SPARKLES, STORIES AND STYLE| SOPHIE ELLIS-BEXTOR STORMS KOKO

LIVE REVIEW | SOPHIE ELLIS-BEXTOR| LONDON KOKO | 8th September 2025 by Kevin O’Sullivan

You ever see a room glitter without a single light on? That was KOKO Monday night before Sophie Ellis-Bextor even hit the stage. Built in 1900, the iconic Camden venue has seen legends rise, Madonna played her first London gig here, but last night, it belonged to Sophie — a disco queen who’s aged like fine synthpop and sass.

No support. No messing. 8:15 sharp, she strode on stage like the rightful heir to the glitterball throne and without a moment’s hesitation dropped into Relentless Love. It was all satin vocals and stabbing electro-glam — like being hugged and slapped by a mirrorball at the same time.

Then came Vertigo and Taste, both sharp-edged and stylish, setting the pace for what would be a relentless hour and a half of neon emotion and high-camp catharsis. By the time Stay On Me hit, the crowd — some dressed like walking sequins — were swaying like a slow-motion kaleidoscope.

But Sophie wasn’t just here to play songs. The night swirled with stories and memories — all delivered with her trademark raised-eyebrow wit. She beamed at the packed-out room (on a Tube strike, no less) and saluted the crowd’s effort. Then came the kicker: a story about filming a DIY music video on the District Line years back, only to be threatened with a £10,000 fine by TFL. “No love lost,” she quipped, half-grin, half-grudge, all charm.

Dolce Vita, Time and Glamorous followed — shimmering and emotional. The way she introduced Time felt like the set’s heartbeat. Reflecting on 25 years of performing and the unexpected Saltburn-fuelled resurgence of Murder on the Dancefloor, she shared the realisation that as a woman in her mid-40s, the greatest thing you can give people is just that — time. Cue goosebumps.

KOKO looked luminous. Sophie called it “beautiful,” and under those red velvet balconies and gold filigree, she wasn’t wrong. The venue felt alive — and as Freedom of the Night, Layers and Diamond in the Dark tore through the space, so did the energy. Fans everywhere — both kinds — hands in the air and waving literal handheld fans like disco priestesses.

By Don’t Know What You’ve Got Till It’s Gone, she had us. Full stop. Hypnotised, Ready For Your Love, Heartbreak — all punched hard with glossy synths and breathless vocals. Then, the inevitable eruption: Murder on the Dancefloor. Nobody stood still. Everyone’s Saltburn fantasy was real, just for a moment.

She closed with Pessimist, a slow-burn glitterball comedown. And then she was gone. No pyro. No encore. Just sparkles, stories, and the kind of unfiltered joy that feels rare and vital. Sophie Ellis-Bextor doesn’t just perform. She remembers. She reflects. And she invites everyone in.

On a night when the city stood still, she made us all dance.