Detailed track-by-track reviews have been the noticeable hallmark here at DaveCromwellWrites. When full new albums arrive from beloved artists, the desire to investigate every note and word attached to those records remains strong. Additionally, live concerts in support of those songs (which include classics from their entire catalogue) are eagerly attended, with an eye on capturing the mood and feel of that event. What results is an informed literary opinion on the artists intentions, as they present this music to their audience and the world.
The “before” and “after” explosive event surrounding international pop icon Sophie Ellis Bextor’s career has been nothing short of remarkable. Always a consistent hit-making singles and album creator in both her home country of England and throughout Europe, the worldwide success of re-released early single “Murder On The Dance Floor” has been a game changer. With the combined forces of that “wind in her sails” and a never wavering determination, we are now treated with the release of her 8th full-length studio album “Perimenopop.” This self-created word for her record serves as a testament to women’s strength and ability in remaining vital at every stage of their development.
The albums lead-off track (and second single after the advance release “Freedom of the Night” last October) “Relentless Love” has already become the current live show opener, complete with video imagery of Sophie’s whispered intro “all that I wanna be is by your side.” Once the synth, percussion and bass guitar groove commences, Sophie’s declared “fairground ride in a song” is fully underway. Working with production and songwriting pros Jin Jin, David Wrench, Karma Kid and Baz Kaye, her lyrics and vocal performance are what everyone is here for. The pre-chorus delights stating “the city is waiting to see a miracle,” concluding with “wherever we go it’s so immaterial – ‘long as it’s you and I.” However, Sophie’s continual love for 80’s era Michael Jackson disco shines through on a chorus that goes “if we're the sum of all we feel, then I'm forever on this Ferris Wheel,” where “we found relentless love.”
Second entry (and third single) “Vertigo” finds Sophie working with frequent writing partner Hannah Robinson, as well as producer James Greenwood. With no intro at all, vocals start immediately while accompanied by a steady dance-floor pulse and video game bleeps. At a tight 3:31 in length no time is lost getting to a pre-chorus of “swirling, whirling” and “mercy of the rush” via rising progression and disco-beat drumming. The culmination comes in the form of a chorus that is part robotic voice (the repeated song title after each definitive line) and lush two line declaration “all of my senses right from start, orbit the pull of my heart.” There’s even a musical bonus via a bridge where “Hurricanes” are rhymed with “jet planes” that “scrape the sky.”
Third cut (and fourth single) “Taste” comes accompanied by a clever animated lyric video that playfully accentuates the songs lighthearted nature. Collaborating with song writers Jon Shave (who also produced) and MNEK, musician/husband Richard Jones bass guitar playing is noticeable throughout. Even more concise than the prior track with it’s under 3 minute time, chirping synths and Sophie’s “You’ve got it” cycled punctuation line hooks you in. A descending, measured syllable voicing on verse lines “bay-by-I-don’t-know-what-goes-in-to-your-recipe” becomes a second sing-along earworm. As is pre-chorus “just-like – cit-trus – on-my-tongue” which ultimately leads in to the downward spiral title line chorus, fully harmonized and enhanced. Some serious cowbell joins into the overall fray of synths, funky bass and cascading background vocals.
Going full throttle into fourth album track “Stay On Me” (the sixth single, with symmetrically fifth cut and single “Dolce Vita” put forward earlier), Sophie penned this with a songwriting team of Caroline Ailin, Thomas Hull (a/k/a Kid Harpoon),Selena Gomez (a/k/a “worldwide superstar”) and Julia Michaels. Sonic Production was handled by Karma Kid, Kaye and Richard. Going all in on this one, longtime video collaborator Sophie Muller was enlisted to direct a lavish music video. Set against an opulent backdrop of Irish seaside landscapes and quaint indoor locales, SEB revisits her Eastern European storybook look first shown during the “Wanderlust” period. Vintage cars, stone slabs and Sophie flipping through paperwork create visuals for the smooth 60’s era soul chorus “you can have your pick here in this room.” That vibe continues with plinking guitar, descending keyboards and definitive chorus lines “everyone’s got their eye on you,” but “his eyes stay on me.” Bonus video inclusions are the adorable donkeys waiting by the door.
As previously mentioned, fifth entry and single “Dolce Vita” serves up what Sophie describes as her “summer holidays, escape.” Leaning heavily on American Philly-soul and early 80’s disco, it’s no surprise then to see former Atlantic Records staff songwriter and current Temptations member Ron Tyson involved with it’s creation. Karma Kid, Kaye and Richard produced, while a 14 piece string section provides all the necessary swirl. While Sophie’s lyrics for the most part stick to beach relaxation mode: “sand on my skin like cinnamon” – “move my body to recline” – “nowhere to go so I just take it slow,” there are touches of current events. The lines “like a phoenix from the ashes – my story’s starting to appear” seems like a nod to her resurgence in popularity. That revival now offers ample opportunity for this “good life” where “the air’s forever sweeter.”
Sophie opts for minimal production on the vocally intimate “thoughtfulness” with her Jon Shave/MNEK collab “Time.” Gentle keyboards and simple beats support vocals delivered with sincerity that prioritize personal connection over material accumulation. The Chorus once again emphasizes the SEB/Shave song-hook construct that accentuates precise vocal phrasing. “Time (stop)-I-can-give-you-all-of-my-time” followed by “and-there’s-nothing-more-precious-than (pause) – Mine.” A second hook immediately arrives after that with the “why don't we let it run, let it run, let it run - run away with us” dreamy vocal line. Synth bass is prominent, but used sparingly as a point of emphasis. A third movement comes via a bridge that finds Sophie following her first lines with an ethereal response.
Ghostly voices open seventh track “Glamorous” with a distant preview of the eventual chorus (“hard, fast, silk, cool”). Writing this time with Norway’s Sigrid and Britain’s Finn Keane, Sophie touches on how the music industry can seduce you. Lyrics like “sweet on the tongue,” “deadly . . . dance with your heart” and “paradise – made of thinnest ice” all point in that direction. All that glitters is not always gold, as the chorus points out “I'm drawn to his light, getting burnt by the flame, playing with fire's a losing game.” Musically wrapping around this lyrical cautionary tale, however is a solid dance floor banger.
Reaching the albums “deep cuts,” ninth entry “Layers” is another collab with James Greenwood, who helps bring Sophie’s lyrics to light via a smooth subtle-funk production. Bathing her words in a slick sheen similar to what a band like Duran Duran does, Sophie explains how a longer experience with someone can be key in getting past difficulties. Once again there are multiple hooks to grab on to, like the keyboard driven “under the skin, we’re letting it in – keep reaching out, silence can shout.” Followed by the smoother, descending chorus “so lay on down, lay on down, lay on down with me.” Recognition comes through the power of being “always in my bed – under the covers.”
Closing in on the albums final three songs, tenth entry “Diamond In The Dark” comes from a writing session with her previous albums colleague Ed Harcourt and none other than living legend, CHIC creator Nile Rodgers (talk about Duran Duran, plus Bowie and Madonna)! As expected, there IS the signature funky rhythm guitar, along with that 14 piece string section and some bubbling moog bass from Richard. It’s classic 70’s disco on this one, and a real homage to the era that featured The Love Unlimited Orchestra. Sophie puts her own personal stamp on it with the dreamy “all of my, all of my, all of my, all of my senses” vocal line. Bonus points for the cheeky inclusion of the lyrical reference to “river deep, mountain high.”
Penultimate album track “Heart Sing” emerges out of a throbbing bass-synth and steady 1-2 percussive beat. Written with the team of Sigrid and Keane again, Sophie draws on her past memories to conjure feelings of melancholy and longing. Vocal techniques emphasize rhythmic cadence, like on the line “pulling me out – out – out – out” and “we had a sound – sound – sound – sound.” An initially subtle David Arnold arranged string section begins on the second verse, growing in intensity as the song progresses. The highlight (as always) is the chorus where Sophie’s vocals shine on lines “the echo of you haunts me – now I’m a lost melody.”
Reaching the album closer, we’re treated to the nostalgic “Don’t Know What You’ve Got Until It’s Gone.” Once again writing and recording with Luke Fitton and Hannah Robinson, electric piano stabs, softer synth pads, plinking guitar and Jackson’s steady four-on-the-floor beat moves everything forward. Verses feature Sophie’s vocals up close and personal, while a quicker delivery on lines “and they say never look back - It doesn't happen like that - sometimes the memories attack” add rhythmic weight. Introspection provides solution through a chorus that states “just be glad you had it, now (that) it’s gone – gone – gone.”
The long history of American based, Scottish fronted alternative rock band Garbage has been a lived-every-moment experience here at DCW. Every one of their albums has been owned and obsessed on since they began releasing them in the mid 1990’s. One live show highlight was catching the band in October 2015 during their 20th Anniversary of 1995’s debut album (lovingly chronicled here). With life’s changes and southern relocation, it was a thrill to discover Garbage was putting out an eighth studio album (symmetrical 8’s here in this Feature) “Let All That We Imagine Be the Light” in 2025. Their “Happy Endings” tour was announced in support of the record, with a stop at The Hard Rock Live in Orlando, Florida as an opportunity to catch them live once again. Both that show and the album’s songs are now reviewed below.
Opening both the record and their recent live shows with "There's No Future in Optimism" showcases Shirley Manson and the band (her “druids”) at peak performance. Released as the albums first single, a repeated intro line “if you’re ready for love” sets up the quintessential slick Garbage production and vocal hook “future, future, love, love, future.” Despite the title and some lyrical references to world unrest, positivity shines through on lines “you and I, we have a chance - we could leave this place and rewrite our romance.” Similarly, the lyrics “there is no future that can’t be designed - with some imagination and a beautiful mind” is the definition of optimistic.
Here’s the dramatic opening with this song at their Orlando show on Wednesday, September 3, 2025
The title to second track “Chinese Fire Horse” references Shirley’s birth year in the zodiac cycle. A forward charging guitar, bass and drums fueled rocker, the caustic lyrics deal with aging and fighting back against stereotypes related to that. As the vocal hook “wait a minute, wait a minute,
wait a fucking minute, wait a minute” repeats throughout, live show bandmates Shirley and bass player/backup singer Nicole Fiorentino join together on it with enthusiasm. The definitive line “I’vе still got my power in my brain and my body, I'll take no shit from you” puts an exclamation point on it all.
Third cut “Hold” was given it’s live debut and bonus treat for those of us in attendance at this Orlando show. The synth/bass heavy start-stop rhythm supports emotional lyrics referencing both current global chaos and personal intimacy. A one-two punch of hooks that name checks the songs title along with lines “don't let me go - just hold on tight - for our dear life” is followed by “we keep running, running, running.”
This clip captures that performance at our Orlando show
A modulating synth pattern introduces fourth entry “Have We Met (The Void).” Low-key near whispered vocals present an unwanted visitation “in the dead of the night” where “I don’t know who you are – all skin and bone.” The chorus (as expected) is bigger and bolder with the title line question followed by “I think you've mixed me up with somebody else.” Piano temporarily emerges as solo musical accompaniment, with vocals revealing a destructive relationship betrayal. While this overall instrumental performance is orchestral, the mood and groove stays ominous and accusatory.
Fifth track “Sisyphus” dips down into the smooth electronic realm with sequenced pulses as it’s driving force. The songs title and descriptive lyrics initially echo the mythological figure doomed to push that rock up a hill. However, it pivots quickly to overcoming obstacles with the dreamy chorus “this little body of mine is going to make things right.” Along with cautionary lyrics (“they’ll try to hoodwink you – don’t look away, take in everything whenever possible”) is a highlight sugar-coated hook that simply goes “On and on. On and on and on.”
Moving into the back half of the album, sixth cut “Radical” opens with off-kilter toy piano before the full band joins in. With sultry vocals from Shirley and a noticeable backbeat from Butch Vig, the hooky chorus “all you got to do is save a life” instantly sticks in your head. This song is also where album title “let all that we imagine be the light” are part of the lyrics. Swelling synths and trip-hop percussion underscores seventh entry “Love to Give.” While Shirley readily acknowledges “everybody's a little crazy, I'm no exception to the rule,” it’s the descending progression chorus that clarifies with the simple (and sincere) phrase “I've got a lot of love to give.” A dreamy bridge section expands on opening “proverb from a cookie” lyric with the celestial “breathe, let me breathe” refrain.
A second single was released from the album with eighth track “Get Out My Face AKA Bad Kitty.” Twangy guitar serves as the musical focus between and around vocal lines. A song about fighting back against controlling powers, the chorus hits hard with guitars supporting lyrics “get out my facе, don't mess with me, we're exhausted” followed by Shirley’s ghostly background vocal “get out.” Flipping a well known phrase, “if you can't join 'em, you gotta beat 'em” becomes the ultimate rallying cry. The albums penultimate entry “R U Happy Now” builds off a deep drums-and-bass rumble. Descending synth lines eventually join the mix, supporting biting lyrics which are the opposite of any sincere question of “happiness.”
Clocking in at nearly six minutes in length, closing track “The Day That I Met God” could arguably be the best on the entire album. Certainly the most ambitious, a Pink Floyd-like sequential synth pattern provides the initial audio base for Shirley’s lyrical revelation. Written while recovering from surgery, the fever dream where “my life fell apart” and “I thought I’d lost my mind” is recounted against a driving rhythm. The backing drops out and only piano remains on the chorus that intimately states “and so there I was, face to face with God - It was everyone I'd еver loved . . . еverything I'd ever wanted.” A David Gilmour-esque guitar solo follows, played by Steve Marker, with the previous piano sections played by Duke Erikson (though each play both instruments).
Second time through the chorus has the full band accompanying, then switching back to just piano on an introspective bridge stating “all around and everywhere - all at once and anywhere.” Because of the severe pain associated with Shirley’s hip replacement and recovery, strong medicine was required. Hence the songs final musical passage referencing painkiller Tramadol with repeated lines “Tramadol, Tramadol - I found God in Tramadol.”
Check out the live debut of this song at the attended Orlando show:
Overall, this live show was an extra special treat as it was the first show on the final leg of the "Happy Endings" tour, and Shirley posted a lovely message about it.
The Hard Rock Live venue and it's attached restaurant is a great place to see a show, with so many artists memorabilia on display.
The attention to detail on things like this suspended from the ceiling instruments display below adds a stunning visual aspect to the experience.
As one would expect, the live show also included many classic songs from all their previous albums.
"I Think I'm Paranoid"
"Vow"
“Only Happy When It Rains” from their 1995 self-titled debut album was the shows first encore.
Followed by “When I Grow Up” from 1999’s multi-platinum second album Version 2.0
The setlist of everything played.
Opening the show was newer dynamic rock band Starcrawler who put on an excellent show of their own.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
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