrome Sparks, and then I took it away myself and produced the rest of it. It’s honestly a song about abortion. I wrote it when we were all talking about the reversal of Roe v. Wade. Since I was sick, all I could do that week was read about it; it was the main focus of the week for me. But I’m happy that song came from it, because it might be my favourite song that I’ve ever made.
I’m obsessed with the cover art for your singles. Did you do the illustrations yourself?
My friend Hannah Roy from New York did all of them. I love partnering with an artist; it’s cool to see how my music can be interpreted through a different medium. I gave her no brief whatsoever; I just said, “Listen to the songs and tell me what you come up with.” The train tracks obviously represent District Line; as for the rabbit, I just love rabbits, and I think she saw that on my Instagram.
I have a feeling that all of the covers might fit together to make a single image…
They do, they do. When the album comes out, you’ll see the face that they make, which is such a striking visual.
You said you based your song District Line on a crazy night you had as a teenager. I’d love to get some more insight into your songwriting process—do you find yourself looking back on past experiences frequently?
It’s hard for me to write about a situation when I’m in it. It’s kind of like that saying, “It’s hard to read the label when you’re in the bottle.” But I’m good at journaling during those times. I always try to write down as much as I can when I’m feeling really bad or really good, even though it can be hard. And then I go back to what I’ve written once I’ve separated myself from those feelings, and I either tone down the drama or create a little soap opera in my mind.
You’re a DJ as well as an artist. In your opinion, what makes a good set?
It definitely can’t be too pre-rehearsed. I’ve seen so many people prerehearse their sets, just assuming that they know what the crowd is going to be like. I think the beauty of a great DJ set is feeling the energy of the people that you’re playing to. And you can suss it out from multiple things—what people are drinking, if they are drinking, what they’re wearing, how they’re dancing, how they’re talking, how they’re moving their bodies.
I always find that the first two songs you play are a good indicator of what the crowd is going to like for the rest of the night. And for the new DJs out there—my best friend, who taught me to DJ, Jon Sumner, told me to have a bunch of music saved at all times, at least thirty songs per genre. When the time comes, and it inevitably will, where you think, “They’re going to want to hear reggaeton,” and you have to play deep house, it will be super, super helpful.
I always find that the first two songs you play are a good indicator of what the crowd is going to like for the rest of the night. And for the new DJs out there—my best friend, who taught me to DJ, Jon Sumner, told me to have a bunch of music saved at all times, at least thirty songs per genre. When the time comes, and it inevitably will, where you think, “They’re going to want to hear reggaeton,” and you have to play deep house, it will be super, super helpful.
Obviously, music has been part of your life for so long, so this is probably difficult to answer, but if you weren’t doing music, what do you think you would be doing?
I honestly don’t think I would be alive without music. I’ve overcome so much depression; now I’m medicated, so I don’t feel so bad. But when I came out of my adolescence, I was in a really bad place, and music got me out of it. So I feel very, very grateful for that.
