Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.
It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.
Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.
Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.”
“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”
As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October. “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.” So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.” Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.
“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force. The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind. Having “diamonds in her soul,” she is found “stepping over insects and butterflies.”
“1000 Years” comes on by way of triumphant power chords and big rock arena song appeal. Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.”
“Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force. Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top. The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).
Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace. The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch. Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.” The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.” Another trumpet emerges as a lovely enhancement on the outro.
With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.” What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.” A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.
Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.” With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches. Extended note synth pads stand out, while banjo-like figures are heard off in the distance. As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth. Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”
Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm. The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses. While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.
Listen to and find out how to acquire this dreamy album here:
When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.
The now traditional show opener "Hello There"
Followed by "Elo Kiddies"
"Hot Love"
"Radio Lover"
First spotlight moment goes to Rick and his cool square guitar
Which leads into their cover of The Move's "California Man"
Dipping into their most recent album, they play the marvelous "Twelve Gates"
The next featured musician moment was Daxx with a drum solo
Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"
"The House Is Rockin"
"High Roller"
"Downed" (with Robin Taylor Zander on lead vocals)
The next solo spotlight went to brilliant bassist Tom Petersson
That leads into "I Know What I Want" with Tom on lead vocals
Last but certainly not least, a solo spotlight for perfect frontman Robin Zander
Leading into one of their all time great songs "The Flame"
Speaking of their biggest hits, here's "I Want You To Want Me"
Then there's "Dream Police" which they closed out the pre-encore show
After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"
Followed by their arguably most well-known song "Surrender"
Then closing out the night we a redux of the opener "Goodnight"
A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act. That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem. Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable. James has just released a new single “Prodigal Son,” that now receives a close listen and review.
Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.
Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells. The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix. Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”
The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart. As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”
Listen to this wonderful track wherever you stream. Here it is on YouTube Music and Spotify.
Here's a short clip of it from the concert - listen to how it sounded live at the show:
Another outstanding number played was heart-tugging, previous single "Northern Winds"
Which made an impression (and later got the Story/ReStory treatment)
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.
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."
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.
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."
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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