The Last Dinner Party at Hammersmith Apollo

Captivating, mesmersing, whimsical – few words will give justice to how spectacular The Last Dinner Party’s performance at Eventim Apollo was on Thursday night, but these ones almost make the cut. The baroque indie rock band are known for their breathtaking stage presence that hooks spectators from the moment they step into view, and they delivered nothing short of this at the West London venue. With dramatic dress and theatrical dancing, they are all for maximalism and incorporating different motifs and messages into their songs. Recently landing the Rising Star Award at the BRITs 2024, they have over three million monthly listeners on Spotify. Their biggest hit, Nothing Matters, has amassed a whopping 129 million streams. The room buzzed with anticipation awaiting their arrival – it was destined to be a thrilling night.

The setup was entrancing: a huge backdrop was covered with parting clouds to reveal a starry night sky and crescent moon. This tied in nicely with the overall witchy theme the band emanated, and was highly appropriate considering the full moon hanging above the venue that night. The set also contained two ceiling-to-floor gold-trim banners draped either side of the stage, adorned with a cherub pointing its bow and arrow towards the centre. This played on the ongoing motif of Renaissance-esque that The Last Dinner Party hones in on stylistically, not just in performances, but in their music videography, album art and wardrobe.

The group made their entrance one by one, to huge screams and applause erupting through the room. Entering last was lead vocalist, Abigail Morris. They opened with Burn Alive, a spooky number rich with lyrics surrounding witchcraft and sorcery, a nice choice to warm up the crowd. Upon building to the fast-paced chorus, Morris began to dance and twirl. Known for her high-energy character, she has been compared to Kate Bush’s similar onstage demeanour. The rest of the band followed suit – using the space to its full potential, they were flinging themselves across it and spinning synchronously.

Next was Caesar on a TV Screen, a cleverly written track that pokes fun at a form of masculine fragility with an insecure need for approval. Lead Morris composed it when she was lent a suit by her boyfriend – after wearing it, she was inspired to write from the perspective of a “man in a band”, just like he was, but playing out a complex character on a desperate search for love and admiration.

A particular highlight came from Beautiful Boy. It began with just a flute, played by Emily Roberts, and a quiet piano intro, played by Aurora Nishevci, with a spotlight falling on the two. The vocals came in next and gradually built to a calming yet complex track full of beautifully layered harmonies. All vocalists joined in to create a delicious melody that rang throughout the venue and encapsulated the room, creating a hushed fixation from the crowd. Morris matched this calm with graceful twirling, lit by the sparkling lights that shimmered across the stage. It was truly breathtaking.

Other numbers in the setlist included a cover of Wicked Game by Chris Isaak, with a western twang on guitar. They also sang the alluringly chaotic Sinner and Feminine Urge, about personal experiences of feminine generational trauma. Mirror painted a haunting picture of isolation with the lyrics: “I’m just a mirror / I don’t exist without your gaze.”

Another highlight of the evening included keyboardist Nishevci leading the vocals on Gjuha. Translating to “tongue” in Albanian, she shared in a vulnerable moment its dedication to feeling shame in not knowing as much of her mother tongue as she would like. Performed entirely in Albanian, the rest of the group joined in with a slow-moving harmonic accompaniment to Nishevci’s evident aching.

Near the end of the show, they discussed their partnership with UK food bank charity, Bankuet, and their delight at having raised £25,000 across their UK tour thus far. They then confirmed they would be matching this amount to donate a total of £50,000 to the charity.

The band came full circle by closing the night with their biggest hit to date, Nothing Matters. The track that rocketed them into stardom, it was clear this was still a fan favourite, with a deafening echo of the sold-out venue belting along.

The Last Dinner Party are making their mark across the music industry. Described by Brian May as “new British rock royalty”, they are destined for a musical career of greatness. Watch this space.

Emily Downie
Photos: Nick Bennett

For further information and future events visit The Last Dinner Party’s website here.

Watch the video for the single Nothing Matters here: