After releasing their debut album Prelude to Ecstasy in February of this year, The Last Dinner Party have experienced a meteoric rise into the upper echelons of indie-rock; thanks in part to the popularity of singles ‘Nothing Matters’ and ‘The Feminine Urge’. Joined by Lucia & the Best Boys and Kaeto for a tour of the UK’s academy-sized venues, the band have been able to prove their ability through a theatrical, invigorating live show that justified their position as one of the UK’s most exciting new bands.
With their two support acts switching set times on each night of the tour, it was Lucia & the Best Boys who were chosen to warm up the crowd first this time around. As the Glaswegian five-piece started their short five-song set with the moody and synth-tinged ‘When You Dress Up’, it became evident that audience members arriving early were about to witness a truly exceptional live band. Mid-song, lead singer Lucia Fairfull began to strike the single drum that accompanied her onstage, prompting a wave of enthusiasm from the crowd while also adding an element of intensity to the song itself.
Lucia & the Best Boys continued to display a refreshing, original approach to performance which is often unfortunately lacking in newer bands finding their feet on large stages. Highlights from the band’s 2023 album Burning Castles filled the majority of their twenty minutes, exhibiting Lucia’s powerful, emotive vocals and the atmospheric instrumentation which contributes to their distinctive sonic landscape, marking them out as one of the most promising upcoming bands.
Kaeto unfortunately pales in comparison to Lucia & the Best Boys; however, her ethereal stage presence and genre-blending approach do come with undeniable highlights. ‘DISTANCE’ may well be one of the best electro-pop songs of the year so far, and it becomes even more multi-dimensional live. ‘PACIFIST’ is a breezy but highly emotional track, combining danceability with a sense of melancholy that inevitably leaves a crowd in need of revitalisation. Perhaps the contrast would have been less noticeable if Kaeto had opened, rather than Lucia & the Best Boys: her music is ultimately more relaxed, and therefore sedative at times when following such a stellar, energising performance.
As the clock strikes nine, the lights go down and The Last Dinner Party’s entrance is announced by album opener and title track ‘Prelude to Ecstasy’, an orchestral number received rapturously by 3,500 eagerly-awaiting fans. Each band member takes the stage and picks up their respective instruments before frontwoman Abigail Morris follows, beginning the set with ‘Burn Alive’ before launching into the album’s single ‘Caesar on a TV Screen’. Barely stationary for the show’s first ten minutes, Morris instantly proved her capabilities as an invigorating, stimulating frontwoman: song lyrics were screamed back at her by the impassioned front rows throughout the duration of the set, and even during the unreleased song ‘Second Best’.
Opening with a flute solo courtesy of guitarist Emily Roberts, ‘Beautiful Boy’ brought a tear to the eye of many in attendance, and the whole audience remained attentive throughout the song’s four gentle minutes. An endearing cover of Catherine Howe’s ‘Up North’ followed, allowing rhythm guitarist Lizzie Mayland their own time to shine, showcasing their gorgeous vocals backed only by Aurora Niveschi on grand piano. Introducing the song, Mayland stated that they hoped to do “something special for the northern shows of this tour, paying tribute to all the wonderful creatives” in the region.
‘On Your Side’ came as another live highlight, with Morris exhibiting her operatic vocals and theatrical performance style. The end of this song saw a seamless transition into ‘Gjuha’, a Prelude to Ecstasy interlude which hands over the vocal reigns to Niveschi, who introduced the song as a response to the “guilt” she feels for lacking fluency in her mother tongue, Albanian. Another seamless transition into ‘Sinner’ followed, reflecting one of the most pleasing moments of the band’s debut album: a staple at The Last Dinner Party’s live shows long before its release, the song was met eagerly by an enthusiastic crowd ready to release their pent-up energy after the slow portion of the show had concluded.
During ‘Portrait of a Dead Girl’, Morris led the crowd in chants of “give me the strength”: her request for audience participation was gladly obeyed by Victoria Warehouse’s 3,500 attendees, demonstrating the influence Morris held over a crowd sat firmly in the palm of her hand. Fan favourite ‘The Feminine Urge’ followed, visibly provoking a moment of shared female experience and relatability for a crowd largely dominated by young women.
As The Last Dinner Party’s 75-minute set began to approach its end, the recognisable guitar riff of Blondie’s ‘Call Me’ rang out and the band launched into an exceptional cover version which made an apt addition to their live set. ‘Mirror’ allowed Roberts to take the spotlight with an impressive guitar solo, while the song’s building momentum flawlessly led into the conclusion of the set’s main portion.
Live, ‘My Lady of Mercy’ becomes inflected with an intense ferocity, rendering it the perfect choice to close the main portion of The Last Dinner Party’s performance. It was during this song that the band’s new drummer Victoria Smith proved her dynamism, performing a drum solo during which the remaining members fell to the floor in a mimic of praise, worship and astonishment. Another unreleased song, listed on the printed setlist as ‘Yeehaw Interlude’ but known to fans as ‘The Killer’, opened the band’s encore. The song is tinged with country influences and incredibly catchy, culminating in Morris and Niveschi’s performance of a piano duet which proved to be a late highlight.
It would be impossible to discuss The Last Dinner Party’s live show without referencing the catharsis of ‘Nothing Matters’, a track which has taken the indie-rock scene by storm since its release thanks to its originality and theatricality. Live, Morris is known to join the front row as the song approaches its bridge, creating an unforgettable moment for all in attendance. As Morris re-joins the band on stage and they take a final bow, cheers erupt from a satisfied audience, and even The Last Dinner Party themselves appear shocked at the experience undergone.
The Last Dinner Party’s live show is, in one word, unmissable: combining theatrical performance with captivating talent. The band have certainly cemented their position as one of the country’s best throughout the Prelude to Ecstasy tour. With every band member given their own time to shine, aptitude and ability are continually emphasised, and if the band continue gaining momentum then it certainly won’t be long before they reach the very top.
