On Tuesday 13th March I headed over to London’s infamous gay venue, Heaven, to review electronic, pop, multi-instrumentalist, SOPHIE.
Recently, on February 16th, SOPHIE dropped her first cut of the year, ‘Faceshopping,’ through Transgressive Records. Since the release of this track, she has received nothing but applauds – ‘Faceshopping,’ emphases the ideology that being artificial isn’t all that bad.
The show was filled with strong performances from start to finish, and played on the idea of personal identity. SOPHIE was estimated to start the show at 9:15pm, but by this time, a DJ who was an exact replica of SOPHIE herself had walked onto the stage and set up their DJ. There was a great deal of confusion as mutters filled the spaces, was SOPHIE doing a DJ set that night? Was the person on stage actually SOPHIE? It was hard to distinguish, but the set lasted until 1opm, weaving in a mix and blend of double drops, and glitchy streaks of noise.
An hour in and there was still no sign of any SOPHIE-produced tracks being played, or SOPHIE. A sudden change of bright lights, and the SOPHIE look-a-like, packed their rucksack and headed off stage. It was at this point, the crowds questions had finally been answered, the lights all dimmed to darkness, a burst of white spotlights beamed onto the crowd and bounced off of the backdrop. A roar of cheers beckoned the room as the words, ‘whole new world,’ repetitively appeared on the backdrop, and SOPHIE was carried in by her backup dancers.
The build up to SOPHIE’s entrance was pretty amazing, the first track played was, ‘Whole New World;. From then onwards the show was a psychedelic thrash of crazy synths, warped lasers and mechanic baselines.
‘Ponyboy,’ went down a treat, the set up for this was vibrant and edgy, and portrayed the exact same visuals of the music video. The show ended on SOHPIE’s, 2017, sweet and stripping-pop, tune, ‘It’s Okay to Cry.’