The Last Dinner Party – Believe The Hype, Baroque And Roll Stars Stun Leeds O2 Academy
Words and Photos – John Hayhurst
I’m completely loving the dress up of the fans queuing around the block to see The Last Dinner Party (TLDP) tonight, it’s all big fluffed up dresses, bodices and it feels like we’re lining up for an extras audition of a Bronte novel turned film. The dedication of fans means that we have a full house early and that’s great because we have a treat in store tonight with two amazing support artists.
Firstly, Kaeto is on stage promptly at 7:20pm with what seemed like a very quick set of the best trippy danceable pop I’ve heard in a long time. Spending most of her time hovering over the huge industrial fan that blows her hair all over the place, Kaeto has little space to move about as she is sandwiched between her two accomplices that are providing the synths, bass and guitar noises to match her dreamy vocals. Kaeto is definitely one to watch for the future and just made me want to see what a headline set of hers would be like.
Lucia & The Best Boys are next and as I’ve seen them around 3 times this year alone, I know exactly what we are about to receive. Lucia Fairfull is a big presence on stage, her slim model beauty looks are matched with a forceful voice akin to Florence Welch. By now they should be playing and selling out places like this in their own right, and it just needs that lucky break before the masses flock to her in the same way they have done for TLDP. ‘So Sweet I Could Die’ is a personal favourite and goes down really well with the crowd that came in early to see them, hopefully on this tour they pick up a few thousand new fans every night. The songs from their debut album ‘Burning Castles’ released almost a year ago need to be heard in big venues, the drama and flamboyance of Lucia is a perfect match for The Last Dinner Party.
I also love the fact that we have a 30 minute gap to set the stage up and for that whole period we have classical opera and music playing through the hall, setting the scene more for theatre than a rock/pop concert.
From the moment they take to the stage, The Last Dinner Party create an atmosphere that feels equal parts theatrical and intimate. Band members appeared in dramatic outfits, blending vintage styles with contemporary flair. The noise when singer Abigail Morris appears on stage was exceptional and from the pitch it must be around 95% female in here, a refreshing change from previous gigs I’ve recently attended.
The stage is set with clam shell lights a risen section with lights at the back and various pots, curtains and soft lighting to give atmosphere to the performance.
We open with ‘Burn Alive’, and after Morris makes her grand entrance wearing a black outfit complete with velvet long gloves she remains at the microphone for the first 2 minutes of the song. Fans are singing back every word and then when Morris starts to move around the stage the noise level increases. There is no set choreography here, it feels like she will do whatever takes her fancy at that moment, whether that is playing with the microphone stand, being back to back with guitarist Emily Roberts or floating ballet dancer like around the stage.
The remaining band members tend to stay in position other than defined moments where they gather around each other during instrumental sections of a song. This is all part theatre part concert, in a style that cannot be defined easily, certainly there are Queen, Bowie, Kate Bush and ABBA influences running through the evening, but also there are hints of a more rockier direction. Guitarist Emily Roberts switches between Music Man St. Vincent signatures and a Gibson Flying V and she can shred with the best of them, but is also on mandolin and flute – there is no end to the talent here on stage.
‘Second Best’ has been played all through the last summer although it doesn’t appear on their debut album ‘Prelude To Ecstacy’ but it is a rocker of a tune and Morris ends up writhing on the floor to extraordinary screams from the crowd at the end. If that is a sign of things to come then the second album might be more of a surprise than the first.
Lizzie Mayland is on vocals for a great version of Catherine Howe’s ‘Up North’, and then we have the one-two of ‘Gjuha’ and ‘Sinner’ which heightens the excitement for this packed out crowd even more.
The star of the show though is without doubt Abigail Morris and while everyone else in the band can concentrate on playing their instruments, Morris’s magnetic stage presence captivates from the first note. Her voice, ethereal and powerful, carries each song with a sense of drama and depth. She alternates between haunting vulnerability and ferocious power, effortlessly commanding the room.
Blondie’s ‘Call Me’ is casually tossed out, but it has more of a rock overtone and then another blistering solo from Emily Roberts on ‘Mirror’. I’m not saying they are heading to Download anytime soon but the level of musicianship and crunching solos could put some of those bands to shame.‘The Killer’ continues with more of the same and of course they leave ‘Nothing Matters’ to the end.
However, I think we are seeing the beginnings of a new chapter here, even if this is one of their first proper theatre tours. They won’t be playing this sized venue again and as the production, theatrical performance and future albums are made, then the Arenas will beckon, it may take another couple of years but this band could well be massive. I’m ignoring the ‘privilege’ haters and I’m bored of the those complaining about TLDP being overhyped. There is sheer talent here on show, producing something quite different from the norm and that should be championed.
