Sophie Ellis-Bextor – Perimenopop Review

Walking the pop positivity line closer to the edge after a burst of interest in an old song is a risky move. Sophie Ellis-Bextor has weathered the storm of contemporary popularity far better than others. Perimenopop is an unflinching look at where the Murder on the Dancefloor hitmaker now finds herself, but with a familiar instrumental hook that listeners old and new might enjoy. A chance to hear what the songwriter is capable of decades on from her biggest hit is a treat, but those who were around for Hana and Familia will know the talent stretches far beyond perennial early afternoon festival sets. Ellis-Bextor has found herself in a rare spot between contemporary sensation and musician whose latest work is as strong as the pieces which built her career. Perimenopop is a fantastic example of that style in motion. Tremendously catchy but with that necessary heart which defines the best of pop music. Groovy is still the aim of Ellis-Bextor on Perimenopop, an album which proves she is still a pop powerhouse.  

A triple bill of strong singles opens Perimenopop and gives an overview of what Ellis-Bextor can offer post-kitchen disco. Metaphors for love through food and fears. Nice work, solid options and a variety which is rare in pop songwriting today. Stay On Me is a solid transition into album material, those familiar and catchy pieces with the special effects preparing a definitively flashy stage show already falling into place. Just listen to the funk-like grooves and imagery conjured up on Dolce Vita. An excellent addition to the album where we hear a much-misaligned pop message come through. A rebirth, a second coming, or even a fresh start, is something to be excited by. Put the effort in and it all comes good, that’s what Ellis-Bextor offers with her pop positivity. It’s not blind faith but sincerity with recognition for the effort that people are putting in to better themselves.  

Perimenopop would have been a perfect, summery soundtrack, though it missed the deadline by a week. Give it another forty weeks and return to it. The likes of Glamorous are nice album fodder, a solid piece of work to brace for the rare misfire from Ellis-Bextor on Freedom of the Night. A song which still feels too light to capture the strong message featured throughout Perimenopop. Those one-word titles are, more or less, the same. Taste and Glamorous are separated only by cool instrumental groove, but it’s enough of a change for those loved-up songs. They’re a limited range but an interesting listen all the same, the lighter touch of pop music at its very best is preserved by Ellis-Bextor here. Layers picks up that light and breezy momentum well, and the sweetness of Perimenopop is restored.  

Strongest of all is Ellis-Bextor’s voice. Ageing is what you make of it, and with decades of experience behind her, the Groovejet hitmaker proves she can still blow the competition out of the water. That’s a crucial part of Perimenopop. An acceptance that getting older does not mean getting worse. This is some of Ellis-Bextor’s strongest work to date. Songs like Diamond in the Dark are filled with that confident flourish, that instrumentally tight blend which makes up the bulk of her discography. Keeping that high standard and also pushing her vocal style is a brilliant listen. Entertaining and skilful in equal measure. It’s a tough line to walk and few are doing it well. Ellis-Bextor has been doing it brilliantly for years, and she proves as much with a very fun dance-pop blur.