Sophie Ellis-Bextor – Vertigo Review

Few pop artists have the benefit of consistency and longevity. It is one or the other. Either to briefly offer listeners a reprieve from the day, or to do it long enough that they tire of you. Sophie Ellis-Bextor has offered several peaks over thirty years in the industry and is gearing up to give another spot of light-sounding, danceable music which has a spot of truth to it. Vertigo, a single from Perimenopop, serves as an introduction to what some may say is the second act of Ellis-Bextor’s career. But little has changed from her Read My Lips debut to now where quality is concerned. Vertigo is a strong single, better than the first tease of fresh material which came with Freedom of the Night. The electropop club scene is back with a vengeance after the impressive Hana album. Those softer touches are lost, but Ellis-Bextor knows what will entertain best of all.  

After a reintroduction of Murder on the Dancefloor thanks to an admittedly poor film starring Barry Keoghan, capitalising on the dancefloor delights was only natural. Vertigo goes a step beyond rehashing familiar territory, though. This is Ellis-Bextor delivering what she does best of all. It’s a relatively plain story, one which has featured in her music since that astonishing debut. But those common plot points are pulled apart with some sharp writing. That’s what Vertigo offers, a lyrical consistency which was a tad lacking in the build-up to Perimenopop. But this spinning through the highs of love is a satisfying listen, not least because the upbeat tone feels genuine. Chart-topping music now has all too easy a job of musing on a theme or topic without truly connecting to it. It happens all too often, and many will assume it’s a sincere splash from whichever musician it may be. But few are tracking their songs with much sincerity.  

Ellis-Bextor is, and she proves to be a rare artist because of it. There’s a sincerity to her words and an enjoyable spread of genuine positivity across the instrumental highs here, which the charts have not offered, yet promises to, in some time. Vertigo is a blur of that fine line between nostalgic pop and contemporary push. Ellis-Bextor is forever tied to Murder on the Dancefloor but the hits do not define the best of artists, who, as is the case here for the Groovejet singer, is capable of pushing past the hits. To do so in the same genre is no small feat, either. Vertigo is of a similar quality to Murder on the Dancefloo,r though its higher-pitched instrumentals and quickened tempo will prevent it from the same catchy successes as the Read My Lips hit. But that implies Vertigo needs to be anything like that. Nothing could be further from the truth.  

This Perimenopop cut is Ellis-Bextor at her pop-oriented best. Sharp wordplay which both ribs the romantic interest at the heart of the song, but also finds itself in its sphere of influence. Natural developments come through, and it creates not just a catchy song but a lived-in experience. All we can ask of pop stars is that they are either honest or interesting. Few can do both, but Vertigo is an incredibly enjoyable blur of both standings. A strong and catchy song with depth to it. A rarity to hear but what a welcome listen it makes for. Ellis-Bextor still has a great understanding of what makes a pop song memorable and utilises that knowledge brilliantly here.