It’s been a little over a year since I saw The Last Dinner Party in this same room, Sheffield’s Octagon Centre. In that time, they’ve been busy, recording and releasing new material which culminated in their second album From The Pyre. As previously reviewed in this publication, the overcame the “difficult second album” cliché at a canter, delivering an accomplished record, building on the distinctiveness of their highly acclaimed debut, with a sound that’s maturing and developing into something world class.
On stage, the band have always been a force, from the first time I saw them in Headrow House in Leeds, to the bigger festival stages and venues they’ve graced since then. This return to the Octagon is no different drawing in, once again, a crowd of devotees who have dressed for the occasion and packed out the uniquely shaped room.
The band have a knack of selecting excellent opening acts and tonight is no exception as Imogen & The Knife kicks things off. Her brooding alt-pop is effortlessly delivered, with control and vulnerability. Between songs, she’s engaging, proud of her northern roots and sprinkles her chat with a bit of local humour – “I’m in the home of knives, so it’s a home away from home tonight!” she jokes, picking up on Sheffield’s famous industrial history. Her stand out song – Mother of God – is sombre but with quiet power as her words reach out and connect with an audience who are fully enjoying another fine support pick.
Between acts, the PA plays a swelling orchestral soundtrack, a feature of TLDP shows and one that shows that they don’t just confine their performance to when they’re on stage, but are committed to making the entire night an experience for their fans. It builds tension, drama and above all, anticipation for the start of the show.
The opening chords to Agnus Dei break through as that expectation is met with an emotional surge. Abigail Morris emerges last of all, launching into the lyrics and connecting with everyone, from the front row to those hanging out at the back of the room. Morris is becoming a top class lead singer, delivering on her vision of how the music is presented, not just how it sounds.
In the space of the year since I last saw them, there’s more confidence in the performance, assured and using the stage more expansively. Aurora Nishevci starts the evening at a baby grand, a level above the rest of stage, leaving Morris the space to dance and strike poses with the flamboyance of Freddie Mercury.
While all the tracks from the new album get an airing, the set is interspersed with favourites from their debut. On Your Side remains a highlight in the set along with the now customary chorus at the end of Portrait of a Dead Girl.
Among the new material, pieces like The Scythe and Inferno show the band’s command of great melodies while Woman Is A Tree opens with lush but sometimes unsettling harmonies. Unreleased Big Dog, sees the band at their heaviest and hints at a really interesting direction for the band should they ever decide to include this on an album. It’s been around for a few years though and didn’t make either LP so far, but who knows where the band will take things in the next few years.
Racing towards the end of the show already feels like the greatest hits – modern classics forged from years of performing these songs to adoring audiences. Sinner, My Lady Of Mercy, Nothing Matters all remind the crowd why they fell in love with this band in the first place.
Grounded in exceptional musical quality and performance, creating a distinct community and immersive experience around their shows, The Last Dinner Party keep getting better. Their trajectory remains inexorable and exciting as one of the very best live acts around.
