“I don’t suppose the BAFTAs is the time to be meek, is it?” asks Sophie Ellis-Bextor days earlier than she takes her “previous buddy,” the 2001 pop-disco ditty “Homicide on the Dancefloor,” to the stage at London’s Royal Pageant Corridor for British movie’s huge night time. “Now could be the time to be bigger than life.”

Telephoning Vogue from her sequin-saturated dressing room, which doubles up as one in every of her son’s bedrooms (how fabulous), Ellis-Bextor is plotting out a glance befitting a “disco superhero.” An innate magpie, surrounding herself with “twinkly issues” makes her glad and she or he spends all her spare time on tour stocking up on shimmering items from classic shops that match her spirit. “Essentially the most wonderful factor about garments is that they put you in the appropriate temper,” she shares of her “quirky” stagewear. “You need issues that transfer with you—and sequins dance lots.”

She feels “fizzy” concerning the BAFTAs, like all her birthdays have come without delay, as a result of the shiny world of tv is totally different from her normal rock circle (Sophie married British music producer Richard Jones in 2005). She’s additionally nonetheless on the “mad journey” spawned by Saltburn*—*Emerald Fennell’s psychological Noughties romp, through which Barry Keoghan fairly actually murders the dance ground bare. “It was darkish and twisted and completely my factor,” enthuses Ellis-Bextor, who signed off her permission merely figuring out that it could be “the entire music, and not one of the garments.”