“In recent years there have been some exciting solo albums for drummers and percussionists as well. And one of the most exciting is Sofia Borges.” – Jan Granlie, salt peanuts* (2023)

“(..) the musician creates the soundtrack of her own inner film with atmospheres that directly enter the listener’s mind.” – Victor Loconte, Kathodik (2023)

“It is clearly one of the most interesting electro-acoustic works I have listened in the recent 20 years, period!” – Maciej Lewenstein (2022)

“Der Detroiter Pianist Craig Taborn und sein Quartett war in allerbester Spiellaune und legte bei seinem Konzert radikalen Umgestaltungswillen an den Tag. Blues von Hochbegabten! “– Maurice Summen, TAZ (2022)

“Mit sogar großem Abstand das musikalisch beste aller drei Konzerte.” – Alban Nikolai Herbst, Die Dschungel. Anderswelt. (2022)

“Sofia Borges, ao vivo, em dois actos: um dedo e tudo o mais” – Rui Eduardo Paes, R&B (2022)

Interview: “Gosto muito de pensar que o destino é o próprio caminho” – Rui Eduardo Paes, R&B (2022)

Interview: BOM DIA dá música com Sofia Borges – Ana João Correia, Bom Dia (2021)

RED LIST ENSEMBLE: “Listen carefully with wide, open ears.” – Eyal Harevueni, Salt Peanuts (2020)

RED LIST ENSEMBLE: “In other words, we are at home!” – Andrzej Nowak, Spontaneous Music Tribune (2020)

“The undoubted highlight though was Borges intricate percussiveness, deftly coaxing detailed rhythms from just a couple of drums and a variety of dangling sound-makers.” – Dave Jackson, A Jazz Noise (2018)

Es gab neue Gesichter wie Sofia Borges, die mit Kontaktmikrofonen bestückte Küchenutensilien und Field Recordings zu einer zarten Echtzeitcollage anrührte.” – Eric Mandel, jazzthetik (2018)

“Sofia Borges, a portuguesa que ensina música a crianças refugiadas na Alemanha” – Público (2018)

The presence of George Haslam was a great asset [to the Encontro de Música Improvisada de Atouguia da Baleia, Portugal], but it was in fact the Portuguese percussionist Sofia Borges… who proved to be the most distinguished figure at the event. ” – Rui Eduardo Paes, (2017)

“(…) there was a wondrous music-box-like collage, layered with brutal noise, where the game was physically concrete while the concert took a purely sculptural form when Borges contemplatively tweaking the software and the machines turned into an amorphous mass delivering a structured cacophony.” – Andreas Engström, Opulens (2017)

“An excellent percussionist with gentle sounds and ways… She plays with gestures that seem to extract sounds – which were already there, making them audible – rather than impose them to her audience. Never arrogant, always original. Great soirée.” – Pat Lugo, Tempo al Tempo./Exit Lab (20.11.2017)

Zoon-Politikum: “The musical rendering of Sofia Borges is part of the narrative journey and is equally moving and profound.” – Gyde Cold (2017)

“In her compositions, Sofia Borges touches on magical things as if by chance“. – James Wood, Leo Samama, Tenso Jury Report (2015)