SOPHIE ELLIS-BEXTOR AT HAMPTON COURT PALACE: EVEN THE MOTHS WERE DANCING

LIVE REVIEW | SOPHIE ELLIS-BEXTOR | HAMPTON COURT PALACE, RICHMOND | 20th June 2026 by KEVIN and JAMES O’SULLIVAN

There can be few more picturesque settings to watch a concert than Hampton Court Palace on a warm summer evening.

Long before Sophie Ellis-Bextor stepped onto the stage at 9pm, Hampton Court Palace was already buzzing. From 5.30pm, concertgoers had been streaming through the gates, picnic baskets and bottles in hand, spreading themselves across the immaculate lawns and soaking up one of the most unique concert experiences in the country. As the sun slowly dipped behind the historic buildings, there was a real sense of anticipation in the air. People weren’t just here for a gig; they were here for an occasion.

The setting itself is half the magic. The concerts take place in Hampton Court’s stunning Tudor courtyard, an intimate space that holds around 3,000 people and somehow manages to feel both grand and welcoming at the same time. As daylight fades, the venue comes alive. The stage lighting grows increasingly prominent against the darkening sky, colours bouncing off centuries-old brickwork while crystal-clear acoustics ensure every note reaches every corner of the courtyard.

By the time Sophie Ellis-Bextor emerged to open with “Relentless Love,” the mood was already electric.

Looking out at a sea of people already swaying, clapping and dancing, she laughed, “I’m in the presence of dancers.”

She wasn’t wrong.

What followed was less a concert and more a joyous communal celebration.

From the outset it was obvious people had come determined to have a good time. Sparkles glittered throughout the crowd, sequins caught the last rays of sunlight and smiles seemed permanently fixed across faces. Throughout the evening people repeatedly found themselves on their feet, whether for particular songs or, in the case of many in the front sections, for virtually the entire show.

Even the moths attracted by the ever-changing stage lights appeared to be dancing.

And Sophie had everyone eating out of the palm of her hand.

Backed by her band, including guitarist Richard Jones, Sophie was in superb form throughout, effortlessly moving between disco, pop and dance-infused classics while maintaining the warmth and personality that make her such a captivating live performer.

Following a quick costume change during “Hearing In Colour“, she returned in a sparkly green dress complete with long tinsel sleeves, promptly christening it “Greensleeves”. Referencing the famous song, she joked that it had been written by Richard Jones before quickly clarifying she didn’t mean the Richard Jones standing behind her on stage. The gag drew plenty of laughs and was typical of the humour and charm she brought to the evening.

One of her greatest strengths as a live artist is her ability to make a crowd feel involved. Between songs she chatted constantly, sharing stories, observations and a seemingly endless supply of Hampton Court facts.

We learned about the famous Great Vine, which Sophie told the crowd is believed to be the largest grapevine in the world, with branches stretching for around 75 metres. We discovered that after Cardinal Wolsey fell out of favour and gifted the palace to Henry VIII, the king promptly transformed it into what became known as his “pleasure palace,” quadrupling the size of the kitchens and employing up to 200 chefs. There were tales of the UK’s largest maze, stories of Henry VIII’s wine fountain that once flowed in the courtyard itself, references to Shakespeare and Vincent van Gogh visiting Hampton Court, and mentions of the ghosts of Jane Seymour and Catherine Howard, both rumoured to haunt the palace.

Sophie expressed her hope that they might be attending the concert.

Having spent much of the evening acting as Hampton Court’s unofficial tour guide, she eventually reached her conclusion.

“I feel like Henry VIII would have loved me,” she laughed. “I’ve had five sons, guys.”

The line received one of the biggest laughs of the night before she launched straight into “Music Gets the Best of Me“.

Audience participation remained a constant throughout the evening. During “Hypnotized“, Sophie took time to teach sections of the crowd the choreography, ensuring that those who weren’t already dancing soon found themselves joining in.

At one point she unveiled her now-famous “magic button”, a giant illuminated selector board positioned at the rear of the stage resembling a glowing chessboard. Pressing it at random would determine which song she’d play next.

Before making her selection, she explained that the button would choose from songs spanning her catalogue. When “Sophie’s Choice” appeared, she admitted she was going to use it “selfishly”, opting for “Move This Mountain“, a song she said she hadn’t performed in the UK for more than two decades.

The response suggested many in attendance had been waiting a very long time to hear it again.

Another standout moment arrived when Sophie discussed her recent album Perimenopop, an album she spoke about with obvious pride. Introducing “Time“, she reflected on how precious time is and how it may be the most valuable thing we can ever give another person. It was a genuinely touching moment and one of the evening’s most affecting performances.

Behind her, neon-drenched visuals drifted from palm trees to glowing horizons, giving the performance an almost dreamlike quality as daylight slowly disappeared from the courtyard.

Musically, the set was packed with highlights.

“Ready For Your Love” felt tailor-made for the occasion, its infectious energy sending another wave of people to their feet and perfectly matching the celebratory mood sweeping through the courtyard. “Get Over You” sparked another huge singalong, its irresistible “aye aye aye” refrain echoing around the venue.

Then came a sequence that all but transformed Hampton Court into an open-air nightclub.

Introducing the section with a playful “Let’s go to Ibiza,” Sophie launched into a joyous medley featuring “Lady (Hear Me Tonight)“, “Groovejet (If This Ain’t Love)“, “Can’t Fight This Feeling” and “Gimme! Gimme! Gimme! (A Man After Midnight)“, cheekily reminding the crowd that midnight was still “two hours away”.

Add “I Feel Love“, “Not Giving Up On Love” and “Crying at the Discoteque” to the mix and it became almost impossible to stand still.

Not that many people were trying.

As “Not Giving Up On Love” filled the courtyard and the evening sky began to darken, Sophie asked the audience to raise their phones into the air. Thousands of lights shimmered across Hampton Court, creating one of the night’s most memorable images.

Pausing to take it all in, she smiled.

“That’s the best view in the world.”

Judging by the reaction, the feeling was mutual.

By the time darkness fully settled over the palace walls, the show felt transformed. What had begun in warm summer sunshine had become a glittering open-air spectacle of lights, colour and music.

Throughout the night the visuals proved spectacular. The backdrop shifted constantly from horses to palm trees, glitterballs to sunrises, stars to meteor showers. Combined with the immaculate sound and increasingly dramatic lighting as darkness settled over the palace, it created a sensory experience that felt tailor-made for this remarkable venue. Few venues reward patience quite like Hampton Court; watching the show evolve as daylight faded and the stage production became ever more prominent was an experience in itself.

There was also a genuine sense that this show meant something to Sophie personally.

Driving to Hampton Court earlier in the day, she explained, she’d passed former schools and venues where she used to perform. This was an area she knew well, somewhere woven into her own story. That affection came through in every interaction.

The crowd recognised it too.

Her enthusiasm was infectious and was returned tenfold by an audience determined to enjoy every second from first note to last.

As the final stretch arrived, featuring crowd favourites including “Layers“, “Heartbreak (Make Me a Dancer)“, “Bittersweet” and “Don’t Know What You’ve Got ‘Til It’s Gone“, there was never any doubt how successful the evening had been. During “Heartbreak (Make Me a Dancer)“, the green tassels of her dress floated behind her like a cape as she danced across the stage, while parts of the crowd bounced with such enthusiasm it felt as though the stands themselves were joining the party.

Then came “Murder on the Dancefloor“. The song’s remarkable resurgence in recent years may have introduced it to a new generation, but judging by the reaction inside Hampton Court, it has never really gone away.

Thousands of people were smiling, dancing and singing beneath the stars in one of the country’s most beautiful concert settings. By the end, the question wasn’t whether Sophie Ellis-Bextor deserved a standing ovation.

It was whether it counts as a standing ovation when almost everybody is already standing.

Some gigs are remembered for technical brilliance.

Others for emotional moments.

This one will be remembered because it simply felt good.

A wonderful artist, a spectacular venue, perfect summer weather and a crowd determined to enjoy every second. Hampton Court Palace has hosted kings, queens and countless moments of history over the centuries.

Last night, it hosted one enormous party.

And Henry VIII probably would have loved it.

Sophie Ellis-Bextor is currently touring in support of her album Perimenopop, with dates in Europe and the UK this summer. Tickets for all shows are available here.