This post was updated Nov. 3 at 4:18 p.m.

As if there were any doubt, Sophie Ellis-Bextor killed it on the dance floor.

The British singer-songwriter performed at The Regent Theater in Los Angeles on Monday night for the first North American show of her ongoing tour, which kicked off in Italy last month and will conclude in Australia in February. The concert jaunt promotes Ellis-Bextor’s eighth studio album, “Perimenopop,” which was released to rave reviews Sept. 12 and marked both the artist’s return to disco and her first LP since her 2001 single “Murder On The Dancefloor” went viral for its appearance in Director Emerald Fennell’s 2023 film “Saltburn.” With a setlist that blended seven “Perimenopop” bangers with the best hits of her 25-year solo career, Ellis-Bextor rocked the show like an indisputable disco diva with her infectious charisma and mellifluous vocals.

After a jubilant opening act by Australian singer Holiday Sidewinder, Ellis-Bextor arrived on stage around 9:15 p.m. to the tune of “Perimenopop” opening track “Relentless Love.” The swirling tune made an ideal introduction to the show as Ellis-Bextor emerged in a black and pink coatdress, grooving and crooning while basking in rainbow lights. She segued easily into “Take Me Home (A Girl Like Me),” a throwback to her 2001 cover of Cher’s 1979 tune, making it clear that she would use every inch of the cozy stage to prance and frolic in her high heels while beaming giddily at the crowd.

Shedding her coatdress to reveal a glittering silver minidress with pink embroidery, Ellis-Bextor launched into the first of several extended conversations with the audience. This playful banter – which included sharing fun facts about The Regent Theater’s history and cracking jokes about grease left behind by Sidewinder’s backup dancers – succeeded in bringing a cheerful energy to the venue. Ellis-Bextor’s bubbly persona gave the concert a conversational tone, allowing attendees to soak in the inclusive vibes while feeling more connected to the pop star.

[Related: Gallery: Sophie Ellis-Bextor shines bright at The Regent Theater with dazzling performance]

Crucially, Ellis-Bextor’s camaraderie while chatting and giggling with the audience did not halt the momentum of the show as she picked the pace back up with “Dolce Vita” and “Hypnotized.” For the latter, the song’s music video was projected on the screen behind her, offering an engaging opportunity for the audience to replicate the simple but assertive choreography.

The singer’s knack for keeping everyone in the hall hanging on her every word was also evident in her “button press” game, whereby she randomly selected the evening’s two surprise songs. For the first, Ellis-Bextor landed on a button called “Sophie’s Choice” and opted to perform her irresistible anthem “Music Gets The Best Of Me” in a sea of golden lights. For the second, she performed her most recent single, “Stay On Me” – an endearing ditty about enduring love co-written by Selena Gomez – that she dedicated to Richard Jones, who is her bassist, husband of 20 years and father of her five children. Fellow “Perimenopop” track “Time” was especially touching in this section, with the devotion carried by earnest lyrics such as, “I can give you all of my time / And there’s nothing more precious than mine.”

During “Hearing in Colour,” Ellis-Bextor left the stage to change into her finest costume, a silver fringe bodysuit with long strands of tinsel attached to its shoulder pads that she wore for the rest of the show. The movement of the fabric accentuated her dancing, and she proudly maximized the disco aesthetic with a constant barrage of red and pink spotlights and disco ball projections.

Soon after, the indelible kiss-off “Get Over You” provided one of the night’s standout moments with a call-and-response segment that had the crowd passionately chanting along and stamping their feet in unison. Equally rewarding was the blending of “Groovejet (If This Ain’t Love)” with ABBA’s seminal 1979 track “Gimme! Gimme! Gimme! (A Man After Midnight).” The shared catchiness and erotic yearning of both songs was a match made in heaven, elevating the urgency of each as Ellis-Bextor twirled with reckless abandon and the room vibrated amid the crowd’s tireless dancing.

Any critiques of Ellis-Bextor’s showmanship are fairly negligible in the grand scheme of this stellar concert experience, as her energy never wavered across an hour and 40 minutes on stage, and her dulcet vocals often surpassed the quality of her own studio recordings. The one weak entry in the setlist was the singer’s underwhelming cover of Donna Summer’s 1977 techno scorcher “I Feel Love,” since her crisp delivery lacked the velvety richness of Summer’s voice to evoke the song’s blissful pleasure. That said, this disappointing take on a legendary dance track could hardly dismantle the concert’s momentum, especially between “Perimenopop” bops such as “Freedom Of The Night” and “Layers” that featured more dazzling technicolor visuals.

[Related: Concert review: Dua Lipa’s ‘Radical Optimism Tour’ has attendees levitating]

Of course, the song the audience had been waiting for finally arrived as “Murder On The Dancefloor” marked the finale of Ellis-Bextor’s main set. Clips from the song’s music video played on the screen to complement each sashay and skip as Ellis-Bextor moved in a haze of orange, turquoise and scarlet lights and turned the microphone to the crowd to call out the chorus.

But even after it seemed the concert had reached its natural conclusion, Ellis-Bextor had two more brilliant tricks up her sleeve. First, she returned to the stage for a lively encore performance of her 2010 single “Bittersweet,” a spirited song that captured the mood regarding the show’s imminent end. Even more moving and impressive was “Don’t Know What You’ve Got Until It’s Gone,” the closing track off “Perimenopop” that Ellis-Bextor performed from The Regent Theater’s upper balcony. Gazing out lovingly at the audience below, Ellis-Bextor sang the contemplative ballad accompanied solely by an acoustic guitar. The entire room fell silent in awe as Ellis-Bextor showcased her euphonious vocals while ruminating about the passage of time.

Ellis-Bextor’s commercial success here in the United States might be limited – especially compared to her six Top 10 singles and six Top 10 albums back in the United Kingdom – but Monday’s concert proved why her abundant talents as a songwriter and performer are such a welcome presence in the pop scene. Maximalist concert productions from other artists can be highly entertaining but can sometimes detract from truly appreciating the musicianship of the headliner. In the absence of any hoopla and theatrics, Ellis-Bextor performed with the conviction and adeptness of any A-lister without losing the charm and character that makes listening to her music feel like receiving an invitation to an exclusive club where the dancing lasts until dawn.

By the time the incredible encore ended, the crowd was left “Crying at the Discotheque” with joy and gratitude for the amazing show they had experienced.