Genre-bending producer, songwriter, and vocalist Elare André steps into the spotlight on his terms with playfully braggadocious, sonically daring, and unmistakably original. After the release of his new single ‘What’s Baby’s Name?’, we speak with him about all things music below.
Looking back, how has your journey from Filmloom to Elare André shaped who you are as an artist today?
Filmloom was really my childhood passion project and dream. I kind of let that dream fall apart in many ways throughout my 20’s – even writing songs like “Bury Your Dreams” – but relaunching my artistic venture in 2025 and living in a new city/ state feels like a fresh start. I’ve been able to rekindle some of that child-like hope and wonder about what the future could bring or where my art could take me – but at the same time I feel like I have a lot more seasoning as a producer. With Filmloom, I felt like I had to collaborate with engineers to get the final product I wanted, and after years of minor solo projects, I feel a lot more ready to put my visions out there as a producer.
Winning the Grand Rapids JAMMY in 2013 must feel worlds away now — what lessons from that era still stick with you?
So true! It really does haha. When we won that award, we still felt pretty small and It was an honor to get that recognition. I think if I carried a lesson to this day it’s: don’t discount the small wins along the way!
You’re self-taught across multiple instruments. Do you approach songwriting differently than traditionally trained musicians might?
I’d say definitely. My old Filmloom bandmate Brandon was much more classically trained than I am. I don’t use proper hand formations when playing most instruments, and I am much more of a “by ear” instrumentalist. I’ve always enjoyed breaking the “rules” and I think that rebel spirit shows through in the way I conceive songs and play the instruments I play.
As a queer artist, how does identity inform the lens through which you write and create?
I think it’s pretty centered in my music at this point. If you really dig into old Filmloom lyrics, you can see subtle hints that I was a kid struggling to accept myself. I certainly was never out while Filmloom was still rolling. At this point I am completely unabashed about being gay, and happy to incorporate that in my lyrical lens. I think it’s important. And I’ll reference lil Nas X in agreeing that dirty lines in music need more queer representation. It’s very normalized to hear the “straight” side of that in Hip Hop, but maybe still a bit taboo for many to hear it about gay bedroom activities.
Your work often sits between cinematic and intimate — how do you maintain that balance?
I think I tend to like the weight and color that cinematic music adds to moments in our lives or movie scenes. I think I still maintain a bit of that in my openness to exploring different structures and progressions, but with Elare André I also strive to be pretty raw and open with my lyrics. Breaking these barriers and holding more than one concept at the same time is something I hold as important to me.
What has living in Durham, NC added to your creative process?
I guess I might have touched on this a bit in my first response, but it really has been nice to have a fresh perspective – and as new as I am here – I’m feeling pretty supported by the community that I am finding. There is definitely a different local music culture here in Durham, NC than in Grand Rapids MI – and it’s been a nice change of pace.
How important is it for you to control the visual side of your artistry (music videos, artwork, etc.) as much as the music?
I think in some ways I have full control by default right now. I’m wearing a lot of hats haha. I’d truly love to collaborate with established artists and cinematographers on future music videos – but I think coming into things with a vision for an aesthetic is super important. For better or worse, I’ve pretty much always done my own graphic design, merch design, aesthetic choices, etc. Ideally in the future I’ll find the right balance of taking that all on myself, and working with other visual artists.
What do you hope listeners take away from “What’s Baby’s Name?” beyond the playfulness?
I think it’s clear that I hope people learn my name haha! I also hope people feel welcomed into a place where they might be interested in following the journey I’m going on with this release. I also hope that when I start hitting stages again, I can get the crowds to shout that name rhythmically along with the track as I focus on the other vocal parts for my performance. (Fingers crossed haha)
If you could collaborate with anyone right now, who would be at the top of your list?
Yikes! That’s a tough question. There are so many incredible artists I’d love to collaborate with. I’m just going to put it out there in the universe that I want to work with Charli. (Do I have to say XCX?) It’s Charli baby.
Where do you see your sound evolving after Music for All Occasions?
I think starting with “Music for All Occasions” leaves things wide-open on purpose – but I’ve already got a potential working title and idea for album 2, and some further ideas for album 3. I’m really hoping to eventually work with a myriad of flautists, or woodwind instrumentalists. Flutes, woodwinds, harps, and celestia are instruments I’m intrinsically drawn to, so maybe more of that in the future, more collaborations, and ideally more boundary breaking if I can manage it. I don’t like boxes, if you hadn’t gathered that yet.
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