Fame is typically described as being a double-edged sword. As the months go by, this is probably becoming more and more apparent to indie darlings The Last Dinner Party. Their startling rise predictably came with the eye-rolling industry plant claims, meanwhile, they’ve thrown themselves into the gruelling tour schedule of a successful band. However, the sheer demand of their music translates the fuss quite simply – they’re incredibly talented.
As they take to the stage in Manchester, they’re greeted by hundreds of fans joining them in similar attire – corsages, gowns and crowns. It feels like the beginning of something special, a palpable and warm buzz that grows infectious throughout a warehouse that should feel cold and barren.
Thankfully, the quintet have managed to translate their pomp theatrical sound to the stage. Walking on to the orchestral piece ‘Prelude To Ecstasy’ feels like the beginning of a play with actors taking their mark, before they burst into ‘Burn Alive’, a hip-shaker that all in attendance indulge in. From there the hits come in thick and fast; the strange song structure of ‘Caesar on a TV Screen’ never ruins the track’s joy and the unreleased ‘Second Best’ is another hit lying dormant ready for release.
There’s equal amounts of ballads to bangers, which arguably isn’t always desirable. Yet in fairness, this is still a band with only one album under their belt. Even if the run of ‘Beautiful Boy’, ‘Ghuna’ and ‘On Your Side’ may have your feet feeling particularly standstill, there’s moments in there that still shine through. The latter is the most impressive and emotive, as the piano begins it slowly starts to feel like a candle-lit vigil for your own breakup. Frontwoman Abigail Morris takes its climax as one of her many moments to shine, while her audience murmurs the lyrics in synchronised acknowledgement, a shared feeling of heartache.
Despite her talents and brilliance, Morris isn’t always there to steal the show. Talent runs thick throughout the party, with Lizzie Mayland’s vocals in particular shining throughout the show. If it weren’t for Abigail, her voice could easily helm the reins of the band, proven on second single ‘Sinner’ which brings the energy back to the crowd. Emily Roberts also provides a voice to the instrumental with her lead playing, shredding through the scales on ‘Mirror’. As the band take to backstage there’s natural calls for an encore that are quickly answered with another unreleased song, ‘The Killer’. Its bouncy and delightful nature are welcomed by all, but everyone is still left waiting for what they came for. With the opening chords of ‘Nothing Matters’ played, screeches and screams fill the room. Not before long, the crowd begins to jump to its chorus and everyone is reminded exactly why this band has become famous. Their debut song proves itself live to be a shout for single of the decade so far, undeniably a moment of pop-writing brilliance.
The quintet wrap up their show holding each other together as they bow for a cheering crowd. Their career may be short-lived and unusually eventful so far, but you get the feeling that whatever is thrown at them, they’ll handle it together.
Words by Niall McGreevy