Live Review: The Last Dinner Party - Moles, Bath
THE LAST DINNER PARTY
MOLES
BATH
27/05/2023
The Last Dinner Party more than live up to the storm of hype with a captivating, bewitching performance that blends theatrical vocals, post-punk structures and a pinch of medieval folk.
Words and Photography by Philip Giouras
★★★★★
They’re the band everyone's talking about. The Last Dinner Party created a storm of anticipation and divisive internet discourse following the release of their first single 'Nothing Matters' and the announcement of a series of significant support slots over the summer.
How could this band come out of nowhere and receive such acclaim and hype, cried a corner of the web? The answer lies in their nonstop gigs, clever songwriting, and captivating live performances that effortlessly connect with the audience. Here in Bath, it's evident that a diverse community has embraced the band, with people of all ages drawn to this five-piece.
As the evening begins, the sound of drums pounding with a foreboding rhythm sets the stage. The band kicks off their set with the track 'Burn Alive,' a perfect introduction to their influences, style, and sound. It exudes a menacing and macabre tempo reminiscent of Nick Cave's finest works, perfectly complemented by the powerful theatrical vocals of frontwoman Abigail Morris. Her range and vocal style are exceptional, reaching heights comparable to artists like Marina and the Diamonds, who undoubtedly serves as a melodic influence on some of the night's tracks.
The band maintains this vibe with the hard-stomping pop-rock anthem 'Caesar on a TV Screen.' Morris channels the glam rock legends, Bowie and Freddie Mercury, displaying their iconic postures and theatrical flows throughout the track. The first trio of songs, including 'On Your Side,' feels like a homage to Marina's 'Electra Heart' while retaining their own unique touch.
The second act of the set sees the group embrace more of their modern post-punk and folk stylings. 'Beautiful Boy' sees lead guitarist Emily Roberts swap her electric guitar for a flute in a fervent solo that draws wild applause from the fixated audience. Morris moves into a more bewitching stance, floating across the stage akin to Kate Bush or Stevie Nicks. The track itself would feel fitting in the new guise of Black Country, New Road's, such is the way it blends traditional folk instrumentation, modern pop melodies, and a post-punk timing structure, building to a suitably epic crescendo.
'Gjuha', which translates to 'Tongue' in Albanian, provides insight into keyboardist Aurora Nishevci's connection to her culture and background. Her touching introduction hints at a potential disconnect she feels while living in England, as someone who has a strong Greek background but has spent the majority of their life here. It certainly struck a chord personally and showcases the emotion and humanity at the core of the group's writing.
This seamlessly transitions into the evening's highlight, the triumphant anthem 'Sinner.' It represents the band at their flamboyant and melodramatic best, bringing together all the elements showcased throughout the night into one magnificent moment. Enchanting keys rise over a delicate melody, building up to a powerful anthemic rock chorus. The song features an immaculate bridge that elevates it into something magical.
What truly sets this band apart is their unwavering commitment to the world they've created. Their modern take on baroque culture extends beyond their stage costumes, it permeates every track they perform. Considering they have only released one song so far, it's a delightful surprise to witness the cohesion and clarity of the band's sound and vision in their live performance.
Each track feels distinct yet exists harmoniously within the wider 'Last Dinner Party' universe. Religious imagery abounds, and Morris introduces the glam epic 'Lady of Mercy' as a song inspired by her time at a Catholic school. The vibe they create extends more than just costumes; it's an authentic form of storytelling through both their songs and their stage presence.
The spotlight firmly shines on Morris in 'Mirror.' Throughout the evening, she commands the stage like a force of nature, but it's during this song that she truly shines. 'Mirror' feels tailor-made to be the soundtrack of the next Bond film, with its slow-rolling drums and dramatic bass slides reminiscent of the grandiosity found on Arctic Monkeys' latest album. At one point, all the instruments drop out, leaving only Morris and her captivating solo. At that moment you’d be able to hear a pin drop as everyone watched on in bated breath.
The band concludes their set with their breakout single, 'Nothing Matters,' uniting the audience in a triumphant chorus. It's a sight to behold, leaving everyone in a state of euphoria, chanting, "One more song!" Their forty-minute powerhouse performance rightfully leaves you craving more. However, the band fittingly disappears into the night.
Going into the night's performance and debut headline tour, there were a lot of questions hanging over the mystery that is The Last Dinner Party. Upon leaving the intimate surroundings of Moles in Bath, however, I had a much firmer understanding of just how special this group is. They’re much more than a viral sensation or a one-hit-wonder. The group feels incredibly polished and confident within themselves and their performances. They still have that evident raw talent and feel right at home in these sweaty grassroots venues.
But the truth is there for all to see: they’re destined for much larger stages, and they’re sitting on some pretty incredible material that we cannot wait to be released.
Setlist:
Burn Alive
Caeser on a TV Screen
On Your Side
Beautiful Boy
Gjuha
Sinner
Portrait of a Dead Girl
Mirror
Lady of Mercy
Nothing Matters