Dynamic Reviews of Live Shows and New Music Releases

Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.

Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade.  Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026.  Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.

The location was venerable Ft. Lauderdale. Florida venue Culture Room.

 On arrival a lengthy cue was already waiting to get in.

Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.

Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”  

Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer."  It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”  

On more from that same album with the forward charging rocker "Speed."  True to the song title, it’s fast paced, tasty guitar lick driven.

Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."

Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."  

Followed by "Red Tan" from that same album.

As well as "You Say You Lie."

Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.

Followed by "Veronica Fever"

As well as the blistering "My Tornado"

With "Cops on our Tail" as a fourth entry from that record.

Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.

Followed by "Dead Sound"

Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.    

Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.

Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals.   Then a cover of the 1967 Velvet Underground classic "Venus In Furs."

Perennial pre-encore show ender (and Lust Lust Lust album opener)  "Aly, Walk With Me" is always a high point of every show.

For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."

Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt” 

Show complete, the backstage shenanigans came fast and furious.

It's always a pleasure catching up with these amazing musicians and great people.

Looking forward to future shows down the road in sunny FLA.  

Follow them on their Social Media at Facebook, Instagram and YouTube.

A complete track-by-track review of “Pe'ahi II” can be found here.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Opening the show was alternative/dark wave band Astari Nite.

Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.

Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.

“Your perfect light – makes me shine" Mychael sings.

"I always wanted you"

"Bowie In Daydreams"

Cathedral lighting and atmosphere further enhances the power of each song performed. 

The aura is dramatic with touches of goth-rock melancholy. 

"Unisex Games" - vocals draw from Bowie influence in both tone and diction.  Early Peter Murphy (in Bauhaus days) is another point of reference.

Meeting the artist post show is always a rewarding experience.

Follow this darkly dreaming glam wave band on their Social Media - Facebook  -  Instagram  -  YouTube  -  X  -  Official Website 

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There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.

Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”

Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever.  A solid 4-on-the-floor beat powers underneath orchestral melodies floating above.  The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.

Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.

“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state.  As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect.  Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”

Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.

Check out this deliciously macabre video here:

A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.”  Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.”  For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.

Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment.  Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through.  With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.

Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version.  With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix.  A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.

In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.

On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.

It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.

With honors this regal individual so obviously deserves.

Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.

The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.

Out front with the best David Lynchian band there is.

Thanks for never forgetting to come to Florida!

“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.

Follow apbwas on their Social Media:    Facebook    -   Instagram    -   Official Site

Previous DCW features on this artist can be found   here  -  here  -  here  -  here  and  here.

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Sophie Ellis Bextor in Concert at Plaza Live Orlando, Florida

As Sophie Ellis Bextor commenced her first ever American tour here in the year 2024, she worked her way across the northern cities (and a few Canadian as well) with triumphant results. Those of us in the southern regions of the country wondered if we would eventually get our chance to experience this glorious show. That concern was alleviated when we spotted an announcement in August that she was coming to Orlando, Florida. Having moved to Florida from New York a year ago, my daughter and I felt a twinge of “FOMO” following Sophie’s tour on Social Media. Now we had our chance to see her perform live at last, and quickly snapped up tickets. The fact that the show wasn’t going to happen till November didn’t matter, and actually gave us something to look forward to.

The show was at a storied Orlando concert venue that opened in 1963 (one of the cities oldest) now called The Plaza Live. Like many theaters spanning that timeframe, it went from a cinema, to a theatre space and finally the current music venue. Having already mapped out our route there and prepared what to bring in advance, the day of the show was problem-free and smooth sailing. On arrival (a bit early) we chatted awhile with those fans camped out in front hours before entry time who *have to be in the very front!* I’ve always found that location is not really the best spot for overall sound quality. Yes, you are *as close to the performer* as you can be, but you’re also often just under the stage monitors that provide the vocals and overall sound. A few rows back (which is where we wound up) is always the best for perfectly balanced audio.

Choosing to spend the time between sound check (which we heard snippets of from outside) and when they started letting people in (was around 7:30 pm-ish) my daughter Heather and I headed off to find a good place to eat. Since Heather loves Japanese culture, the second she spotted a restaurant to her liking we headed in. The Kyoto 5 Colonial Sushi & Grill was the right choice and we spent the leisurely pre-show hours dining like like connoisseurs of fine Asian dining.

Arriving back at the venue, the crowd was starting to grow and the line to get in getting longer. As someone who has a long history with Sophie, first as moderator of her official website and message board back when that was a thing (pre Instagram and all that) we have communicated from time to time. Discovering she was coming to Orlando, I reached out to see if we could meet once again, however briefly. The last time was over 14 years ago (!) at an event meticulously chronicled by this writer here.

Heather being a life-long fan (with her dad having been playing Sophie’s music to her since she was a very young child) would certainly be thrilled at the prospects. To my utter gratitude Sophie wrote back and said “let’s make it happen!” With all intentions well and good, my experience has been these things never happen *all that* smoothly, but we proceeded with confidence. The ticket venue rep handed us our comps (even though we had already bought tickets) as this was the only way to get access to some kind of “after show” access. I was hoping for the traditional sticker pass that gets you through the gatekeepers, but settled for a handwritten note on the comp ticket.

Meanwhile a beautiful moon had risen over the venue, adding another sign that this was to be a glorious experience.

Fellow fan friends on the internet from points far and wide (it’s wonderful how this connects us all) were almost as excited for our attendance at this show as we were.

The warmup act for the night was a popular local DJ calling himself Hulian who got the crowd movin’ n’ groovin’ and all warmed up for the main event. Special mention has to go to his clever “re-appropriation” of an iconic soft-drink logo to his own name.

With his set completed, the anticipation for Sophie’s appearance was buzzing through the crowd with electricity. I observed how the crew efficiently set up the equipment and silently tested out their tunings and audio levels. The drums were already set up, and both lead tech Josh and Jackson himself came out in the dim lighting to sit behind the set and make sure everything was right. Suddenly the lights changed and out came the full band, and then Sophie herself. The crowd burst with excitement as she launched into her now traditional opener “Crying At The Discotheque.”

 

 

Sophie dazzled instantly with her purple frock trimmed with feathery plumes at the sleeves and skirt line.  The band starts the show wearing those now famous animal masks first introduced during her Kitchen Disco shows.   As the crowd of adoring fans sing along, you can really notice how bass and drums sound so much fuller during a live show.  It's one more reason why you need to be there.

 

The second song (met with delighted squeals and applause) was her first completely solo single release "Take Me Home."  Having received the blessing and permission from original songwriters Bob Etsy and Michelle Aller, Sophie added lyrics and have made this song her own (sorry Cher).   Masks now off the band, the leggy, glamorous stars joyfully slinks her way through it all.

 

As Sophie has been known to do throughout this tour, she engages with the audience of whatever particular city she is in, talking about some of the interesting things unique to their area.

Her mention of Orlando's very first "theme park" - the now personally beloved Gatorland - even impressed iconic "gator queen" Savannah Boan. 

 

Next up was the ever popular fourth and final single from her debut solo album "Read My Lips" - the uplifting "Music Gets The Best Of Me."  Co-writing this one with the perfect-match-for-her-at-that-time songwriting team of Gregg Alexander (who's big hit with his band The New Radicals "You Get What You Give" is still played frequently on Alternative Rock channels) and Matt Rowe, is still one of her best.  Of note on this particular live performance is how much joy you can see in Sophie's face when singing this one.  She's literally beaming at points when dancing along with it.  Also noted is how the bass and drums really stand out (again, the benefits of being there live).

Next Sophie played one of the most popular tracks from her third album, 2007's "Trip The Light Fantastic," with the playful "Me and My Imagination."  This came by way of of selection from her now famous "wheel spin" where songs are listed on her spinner.  Wherever it lands is the song she will play.  It's a fun way to keep each live performance unique to that night.

The song is a product of her at-that-time collaborations with hitmaker/vocalist Hannah Robinson and Producer/songwriter Matt Prime.  Having reached top 20 on the UK Singles Chart, the chorus lyrics ask "try to keep me entertained,"  This particular live performance emphasizes keyboard chords between Sophie's verse lines.

After playing a spirited version of her song "Hypnotized," an early highlight of the night was when Sophie and her guitarist Pablo stepping out front for a heartfelt acoustic version of "Youngblood."  Calling it "the most romantic song she's ever written" the lyrics are touching and the performance equally breathtaking.   Originally appearing as the lead single off her fifth studio album "Wanderlust," it served as the beginning of her co-songwriting and production partnership with musician Ed Harcourt. It served as a “comeback success” of sorts for Sophie as it was her first single to enter the UK Singles Chart since 2011's “Bittersweet.” It peaked at No. 34 on the UK Singles Chart (spending three weeks there) and at No. 3 on the UK Indie Chart, making it her fifteenth best-selling song in her home country.  

As Sophie scurries off stage, the band begins playing an instrumental version of Hana's "Hearing In Colour."  The diva soon returned in a costume change from her purple outfit to a sleeveless yellow mini dress to complete the vocals on this synesthesia themed song.   That lead to her launching into this next song.

"Ready For Your Love" came out of a 2024 collaboration with award-winning electropop German DJ and producer Felix Jaehn. 

Returning to give the "wheel spin" another go, Sophie landed on this next song, much to the delight of the captivated audience.

The wheel selected the best song from her troubled (and transitional) second album "Shoot From The Hip" with the single "Mixed Up World."  A particular favorite of Heather's (and one would assume most young women) the final foray with songwriting team Alexander and Rowe emphasizes resilience over confusion, reminding oneself to "remember you're a real tough girl."

Next up was a wonderful Sophie leading sing-along rendition of "Get Over You."   Who can resists the sheer joy of vocalizing those "Ai Yi Yi Yi" segments.

Reaching the "medley" portion of the show, the highlight of course is Sophie's first ever hit song "Groovejet (If This Ain't Love)."   Created out of a collaboration with DJ Cristiano Spiller, who himself sampled his contribution from the Vince Montana Jr. and Ronnie Walker written and Carol Williams sung Salsoul Orchestra song "Love Is You."  Sophie penned all the lyrics, with subtle enhancements from co-writer Rob Davis.

The back half of the performance features funky guitar strumming, Ciaran's electric piano melodies and a heavy emphasis on percussion.  The hits just kept on coming now, with the latest single "Freedom Of The Night" followed by a near religious experience via a cover of Madonna's "Like A Prayer."  Both wonderfully done with Sophie recreating her video ribbon twirl, and cathedral lighting on the later. 

Then it was time for a number from her fourth studio album "Make A Scene'" and it's first single "Heartbreak (Make Me A Dancer)."   Initially released as a dual release between Sophie and English production duo The Freemasons (James Wiltshire and Russell Smalls). Songwriting credits were shared equally between all three as well as the inclusion of Richard ("Biffco") Stannard. It was a pretty successful hit for each of the separate artists albums, with some decent play in the USA. Reaching No. 1 on the MTV Dance Chart, it remained there for 13 consecutive weeks.

 Of course the most anticipated song was set to close out the main portion of the show.  Sophie told the crowd to "do what you will with Murder On The Dancefloor," so Heather and I did, dancing and singing along with everyone else there.

With this celebratory revival and stunning 2024 success for this track first released over 20 years ago, the song became a viral phenomenon after providing the soundtrack for a pivotal scene in Emerald Fennell's film "Saltburn."  That lead to it re-charting globally and marked Sophie's first entry on the US Billboard Hot 100.  The track now has over 800 million streams across all digital streaming platforms.  Co-writer Gregg Alexander has said that he's reconnected with Sophie after the song's recent success, and that he realizes things worked out as they were meant to be.  He's happy that new people are discovering the song and is content with riding the rollercoaster of the song's new popularity.

With the band now back in their animal masks, Sophie leads the crowd in a final sing-back-to-her celebration.   At the songs conclusion they all wave goodbye and head off the stage.  Most of us are pretty confident there will be an encore, but we clap and chant to bring her back all the same.

Not to be disappointed, Sophie and her band came back out on stage and launched into one of her most popular hit songs "Bittersweet."  Another dance floor success and third single from "Make A Scene,"  Adding Hannah Robinson again to the songwriting team (which included the three others who helped shape "Heartbreak") succeeded again in creating a universal theme most anyone could relate to.  This performance here tonight continued the sultry dance arm movements and overall joy of the live event.

As the band continued to play, Sophie disappeared once again until we suddenly heard a gasp from the crowd as she appeared in radiant light at the middle of the room.  Being helped up onto a riser, she sang an intimate, acoustic guitar accompaniment rendition of her best known song from her original band Theaudience, "A Pessimist Is Never Disappointed."

Watch and listen here.

Taking Sophie back to her very beginning as a recording artist, the Billy (Paul) Reeves penned song serves as an acknowledgment to her earliest days. As the 19 year old lead vocalist (and image) of britpot band Theaudience, this third single release from that bands debut album peaked on the UK Singles Chart at No. 27. Sophie has been performing this song from time-to-time over the years at live shows, and including it here was a perfect touch. Sophie's rendition here is note perfect, including all the “charm” alluded to in these almost too-sophisticated-for-pop music lyrics. Reeves was certainly a gifted songwriter and one wonders what he could have accomplished if he had gone as hard at it as, say someone like Gregg Alexander (or for that matter, Sophie herself) has. Nevertheless, THIS song is still a marvel after all these years, and would have been the perfect lead song to any of the numerous “coming of age” Hollywood movies that have come out over the last 20 years.  Coming full circle, it was "Saltburn" that did it for her.

With that the show came to it's conclusion.  As previously mentioned, there had been some communications with Sophie about meeting up to speak after the show.  However the venue staff were firmly in a get-everyone-out-of-the-venue-asap mode and it took some fast talking from myself to convince them that "no really - Sophie said it was ok to meet us!"  Fortunately, the staff member I chose to pitch my appeal to (I tried to pick the most friendly face) said she would investigate.  After a nervous moment or two, she came back to say "yes" - the communications chain she began the process through reach the right people and we were quickly escorted over to some chairs near the stage door.  As I observed instrument-tech and overall backline provider (and would later discover a surprisingly good wall climber to enter locked out of rooms) Josh Beanz break down the stage equipment, we were told someone would get us to head back.

That someone came in the form of tour manager Dominic, who was a friendly fellow that made sure we made it through the labyrinth of passageways leading to the stars dressing rooms. 

Dominic to the right of Jackson there

As we continued to wind through the passageways that lead to our destination, I asked Dominic about all the world traveling he'd been doing lately as tour manager of Sophie and her band.  He had a cheerful attitude about it all, and I must admit that getting to visit all those places while working has to be quite an experience.   We were sat outside the dressing room door and told to wait for Sophie to appear.

As we waited, taking pictures by the dressing room door signs seemed like a good idea.

Before we knew it, Sophie emerged from said dressing room, walked over to us and said "hello."  She had changed out of her performance costume and was now wearing a more casual t-shirt with patterns on it, and an angle length skirt.  She still had her stage makeup on and of course looked stunning.  After the obligatory 'how are you's' and "good to see you's' I introduced her to my daughter Heather.  Sophie was under the impression that she had met Heather before, but this was actually the first time.  We both agreed she must have seen her picture on social media and that's how she knew her.  Never one to waste an opportunity, I asked if we could take a picture together and of course she agreed.  Road Manager extraordinaire Dominic offered to take the photo and we commenced to that.

Happy times with Dad, Daughter and Idol

We continued to chatter about the show, her music and the fun things she puts on social media all the time.  For instance Heather wanted to know if she had named the three kittens that were recently born.  Sophie said she had not, because other family members had already claimed them, and she wanted to let the new owner name the kitty.

While we continued to talk, the bandleader, bass playing legend and super dad himself, Richard Jones emerged from his dressing room and joined us.  The talk became more animated now and I reminded him of a conversation we had 14 years ago, when I first met him in New York (at that pier show with The Freemasons I mentioned earlier).  I asked him if she still felt that Paul McCartney was his bass playing role model and he said yes he still was.  I saw Paul would be playing at the Corona Festival that Sophie and crew would be at soon and they were excited at the prospect of seeing him play again.  Once again not wanted to miss out on a photo op, I asked if we could take a picture with Richard.

Richard sporting his Loup GarouX t-shirt

We chatted some more and then Dominic asked if we would like a picture with all 4 of us together.  Never one to turn down such an opportunity, we commenced to take the best picture of all.

As we chattered on further, Sophie graciously secured tour t-shirts for Heather and I, and we joked about how we would walk side-by-side down the street to display all of the shows.  That, if fact is what we did a few days later.

Instagram searches on various Sophie-related hashtags provided surprisingly positive results as well.

Sophie and Richard were so friendly and down-to-earth - No star tripping here.  We talked about so many different things in the however-long-it-was (having lost complete track of time) we were allotted.  We said our goodbye's as they at least one other meet-up to get to, as well as prepare for a long over six hour drive to Atlanta.

As Dominic helped us navigate our way out of the venue - there was some climbing down off the stage involved - we headed out the venue and found ourselves out behind it.  Having to walk all the way around it, we spotted Josh and crew loading up all the equipment into the trailer that is pulled behind the tour bus.  Being a serial picture taker, I grabbed a quick snapshot of it.

Which also makes an appearance in Atlanta photo from the next day.

While I curiously watched the hard work that a tour crew must do to get everything securely in their places, none other than Sophie and Richard come strolling out from another exit area (right near to the tour bus) and commence to greet some fans who had waited there after the show to meet her.  

Drained as we were from this amazing show and incredible experience afterwards, it was all we could do to stumble to the car and head home.

A truly memorable night with an iconic star who has been accurately described as having "stature that goes beyond the music, and she's now become a British national treasure."

Indisputably!

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A review of her most recent single and video "Freedom Of The Night" can be found here.

Stream "Freedom Of The Night" here.

Join the Sophie Ellis-Bextor mailing list.

Connect with Sophie online:

Facebook  -  Instagram  -  TwitterX  -  Official Website  -  Linktree

A Complete Review of Sophie's Full-length Album "Hana" can be found here.

A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.

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