Ellis Ludwig-Leone gives his songs an autobiographical lean on Belong
By Brent Thompson
Photo Credit: Denny Renshaw
Ellis Ludwig-Leone has studied music composition at Yale, composed for ballets and symphonies and released acclaimed albums with his creative brainchild, San Fermin. But even with such an accomplished background, San Fermin’s third and latest release, Belong [Downtown/Interscope Records] may be Ludwig-Leone’s most intrepid moment yet. Belong finds him addressing autobiographical topics of anxiety, disconnection and displacement across the album’s 13 tracks. The response has been rewarding both for Ludwig-Leone and listeners and critics alike. On Tuesday, October 24, San Fermin will perform at Saturn with Gracie & Rachel opening the 8 p.m. show. Recently, Ludwig-Leone spoke with us by phone from his Brooklyn Home.
Birmingham Stages: Ellis, thanks for your time. Is Belong a collection of newer songs or was it built from older songs written over a period of time?
Ellis Ludwig-Leone: I usually write records fairly quickly because at the end of every day I try to have an outline of another song. I try to write them fast and spend a long time editing. Last year, my girlfriend was gone for the month of February. I was just writing, so I wrote most of the songs in about a month and ended up editing them during the summer.
Birmingham Stages: Belong is being called your most personal album yet. Did you set out to create an album of personal material or did it just naturally turn out that way?
ELL: It just kind of happened. On the first and second records, I had these elaborate plans for thematic records with characters based on novels. With this record, I just didn’t want to do that – I just sat down and started writing to see what happened. It led me to a more personal place.
Birmingham Stages: Does releasing an album with some autobiographical songs bring about relief or anxiety once it’s unveiled to the public?
ELL: All of the above [laughs]. There’s something really nice about trying to speak your mind, but at the same time you feel kind of laid bare. While it is more personal, there are creative liberties you take always when you’re writing songs. They’re not diary entries – it’s a little bit of a mixed bag I guess.
Birmingham Stages: You studied music composition at Yale and you’ve composed for symphonies, ballets and musicals. Do you draw on that experience when writing for San Fermin or is it a completely different animal?
ELL: I think they all kind of collide. There are certainly different priorities, but whenever you’re writing a piece of music the question is – what gets you from point A to point B? Once you figure that part out, the rest is supporting it. When I’m writing a song, the lyrics and vocal melody are what you’re focusing on, but that’s not the same when you’re writing for an orchestra.
Birmingham Stages: It has to be beneficial to have your understanding of musical theory and concepts when you’re composing for San Fermin.
ELL: I think so. As I’ve gotten further, sometimes I wonder if I don’t get in my own way. I’m a fairly cerebral writer and I plan things out. I’ll hear friends of mine who write songs and they don’t take any of that into account and they’re amazing.
Birmingham Stages: If you will, talk about your past musical experience in Birmingham.
ELL: I wrote a piece for the Alabama Symphony a couple of years ago. I came down and spent a week in Birmingham. In 2015, I was the Composer-in-Residence there and I curated a whole night. It was a really special night and I came away really impressed with the Alabama Symphony.
San Fermin will perform at Saturn on Tuesday, October 24. Gracie & Rachel will open the 8 p.m. show. Advance tickets to the 18+ show are $15 and can be purchased at www.saturnbirmingham.com