The Last Dinner Party had one of my favorite albums of last year (even if their debut was even better), so when a friend expressed interest in going to this show, I was sold. That said, it was a tough choice considering that Magdalena Bay, one of my 2024 faves, were playing the same night at the Columbiahalle.
Sunday (1994) opened the night. Despite the name, they are not a tribute act for The Sundays, although they do make a version of dream pop. However, they unfortunately leaned a little harder on the pop than the dreamy side. Paige Duddy’s vocals were excellent (as was her dress), but the music was a bit cheesy and uninspired. Despite having four performers on stage, they relied heavily on backing tracks for acoustic guitar, keyboards, and even vocals. That sapped a lot of the energy from the performance. The one heavier song they played was a marked improvement.
The Last Dinner Party took their time coming out but launched right into a strong set. With a sizeable stage setup, they deftly tore through most of their catalog, pausing only for two security incidents until the encore break. They played every song from last year’s From the Pyre, nine from Prelude to Ecstacy, and the unreleased but regularly performed “Big Dog”. With all five members contibuting vocals and all but Abigail playing a variety of instruments, they regularly moved around in different configurations to highlight various instrumental and harmony arrangements.
Sunday (1994) opened the night. Despite the name, they are not a tribute act for The Sundays, although they do make a version of dream pop. However, they unfortunately leaned a little harder on the pop than the dreamy side. Paige Duddy’s vocals were excellent (as was her dress), but the music was a bit cheesy and uninspired. Despite having four performers on stage, they relied heavily on backing tracks for acoustic guitar, keyboards, and even vocals. That sapped a lot of the energy from the performance. The one heavier song they played was a marked improvement.
The Last Dinner Party took their time coming out but launched right into a strong set. With a sizeable stage setup, they deftly tore through most of their catalog, pausing only for two security incidents until the encore break. They played every song from last year’s From the Pyre, nine from Prelude to Ecstacy, and the unreleased but regularly performed “Big Dog”. With all five members contibuting vocals and all but Abigail playing a variety of instruments, they regularly moved around in different configurations to highlight various instrumental and harmony arrangements.
[The Last Dinner Party in peak witchy vocal formation.]
The vocals might be the band’s strongest point, and all five contributed flawless parts. Abigail’s voice may be the centerpiece, but when Lizzie and Aurora sang lead, I was impressed by just how strong and nuanced their voices were as well. I’m a sucker for intricate harmonies, and they provided them in spades. On top of that, their musicianship shone. Aurora moved between piano, synth, keytar, and sax; Emily played mandolin and flute in addition to a variety of guitars; Georgia added some synth bass; and Abigail even sat down at the piano, although I don’t know that she actually played. I saw a stage hand playing acoustic guitar off to the side for one song (I think it was “I Hold Your Anger”), but there was also what sounded like a violin sample. Otherwise I didn’t hear any backing tracks. The drums were played by Dave Adsett, who seemed somewhat relegated to the background. I was pleased to notice that among Emily’s guitars was a St. Vincent signature model.
When the band came out for the encore, they were accompanied by a large choir, who it turned out were the D-Dur Dykes*! They’re Europe’s largest FLINTA* choir and conspicuously more visible than the trans choir I sing in, but I also know them because a friend sings with them, although she wasn’t there that night. They added an especially dramatic flair to “Beautiful Boy” and a brief closing reprise of “Agnus Dei”. That was quite a surprise and a very cool enhancement to the set.
[The Last Dinner Party with the D-Dur Dykes*.]
As a major label band, I expect a certain level of professionalism, budget, tightness, and show. Without a doubt, The Last Dinner Party delivered. I wouldn’t say the same for the openers, but they were pleasant enough. I’m still thrilled by the bonus feature of the choir! Apparently “Beautiful Boy” has not been a regular feature of the sets this year. (They’ve even been debuting new songs on other nights, too!) It’s great to see a relatively young band still at the height of their powers, not yet thoroughly disillusioned by a corrupt industry or cashing in without putting in any effort. I’m excited to see them continue to grow.
Setlist:
01. Agnus Dei
02. Count the Ways
03. The Feminine Urge
04. Caesar on a TV Screen
05. On Your Side
06. Second Best [with false start]
07. I Hold Your Anger
08. Woman Is a Tree
09. Gjuha
10. Rifle
11. Big Dog
12. The Scythe
13. Sail Away
14. Sinner
15. My Lady of Mercy
16. Inferno
17. Nothing Matters
Encore:
18. Beautiful Boy [with D-Dur Dykes*]
19. This Is the Killer Speaking
20. Agnus Dei (Reprise) [with D-Dur Dykes*]
Scores:
Sunday (1994): C+
The Last Dinner Party: A
P.S. Thanks to Ali!
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