Sophie Ellis-Bextor on Main Stage
Ratings: ★★★★☆
Underneath the scenic allure of the posh house far off, the grounds were lively with youthful attendees swishing to the music as twilight descended. Among them, one could spot those bearing uncanny resemblances to Barry Keoghan. This vision, bearing close semblance to Saltburn, presented itself before Sophie Ellis-Bextor during the first day of Electric Picnic, where she was booked to perform an exciting set.
The likeness to Saltburn was not the only reason Ellis-Bextor was making headlines. Her smash hit track, which famously marks the end of Emerald Fennell’s class-critiquing movie, garnered her renewed popularity. With night settling over Stradbally, the crowd was eager to hear the notorious tune and were drawn to the main stage for Ellis-Bextor’s performance.
The performance, much like Saltburn, had its fair share of surprises. Opening with a crackling cover of Alcazar’s ‘Crying at the Discotheque’, Ellis-Bextor electrified the audience. This dance number, setting the tone for the festival’s inaugural night, was made all the more engaging by Ellis-Bextor’s cheeky stage presence, complemented by a band member dressed in a pigeon mask.
Dressed in a sequinned number straight out of Taylor Swift’s wardrobe, paired with a flamboyantly ripped matador cape, Ellis-Bextor cut a vibrant figure on stage. Her flamboyant sartorial choices coupled with her ability to make covers feel like they were tailored just for her were standouts from the performance. This was especially evident when she launched into a dynamic rendition of Cher’s ‘Take Me Home’.
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Ellis-Bextor’s Kitchen Discos, a series of ambitious karaoke nights hosted during the pandemic, have garner her a devoted audience. These events, where she covered exceptional musicians like New Order and Lady Gaga while conscientiously averting household mishaps, became an attraction in themselves.
Broadcast live to her appreciative global fanbase, the performances delivered a welcome dose of frivolity during challenging times. She recreates this light-heartedness as she energetically performs a medley of her initial techno hits, featuring Groovejet (If This Ain’t Love), her chart-topping, sun-drenched hit from the summer of 2000.
She then follows up with an upbeat rendition of Madonna’s Like a Prayer, transforming the sombre original into a bubbly version. Finally, the moment the audience has been eager for arrives – a grand final number wholeheartedly embraced and joined in by the spectators. Rejoicing, excited, and glamorous, the Murder on the Dancefloor climax at Stradbally brings the remarkable concert to an impeccable ending.