The Octagon Centre in Sheffield provides an ideal backdrop for the fans who've snagged one of the hottest tickets in UK music. Its multi-sided design mirrors the diversity and eclectic nature of those who have queued since morning to secure their spots at the barrier for The Last Dinner Party's show.
Between exceptional support acts—Lucia & The Best Boys and London-based trip hop artist Kaeto—dramatic music enhances the atmosphere, aligning perfectly with the themes from The Last Dinner Party’s debut record.
As the closing strains of Verdi’s Otello fade, the lights dim and the theatrical overture of Prelude to Ecstasy fills the auditorium with cheers. The band is greeted by mirror images of themselves at the barrier, as many fans embrace the Victoriana look that has come to embody the band. However, no one, as far as I could see, matched guitarist Emily Roberts’ exquisite gold angel wings.
The show is beautifully crafted, drawing primarily from their debut album but still able to deliver on a grand scale that is reminiscent of 1974 Queen and Kate Bush. Among the familiar tracks, a few highlights stand out. Lizzie Mayland, a Yorkshire native, treats the crowd to Up North, a heartfelt tribute reserved for their northern fans. The Catherine Howe cover is warmly received, with Mayland nodding to her roots as she always does when she’s back in this part of the world.
Crowd participation shines during the haunting Beautiful Boy and an extended outro of Portrait of a Dead Girl, with the refrain “Give me the strength” echoing off the walls the Octagon.
Lead singer Abigail Morris captivates not just with her charisma and energy, but also in quieter moments. During Mirror, the music drops, and she performs a capella, silencing chatter at the bar as every pair of eyes is fixed on the stage. This dark, brooding interlude deepens the communion between the band and audience.
On this tour, they've introduced a new song, The Killer, which opens the encore with a theatrical narrative and brief dialogues between Morris and Aurora Nishevci at the piano. This glimpse of what’s to come hints at a second album following their acclaimed debut, promising even more in terms of style and storytelling. The breakout hit and traditional closer, Nothing Matters, ignites borderline hysteria as the crowd joyfully bellow back the lyrics, fully embracing this final moment of rock and roll escapism.
By the end, The Last Dinner Party had delivered a typically charismatic performance that blends their theatricality, emotion and musical prowess. I’m excited now to see how they continue to evolve and what mark this next chapter will make on the UK music scene.