Arriving to see The Last Dinner Party felt, for a moment, like stepping into a Florence + the Machine gig. Devoted fans braved the early Autumn rain, adorned in lace, corsets, flowing gowns and ribbons. The normally stark UEA stage was transformed with medievalesque banners, golden goblets, soft clamshell lighting, and a dreamy backdrop of clouds and a crescent moon that completed the theatrical ambience. Even the stagehands moved to a background of classical music. Lead singer Abigail Morris appears to share some of the Orphelian aura of Florence Welch and draws similarly devoted fans. Yet, this was no imitation; it was a captivating, theatrical spectacle from a band stamping their mark on the music scene.
With a setlist of fifteen tracks, the band chose to play every single one of the twelve tracks on their magnificent debut album, Prelude to Ecstasy. They didn’t join the trend of playing an album from beginning to end. Nor did it feel like they were padding out the set, having only one album under their ornate belts. This was a perfectly crafted setlist of high energy, overtly theatrical, and brilliant musicianship that held an enraptured audience from the first note to the last.
To the strains of the instrumental ‘Prelude to Ecstasy,’ the band filed onto the stage and for a moment, this felt more Globe Theatre than UEA. The five members of the band wore wildly different yet complementary, kitschy outfits that could have been stolen from the set of a Yorgos Lanthimos movie or a trippy interpretation of Alice in Wonderland.
From the moment the band struck the first notes of ‘Burn Alive’ and Morris began to sing, we could physically sense that we were in for something special. Morris’ voice is soothingly rich, powerfully emotional and spine-tinglingly angelic (à la Kate Bush). Her falsetto on the third track, ‘Second Best,’ highlighted her range, while her tender performance of ‘Beautiful Boy’ showcased her versatility. Accompanied by the ethereal tones of Emily Roberts’ flute, this rare calm moment was a contrast to Morris’ typically energetic movements, focusing instead on her elegant gloved hand gestures.
The entire performance felt like theatre, transcending the normal boundaries of a rock concert. The staging, costumes, and delivery flirted with musical theatre, and Morris’ expressiveness channelled legends like Freddie Mercury and Jarvis Cocker. From the mosh-pit energy of ‘Sinner’ to the wild, sensual pirouettes on ‘The Feminine Urge,’ Morris had tremendous stage presence. She playfully interacted with the band, embracing rockstar clichés with a fresh twist. Her love for performing was palpable, engaging both the audience and her bandmates.
But, The Last Dinner Party is far from a one-woman outfit. The band’s chemistry and talent brought to mind legendary groups like Queen and Pulp, who paired flamboyant lead singers with exceptional musicians.
Emily Roberts, with her trusty St. Vincent guitar, played multiple instruments (including mandolin and flute here) and is a supremely talented lead guitarist. While the evening offered several searing guitar solos, the highlight came during a cover of Blondie’s ‘Call Me,’ which took on a much rockier vibe than the original. This was despite Morris switching up the chorus between full-on rock delivery and a slowed-down falsetto. Roberts, a classically trained musician and a semi-finalist in the BBC Young Jazz Musician of the Year in 2020, brings technical prowess alongside her natural stage presence.
Lizzie Mayland, on rhythm guitar, provides a solid backbone while occasionally stepping up to the mic for singing duties. Her Game of Thrones-inspired riffs on ‘My Lady of Mercy’ added a medieval flourish to the band’s already dramatic soundscape. Aurora Nishevci, on keyboards, took lead vocals on ‘Gjucha’ (meaning “tongue” in Albanian) singing about not knowing her mother tongue is both deeply personal and universal. With theatrical flair, Nishevci regularly strutted around the stage wearing her white Roland Ax-Edge keytar (keyboard worn like a guitar). Rounding out the lineup is Georgia Davies on bass, whose melodic, Peter Hook-inspired style gives the band its driving undertone.
The band’s onstage chemistry is electric. Every member shines at different moments, and the hour-long set never drags. The Last Dinner Party is one of those rare acts whose live performances eclipse their studio recordings. Morris, a likeable lead singer, showed genuine respect and camaraderie toward the two support acts, Kaeto and Lucia and the Best Boys, twice leading the audience in thunderous applause for them. She also spoke with pride about Bankuet, the food bank charity they support by selling coloured ribbons.
There were plenty of standout moments: a soul-stirring cover of Chris Isaak’s ‘Wicked Game’ showed off Morris’ vocal range, while the unreleased ‘This is the Killer Speaking’ (aka ‘The Killer’ or ‘Yeehaw Interlude’) gave the band a chance to rock out. The track began with the band marching across the stage in unison, like something out of Les Mis, before launching into a full-blown Americana-inspired rock anthem. ‘The Feminine Urge,’ an empowering anthem about the bond between mother and daughter, was another high point, with its layered harmonies and musical shifts showcasing the band’s versatility and providing the opportunity for much audience participation.
But, the true climax came with the rousing finale of ‘Nothing Matters.’ Greeted with screams that matched the intensity of a Taylor Swift Eras Tour concert, this track already feels like a glam-rock classic performed with majestic precision. Morris’ defiant delivery of the line “And I will fuck you like nothing matters” felt like both a release and a celebration of synergy— between the band, the audience, and the wild ride they had shared.
As the show came to a close, it felt like the end of just the opening act in what will undoubtedly be a longer opus. The Last Dinner Party delivered a theatrical, boundary-pushing performance, unlike most rock gigs, that left the audience wanting more. The challenge now will be translating their intimate, avant-garde rock performances to larger venues while keeping the magic intact. For now, they are one of the most thrilling acts around — and one you won’t want to miss.
Words and photos by Andrew Butcher
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