SOPHIE, the influential British producer who molded electronic music into bracingly original avant-garde pop, died in an accidental fall Saturday morning (January 30), a representative confirms. SOPHIE, who was 34, died at roughly 4 a.m. in Athens, Greece, where the artist had been living. In a statement, the labels Transgressive and Future Classic wrote: “True to her spirituality she had climbed up to watch the full moon and accidentally slipped and fell. She will always be here with us.”

SOPHIE emerged on the European club circuit in the early 2010s, breaking out with a string of inventive, house-adjacent singles including 2013’s “Nothing More to Say.” Next single “Bipp,” a stark and disembodied anthem, signaled a new direction and brought international acclaim, both from dance DJs and in the year-end lists of music publications across genres. Subsequent tracks “Lemonade” and “Hard” mixed distinctive vocals and abrasive sound design into SOPHIE’s music, forging a tactile twist on pop. SOPHIE’s 2014 collaboration with PC Music founder A. G. Cook and Quinn Thomas, QT’s “Hey QT,” embodied the new form, a hyperactive sugar rush of unashamedly euphoric hooks.

The 2015 compilation PRODUCT collected these singles and added new music such as “Just Like We Never Said Goodbye,” which pointed to yet another phase of innovation. In 2018, SOPHIE—who preferred not to use gendered or nonbinary pronouns, according to one representative—released a debut album proper, Oil of Every Pearl’s Un-Insides, prominently featuring SOPHIE’s own vocals. Until then, the producer’s identity was kept mysterious, but in press around the debut, SOPHIE stepped into the frame of videos and photo shoots, coming out as trans. The record was widely hailed as a landmark in forward pop music, earning a Best Dance/Electronic Album nomination at the 2019 Grammys and recognition in albums of the decade lists the following year.

SOPHIE’s outsize influence on pop and electronic music stems from not only this solo discography but also an expansive collaborative catalog. This repertoire includes productions for Vince Staples, Madonna, and, prominently, Charli XCX, who said in 2019: “There are very few artists who make me feel something up my core and make me wanna cry. Justice and Uffie made me feel something when I was 14, and I didn’t really have that feeling again until I met Sophie. I felt this rush of: Fuck, this is the coolest shit I have ever heard.”

In a statement, SOPHIE’s representative wrote: “At this time respect and privacy for the family is our priority. We would also ask for respect for SOPHIE’s fanbase, and to treat the private nature of this news with sensitivity.”

the last great british popstar, one representing everything the ruling class of that cursed island wanted and wants to repress. against gender, against sexual repression, against commodification of self, against Pretend World. towards true love, true solidarity, true weirdness, true fisherian nihilation of this demiurge. towards the Whole New World. for u and me. <3




Somehow SOPHIE slipped under my radar until recently. I remember when HeyQT was released - it was probably the one tune that made it into my world at the time and I remember how different it sounded from everything I was surrounded by. I don’t think I really knew how to process it then. It’s funny, because, going back to that tune, it sounds so normal to me now. I’m not sure if that says something about how I’ve changed or how pop music has or both, but looking back it definitely feels like it was a kind of message from the future.

I’ve just spent the last few weeks on a SOPHIE bender of sorts and now I’m caught up and sitting here feeling this loss big time. I can’t really put it into words properly yet but there’s something in SOPHIE’s music that I’m really connecting to lately, even if I can’t put my finger on what, exactly.

I wanted to add this video to the thread. I found it verbalized some stuff I’m feeling and hopefully other people might get something out of it too :heart: