London’s art-rock quintet The Last Dinner Party have quickly become one of the UK’s most talked-about new bands since forming in 2021. Fronted by Abigail Morris (vocals) alongside Lizzie Mayland (vocals/guitar), Emily Roberts (lead guitar/flute), Georgia Davies (bass), and Aurora Nishevci (keyboards/vocals), the group have become a household name that blends a certain theatrical approach to their indie-rock style.
Their breakthrough came with the single “Nothing Matters” in April 2023, the track stormed into the UK Top 20 and announced their arrival. The momentum carried into their debut album, Prelude to Ecstasy (2024), which entered the UK Albums Chart at Number 1 and achieved the biggest opening week for a new band in nearly a decade. The record, produced by James Ford (Arctic Monkeys, Florence + The Machine), showcased their flair for operatic choruses, gothic undertones, and richly layered instrumentation.
In 2025, the band followed up with their second album, From the Pyre, which leaned further into their love of classic rock textures. Guitarist Emily Roberts has spoken about drawing inspiration from George Harrison’s songwriting approach, balancing individual creativity with the collective voice of the band. This sophomore effort cemented their reputation as a group unafraid to evolve, expanding their sonic palette while retaining the theatrical edge that fans adore.
Career highlights have come thick and fast, in 2024 they won the BRITs Rising Star Award, joining the ranks of Adele and Sam Fender, and soon after they were invited to open for The Rolling Stones at BST Hyde Park, a huge co-sign for a band still in their early years. Their theatrical flair translated perfectly to the festival stage, with standout performances at Glastonbury drawing in crowds eager to witness their blend of flamboyant stagecraft and soaring melodies. Recognition from the industry followed, including nominations at the Rolling Stone UK Awards, where they were shortlisted alongside established names like Wolf Alice and Sam Fender. These milestones, achieved within just a few years of forming, underline the band’s rapid ascent and their growing reputation as one of the most exciting new voices in British alternative music.
Beyond the accolades, The Last Dinner Party have built a reputation for lavish live shows, often appearing in billowing gowns and leaning into a sense of gothic grandeur. Their concerts are as much about atmosphere and storytelling as they are about music, with audiences swept into a world of drama, intimacy, and catharsis.
As I wait for them to take to the stage at Plymouth Pavilions this evening, I am hoping for a set that bridges their two albums, combined with their standout live performance, this will certainly be a night to remember.
Before the band appeared, the venue was filled with sweeping orchestral vocal music — thankfully no lute interludes, sparing the crowd from Renaissance cosplay overload.
The stage was transformed into something resembling a medieval chapel as The Last Dinner Party graced Plymouth with their presence. Stone arches, flowing net curtains, and even what looked like a bell perched above the drumkit in the corner of the stage set the scene.
Opening the evening was Imogen and the Knife, a Newcastle-rooted collective blending drums, bass, saxophone, trumpet, and keys. Their sound carried shades of Massive Attack: booming bass, crisp rim-shot drums, and brass that breezed in and out with effortless cool. Imogen’s soaring vocals commanded the room, her presence magnetic as the band provided a steady, textured backdrop.
One highlight was a tender love letter to Newcastle, sung with heartfelt words over soft sax and gentle trumpet. It was a refreshing take — music that felt restorative, the kind you’d want to sink into after a long day. Later, Lizzie from The Last Dinner Party joined Imogen for Mother Mother, a track from Lizzie’s debut EP (co-produced by Imogen), showcasing delicate harmonies and acoustic warmth. The set closed with Mother of God, a crescendo of joyous noise powered by distorted bass, pounding drums, and brass in full flight.
As The Sisters of Mercy’s This Corrosion blasted through the PA, the stage was dressed for the main event. A roadie fussed endlessly over a guitar — new strings, perhaps — before The Walker Brothers’ Another Tear Falls ushered the band onto the stage.
What followed was a rockier opening than expected. Their look fused rock chic with floral elegance and theatrical flair. Frontwoman Abigail prowled the lip of the stage, teasing the audience and drawing screams from every corner. “Plymouth, we’re three songs in and I think you’ve been the most fun audience ever!” she declared, setting the tone for a night of exuberance.
The set swung between pop-leaning tracks and atmospheric rock behemoths, each enriched by tremendous vocal harmonies. A surprise appearance from a keytar — seemingly resurrected from a ZZ Top video circa 1980 — added playful retro charm.
Live, their catalogue felt richer than on record. Songs from both studio albums were reborn through electrifying stage presence and a sound system that, for once at the Pavilions, held firm. A five-piece harmony launched one rocky number with spine-tingling force, while Abigail sashayed across the stage, weaving in and out of her bandmates.
Moments of serenity were tinged with sass, proving this was no ordinary girl group, one track became a guitar fest, four axes chopping through the track, bookended by serene piano and vocals. Another standout saw the five converge centre-stage for a vocal soiree that evolved into an acoustic-led piece, tribal voices layering into something otherworldly.
Gjuha began with Aurora (Keys/Vocals), explaining that the track was a celebration of language, a yearning to be a part of a culture that you were removed from, the track accelerated into a sonic climax of mandolin, heavy breakdowns, and serene interludes — an Eastern rock opera stitched together from multiple movements.
Between songs, Abigail spoke passionately about their partnership with the charity Bankuet, whose “Ribbons for Provisions” initiative has raised £25,000 so far. Volunteers tied ribbons into fans’ hair as donations poured in. Abigail’s speech championed young people as agents of change: “Never settle for being told you’re too young. You can do anything.” She also obliged a front-row request for a selfie, leaping into the pit to the delight of fans.
The main set closed with a blistering version of Nothing Matters, their breakout hit. For the encore, Abigail led the crowd through a choreographed “dance journey” before launching into This is the Killer Speaking. The audience, remarkably, remembered the moves.
The night ended with a reprise of Agnus Dei, complete with shout-outs to the crew, caterers, and stylists. The band left the stage to rapturous applause, their gothic feast complete.
Words by Steve Muscutt
Pics by Anna Leader
