REVIEW: The Last Dinner Party Dazzles During US Debut at Bowery Ballroom
THE LAST DINNER PARTY IS CURRENTLY MAKING A NAME — for themselves with their over-the-top, literary-inspired glam rock. But simple “drama” doesn’t quite do their live performance justice. Guests anxiously snaked about the Lower East Side block waiting to file into The Bowery Ballroom to catch the London-based quintets’ debut US show.
The group crowded onto the stage in ethereal matching outfits, each one tailored to their individual style. Through ribbon-clad guitars and flowing white Victorian dresses, they brought an intoxicating high energy into the room.
With only four singles out, the audience bobbed their heads along to a setlist of new songs. Fans wrapped in corsets and bows danced around in what little space they had, while new listeners picked up on the theatrical performance unfolding.
The five-piece band seemed to outgrow the stage during the performance. While the space holds around 600 people, the small stage felt like a bit of a test for their across-the-pond debut. The Last Dinner Party was obviously up to the challenge, using every inch of the stage to their advantage.
Lead singer Abigail Morris effortlessly flowed between operatic swells and rock-inspired chants while spinning madly on center stage. The band made sure that they showcased every intriguing trick they could. Lead guitarist Emily Roberts seemed to pull a flute from her sleeve in the middle of the set for a haunting siren solo.
Keyboardist Aurora Nishevi performed an evocative interlude in Albanian that seamlessly flowed into single “Sinner.” Lizzie Mayland meticulously filled out the unique choral support of many tracks with her high-pitched harmonies, while Georgia Davies grounded the energetic crowd on the bass near the side of the stage.
It’s obvious that the girls are having the time of their lives performing, even if there was a tinge of nerves in their voices. It’s apparent that they support each others musical visions. It was especially so when Roberts pulled out a stunning guitar solo, bringing the other band members to their knees in worship. This imagery was fitting as Morris gleefully proclaimed most of the songs were about “catholic guilt and snogging.” Not to mention the obvious “feminine rage” that wove its way through the entire performance.
Stand-out tracks of the night include their latest single, “On Your Side”. As an audience member, I assumed this ballad that was released two days before the show would bring a soft melancholy to the crowd, but was happily surprised when fans were actively singing along and attentive to Morris’ exposed vocals.
The Last Dinner Party brings an over-the-top dramatic flair to their performance that will lead indie and classic rockers out to more shows. It’s not quite rock opera and not quite a girl group, but a beautiful blending of the two. It feels like the fantasy of a bookworm who listened to her dad’s records after ballet class came to life.
As the band finds room to grow, I imagine creative set pieces and production value will add even more drama to The Last Dinner Party’s show without making it too gimmicky.
The group finishes up on the rest of their US tour dates this November before jetting back to Europe to support Hozier. Be sure to catch their debut album, Prelude to Ecstacy, this February to enjoy the dramatic offerings of The Last Dinner Party.
