She continues:

“I can’t explain how I feel and I can’t encapsulate what a unique person she was in one small social media post. I will honor Sophie in my own time personally, in my grief, through my memories, through my work, through writing things only I will read. But for now, all I can is that I will miss her terribly, her smile, her laugh, her dancing in the studio, her gentle inquisitive voice, her cutting personality, her ability to command a room without even trying, her incredible vision and mind. She taught me so much about myself without even realizing. I wish I had told her more how special she was, not just her music, but her as a person. I love you and I will never forget you Sophie.

Advertisement
Advertisement

Through their work together, Charli and Sophie produced some of pop music’s finest works in the 21st century, or maybe ever.

Another favorite:

But the one that sticks with me, still, is “Trophy.” In classic Sophie fashion, Charli screams, at a near-earsplitting decible, autotune cranked so hard the speaker might break: “ALL THE GIRLS ROUND THE WORLD NOW WE’RE IN CONTROL / ALL THE GIRLS ROUND THE WORLD 1, 2, 3 LET’S GO!”

Advertisement

And then, simply: “I want that trophy.”

Charli makes party music. Through Sophie, that urge intensified. Together, their work felt like a release. For them, for their listeners. At the time the Vroom Vroom mixtape dropped, I was depressed, broke, and alone in my own transition-fueled hell. But wherever I listened to it—on the subway, or in my dark apartment, drifting off to a drug-induced void—I suddenly wasn’t so outside myself.

Advertisement

I was one of the girls, around the world, and in control.