Gregory Nagy & Julia Dubnoff, "Selections from Sappho" (2018). Harvard Center for Hellenic Studies.
You with pattern-woven flowers, immortal Aphrodite,
child of Zeus, weaver of wiles, I implore you,
do not devastate with aches and sorrows,
Mistress, my heart!
But come here [tuide], if ever at any other time
hearing my voice from afar,
you heeded me, and leaving the palace of your father,
golden, you came,
having harnessed the chariot; and you were carried along by beautiful
swift sparrows over the dark earth,
swirling with their dense plumage from the sky through the
midst of the aether,
and straightaway they arrived. But you, O holy one,
smiling with your immortal looks,
kept asking what is it once again this time [dē’ute] that has happened to me and for what reason
once again this time [dē’ute] do I invoke you,
and what is it that I want more than anything to happen
to my frenzied [mainolās] heart [thūmos]? “Whom am I once again this time [dē’ute] to persuade,
setting out to bring her to your love? Who is doing you,
Sappho, wrong?
For if she is fleeing now, soon she will give chase.
If she is not taking gifts, soon she will be giving them.
If she does not love, soon she will love
even against her will.”
Come to me even now, and free me from harsh
anxieties, and however many things
my heart [thūmos] yearns to get done, you do for me. You
become my ally in war.
If you are looking for a modern translation of Sappho which is freely-available online, this is a good option.
Nagy's translations tend to be aimed mostly at classics students, and thus e.g. are persistently interrupted with glosses noting the original Greek (“once again this time [dē'ute] do I invoke you”, fr. 1 l. 16) and in some cases are more literal than poetic (“O Queen Nereids, unharmed may my brother, please grant it, arrive to me here, and whatever thing he wants in his heart to happen, let that thing be fulfilled”, fr. 5 ll. 1–4) but they are accurate and include many of the most significant and famous fragments.
Dubnoff's translations are mostly of less major fragments than Nagy's, though with a couple of overlaps – fr. 16; frr. 105a and 105b (23 and 24 Dubnoff); fr. 115 (25 Dubnoff) – and a couple of very famous fragments not in Nagy's selection (notably fr. 94 = 19 Dubnoff and fr. 168B = 8 Dubnoff). Her renderings are still fairly literal, but more like conventional translations and less like crib sheets for students than Nagy's are.
Unfortunately with fewer than fifty fragments translated, there are still important or famous fragments left out: frr. 2 and 96 are the most obvious omissions.
Overall this is no replacement for a published translation, but as a supplement or reference, or to get an idea of Sappho's poetry without committing to buying a particular translation, it is useful enough.