We had a hoot seeing Sophie Ellis-Bextor last night at Webster Hall, a venue I used to frequent but don't think I'd seen a show since Adam Ant in 2017. I didn't know an awful lot about her. But Damian is a big fan, so I was pleasantly surprised by how many songs I recognized from his having blasted her music in the shower over the years -- I have my husband to thank for not one, but three Sophia Songs of the Day -- and possibly dancing to "Groovejet (If This Ain't Love)" at the Roxy back in the day.
First off, I have to say that Sophie is such an adorable goofball -- her kick dancing! -- so it was a joy to see her basking in the newfound popularity she gained by the use of "Murder on the Dancefloor" in the closing scene of "Saltburn." (She joked that it was her biggest hit, "twice"!) Her gratitude was expressed throughout the show, which features her little brother on drums and hubby and father of her five sons on bass.
Although it seems she's been recording since the mid-90s, first with the indie band theaudience and as a solo artist since 2000, it was only last year that she was "big" enough to tour the U.S., with Tuesday's show being her second time in NYC in the past 18 months. She's just released a great new album, "Perimenopop," which is a bit of a love letter to disco from a woman of a certain age. (She's gorgeous at 46 now, which sounds young to me, but is definitely old in pop star years!)
Because I'm not that up on her, I was shocked when she launched into a cover of Cher's "Take Me Home" as her second song, only later learning that it was a huge hit for her off her debut, the one that also included "Murder on the Dancefloor." Further confusing me, she also did "Gimme! Gimme! Gimme! A Man After Midnight" and a bit of "I Feel Love" -- and Dennis Parker's "Like an Eagle" played before her set (if you know, you know) -- so the entire set list complemented the campy, disco-party feel of it all, making for an incredibly fun and carefree outing.
She ended things by surprising the crowd after the encore by re-appearing on the balcony -- Evita style -- to do the night's only ballad: "Don't Know What You've Got 'Til It's Gone," which is also the new album's closer. She may not have, say, Pat Benatar's range. But Sophie's voice is certainly unique. And to hear her sing as the final song of the concert, on the final night of the tour, a cappella with no microphone really spoke to just how special she is. Verdict: Sophie didn’t just murder the dancefloor -- she resurrected it. Upgrade me from casual to actual fan.
Before
During
After, getting a late dinner at Veselka
Read up on this sexpot HERE.
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