Q&A: Ella Ion Steps Into Her Own with Double Single “Mess in Your Eyes // Vultures”
INTERVIEW
INTERVIEW
Photos By Jo Veloso
AUSTRAILIAN ALT-FOLK ARTIST ELLA ION IS CARVING OUT A BOLD NEW CHAPTER with the release of her stunning double single, “Mess in Your Eyes // Vultures” (out now via Our Golden Friend). Known for her tender yet powerful songwriting, Ion blends indie-rock, folk, and country influences into a sound that’s as vulnerable as it is expansive. The new tracks showcase her rare gift for balancing lyrical depth with sonic brightness, offering moments of solace, catharsis, and unexpected euphoria.
Following a whirlwind year supporting artists like Folk Bitch Trio, Big Sleep and Suki Waterhouse, along with standout performances at The Great Escape, Ion is quickly establishing herself as a magnetic voice in the indie-folk landscape. This summer, she brings her music to UK stages with headline shows in Glasgow and London, plus a debut performance at Green Man Festival.
For fans of Marika Hackman, The Big Moon, and Laura Marling, Ion’s music feels instantly timeless yet wholly her own — a reclamation of agency and an embrace of artistic freedom. With “Mess in Your Eye”s offering words of gentle encouragement and “Vultures” capturing the ache of watching someone you love drift away, the double single reflects both the vulnerability and resilience at the heart of her songwriting. Together, they mark a turning point for Ion: a fearless step forward into a sound that is bright, emotive and unapologetically her own.
LUNA: Congrats on your new double single “Mess in Your Eyes // Vultures”! What made you want to release these two songs together, and how do they complement one another?
ION: “Mess in Your Eyes” was first written in 2020, and “Vultures” in 2023, but somehow, they ended up in the same world, becoming two sides of the same coin. I never saw them this way before, but I realised that the lyrical content traversed the same plane—empathy and concern for a loved one. “Vultures” sort of acts as a lament, or a cry of concern, where “Mess in Your Eyes” is the spark of hope and encouragement.
LUNA: You’ve described “Mess in Your Eyes” as a lullaby and “Vultures” as a last hopeful sigh. How did writing them help you process your own emotions?
ION: Absolutely; I realised when finishing the lyrics to “Mess in Your Eyes”—originally written as a dedication to a friend—that I needed to hear these words of encouragement just as much as she did. I always find this phenomenon of post-writing-revelation (for lack of a better phrase) happens where I improvise lyrics and let whatever comes flow through me passively as the filter, later discovering so much truth and relevance to those lyrics in my own life.
LUNA: Even with heavy themes, these songs feel bright and euphoric. How do you strike that balance between vulnerability and lightness?
ION: As the late great Leonard Cohen once sung:
There is a crack, a crack in everything
That’s how the light gets in.
Cracking apart and being vulnerable is the way to become open to the lightness. Light and dark can’t exist without the other. From a writing perspective, this is where my tendencies lie—even when I write a “happy” song, there is always an element of melancholy—they just come together.
From a production perspective, Stefan Blair (my producer) and I recorded these songs in a new environment (Sydney Road Studios) and found ourselves surrounded by so many interesting instruments, notably this amazing grand piano hooked up to a midi synthesiser. This allowed us to step into “play” I think, letting go of the heaviness of the themes to just enjoy making music. Creativity is the best part of recording for me, I never know where the song will end up sonically and I strive to be open to all possibilities.
LUNA: You started writing songs young, so how has your songwriting voice evolved into what we’re hearing today?
ION: A lot of listening, a lot of singing, and again, “play.” I love music from a multitude of genres from folk to experimental jazz to noise rock. I let all of these seep into me and constantly allow myself to be shaped by what I like. Every artist experiences a form of emulation of something. I think that’s why it’s important to listen to a lot of different things and change up the ingredients, so that the final product is a unique and original home-cooked version of everything you love, that only you can create as a result.
I also slightly resent going into a writing “session” as a “session” that I’ve carved out time for or picked a genre/sound for. This works sometimes if I’m really inspired by something I’ve heard, but mostly my writing time just happens when I pick up the guitar out of habit when I walk past it, and I play and play until something feels magic, no matter if I think it fits somewhere or not.
LUNA: When you sit down to write, are you mostly trying to make sense of your own experiences, or do you picture the listener in mind?
ION: The only listener that really matters to me is me. If I like what I’m creating then I believe that other people catch onto that energy and will like it too. I don’t believe in forcing something unnatural just because you think others will relate to it, in any scenario. Most of my writing is introspective and a reflection on my emotional experiences, and being a human, I think that mostly lands somewhere relatable with other humans, naturally.
LUNA: You’ve had an exciting year supporting artists like Folk Bitch Trio, Big Sleep, and Suki Waterhouse. What moments from the road have stood out to you the most?
ION: I’ve been incredibly lucky to support these artists’ shows, they’ve all inspired me in a multitude of ways and I’m very grateful to have had the experience of watching them perform, let alone playing at their shows! I have to say the most moving experience from my second tour in UK/EU would be supporting Folk Bitch Trio in Paris. They are a magical band and Paris is a magical place, whoever said Parisians aren’t nice should just go back with a guitar—turns out they are very kind and respectful to musicians!
Also my incredible UK band—¾ members of Black Foxxes—have been taking me on the road in their van and playing in my band and essentially they just make the whole experience so much more funny, wholesome and beautiful.
LUNA: With headline shows in London and Glasgow and a slot at Green Man Festival, what excites you most about bringing your music to those stages?
ION: Green Man was a dream come true, we played the Rising Stage, which has a window behind the band looking out to the rolling Welsh hills. The sun was shining, many of my favourite artists were playing (Allegra Krieger, MJ Lenderman, Caroline, Cassandra Jenkins). I really hope to be back there playing again soon!
LUNA: Your music has been compared to Marika Hackman, The Big Moon, and Laura Marling. Who are some influences on your sound that people might not expect?
ION: Sufjan Stevens, Portishead, Bonnie Prince Billy—I don’t sound like any one of these artists but I know they have influenced me deeply and I take elements of them in my writing—especially with what’s to come.
LUNA: You’ve talked about creating on your own terms and reclaiming agency. How has that shift shaped this new chapter of your music?
ION: I think this comes back to just creating what I like, and not worrying too much about what other people think, or whether I fit into a genre. I’ve battled with this since releasing music again, as I’ve expanded so much in my writing since my debut album, Waiting was released in 2023. But I’m learning to trust in myself and my taste, and remembering that if I don’t like what I’m creating—what’s the point? Like most artists, I do this for the love of it first and foremost.
LUNA: What intentions do you have for the upcoming months?
ION: I’m about to release a new single on the 27th of August, which is the same day my Australian tour starts! The future is always uncertain but in the best way—I could never have known I’d be touring the UK three times this year! Perhaps I can swing a fourth..?
