Do you want to feel like you’ve died and woken up at the gates of heaven, surrounded by angels in frills, lace and pearls, singing in perfect harmony? If yes, then you must catch The Last Dinner Party performing live.
The London-based rock band, known for their catchy riffs, erudite lyricism, baroque-inspired aesthetics, and theatrical performances last played Circuit – formerly Pryzm – back in 2024 for their debut album release show, Prelude To Ecstasy. The album landed them nominations for the Mercury Award alongside Charli XCX, despite only having one album out.
The band have attracted such a wide spectrum of fans, from teenage girls in cowboy hats to the BBC Radio 6 dads who definitely saw Oasis at Knebworth in the 90’s and have an extensive record collection. It is honestly not surprising to see how quickly they have risen to fame; their youthful, angsty sound exploring themes of empowerment and guilt give a fresh, modern take on the heavily synthesised stylings of their musical predecessors Fleetwood Mac, Kate Bush and Siouxsie and the Banshees.
Before the show has even started, a scene has been set already. A bright red neon sign reading ‘The Pyre’ sits on the side of the stage and music that can only be described as sounding like an old Catholic church is playing. It’s like we’ve entered a monastery with a cacophony of deep hums from monks and priests surrounding us. Not a surprising choice from the Party, considering how their musical back catalogue (as well as their punchy moniker) is littered with religious references; Our Lady of Mercy from their first album, and new song, Agnus Dei, meaning ‘Lamb of God’ in Latin. It’s likely inspired by lead singer Abigail Morris’ Catholic all-girls school education, which is rather niche, but I think that is what makes them resonate so well with much of their female audience
The album has an anthological feel feels like an anthology of different stories, capturing such a range of experiences; from grief and motherhood to the metaphorical use of nature in relation to womanhood and the frustrating limitation of women’s role in the eyes of men, and the frustration around that. Their writing feels poetic and so carefully crafted, dealing with darker and more sensitive topics. It’s evident they have developed and matured their sound, but without losing their more playful side which we get from Second Best and Count The Ways.
Morris took a break from singing, handing the centre stage over to guitarist Lizzie Mayland, for Rifle, whose sombre, delicate vocals sat beautifully over an organ. A complete switch up happens at the chorus that I don’t think any of us in the crowd expected; a much heavier distorted guitar comes in, and the rest of the band join in an almost war cry-esque chant between Mayland’s vocals. The bridge being sung between Mayland and Morris, in French might I add, felt like another unforeseen switch up in the song; the pair’s vocals complemented one another, harmonising in an operatic crescendo – before instantly going into the final chorus.
The leading single, played at the end of the set, This is The Killer Speaking, was the perfect closing track. Having released it back in July, the crowd was jumping and dancing and singing along with Morris, who seemed to have acquired a cowboy hat from one of the fans in the front row.
For a band that prides itself on its that takes on such a serious and elegant image, and writes with such intellect, these crowd-pleasing and light-hearted moments serve as a reminder that TLDP are just five young artists living their dream.
