Leave the house? Seems quite likely with all of this going on.
GIG OF THE WEEK
THE LAST DINNER PARTY
There’s something undeniably captivating about The Last Dinner Party. Despite what The Borings might want to tell you, at a time when indie bands often feel like carbon copies of one another, the quintet that have already taken 2024 by the horn section offer something rare and opulent. Their music, drenched in baroque-pop influences, blends orchestral grandeur with indie-rock urgency. From the moment they emerged onto the scene, they made it clear that they weren’t interested in being just another bunch of nobodies – they were here to create art that felt both intimate and theatrical. The kind that demanded attention through the scale of the drama alone.
In February 2024, they released their debut album ‘Prelude to Ecstasy’, a bold and ambitious record that quickly caught the attention of critics and fans alike. It’s not just the music that has drawn comparisons to acts like Florence + The Machine or Kate Bush; their entire aesthetic radiates drama, from the sweeping instrumentation to their fashion choices. “We didn’t sit down and say how cool it would be to wear dresses and play guitar. It’s just natural,” explained lead vocalist Abigail Morris in Dork’s cover feature earlier this year. “It’s a natural extension of who we are as people rather than a conscious tactic. Rock’n’roll is pink, anyway.”
The band’s rise to prominence has been nothing short of meteoric. In January 2024, they were announced as the BBC Sound of 2024 winners, a huge milestone for any act, let alone one as unique as The Last Dinner Party. But even with accolades piling up, the band remained refreshingly nonchalant about the scale of their success. “We don’t really know what’s going on most of the time,” Georgia Davies recalled at the time with a laugh. Truth be told, so much has happened in the last year or so, that’s only going to have gotten worse.
This laid-back attitude permeates the group’s outlook on their achievements. “We have no concept of scale, but that’s a good thing,” explained Morris. “If we knew how important or career-changing something is, it would maybe change how we felt about it. This way, we can enjoy every moment and then move on to the next thing.” It’s clear that while others might overthink the weight – or indeed path – to their success, The Last Dinner Party prefer to go with the flow, letting their art speak for itself.
Despite this nonchalance, their accomplishments are undeniable. ‘Prelude to Ecstasy’ is a feast of lush arrangements, cinematic melodies, and lyrics that oscillate between deeply personal and expansively universal. “You explore your own experience and the extremes of emotion,” says Aurora Nishevci. Indeed, songs like ‘Feminine Urge’ cut deep, offering a reflective and haunting look at womanhood and generational trauma. “‘Feminine Urge’ was written very specifically about a woman’s relationship to her mother,” Morris explains. “It’s about feminine generational trauma, my feelings about being a woman, and that beautiful, horrible realisation that your mother is also a human who’s mortal, fallible, and in pain.”
It’s this kind of emotional honesty that has helped the band connect with their ever-growing audience. But with that connection comes pressure. Lizzie Mayland admits to feeling the weight of expectation after releasing early singles. “There was this expectation that we didn’t have when we were recording it. I’m so proud of that song, and I’m glad people liked it, but I hid under my duvet for two days because I didn’t want to be perceived.” It’s a candid admission that illustrates the vulnerability that comes with creating something so personal and sharing it with the world, especially when that world contains the odd tin-foil-hat-wearing oddball who thinks they’re smart (though perhaps not smart enough to notice the kind of music that stops time and demands a reaction).
That vulnerability doesn’t stop with their music. The band have often been noted for their sartorial choices, and they take that seriously, too. The members are just as comfortable in ballgowns as they are on stage with electric guitars. “There’s nothing like sitting in a dive bar in a ballgown,” says Davies, encapsulating the band’s commitment to bringing drama into every aspect of their artistry. Guitarist Emily Roberts agrees, noting how this band has allowed her to express herself in ways that she hadn’t been able to in previous projects. “Dressing like this just feels right to me. In other bands I’ve been in, I felt like I had to dress a certain way as a woman playing guitar, but with The Last Dinner Party, I’ve realised that I don’t. I can do whatever I want.”
For The Last Dinner Party, music isn’t just a creative outlet; it’s an opportunity to be fully themselves without compromise. This authenticity shines through in their live performances, where they create an immersive experience for the audience. From the moment they take the stage, we’re transported to another world – one filled with opulence, drama, and a hint of danger. Their theatricality isn’t just for show, though. As Morris puts it, “Standing on a stage, looking people in the eye and knowing I see them and they see me, that’s still the only thing that feels tangible.”
But even as the band basks in their success, they have their eyes firmly set on the future. Back at the start of the year, Morris was” looking forward to the day where we’re not a hype, buzz band.” At the time, they felt it would take until album three or four to be established and respected. Turns out, they managed it much quicker than that. The band’s grounded approach doesn’t mean they lack ambition, though. They’re aware that the buzz that announced their arrival can help shape their future. For a band as committed to their live performances as The Last Dinner Party, larger crowds are not just a perk but a chance to bring their theatrical vision to an even grander stage. “If we have continued success, we can ask for things like writing time, and we can hopefully have more of a hand in shaping our own career, rather than just saying yes to everything and hoping for the best.”
There’s a palpable sense that The Last Dinner Party are still closer to the beginning than the end of something monumental, but they’re taking it all in stride. As Morris says, “Doing this has been my dream for pretty much forever.” And if their dream is anything to go by, their journey is just getting started.
Newcastle, O2 City Hall (23 Sept), Leeds, O2 Academy (24 Sept), Sheffield, Octagon Centre (25 Sept), Norwich, The LCR (27 Sept), Lincoln, The Engine Shed (28 Sept), Cardiff, Tramshed (29 Sept)
Sea Girls
It’s been a busy year for Sea Girls, who’ve moved into exciting new territory with their third album ‘Midnight Butterflies’. It’s a record brimming with euphoric anthems that aim for the rafters and don’t miss. Their knack for heartfelt lyrics set to big, bold choruses continues to serve them well, as tracks like ‘I Want You To Know Me’ and ‘Back to the Wild’ demonstrate. With newfound creative freedom after setting up their own label, Alt. Records, Sea Girls have leaned into a sound that feels both expansive and personal. Their live shows remain a high-energy affair, where the sweat-drenched catharsis of youth is celebrated with every fist pump.
Sheffield, Octagon (26 Sept), Newcastle, O2 City Hall (27 Sept), Manchester, O2 Apollo (28 Sept), Glasgow, O2 Academy (29 Sept)
The Driver Era
Brothers Ross and Rocky Lynch have come a long way since their R5 days, constantly showcasting their knack for crafting genre-blurring indie-pop. Blending sun-drenched melodies with a darker, introspective edge, the duo’s sound bounces from electronic vibes to alt-rock riffs, with a little R&B thrown in for good measure. Their recent single ‘You Keep Me Up at Night’ keeps things fresh with its nostalgic groove, and their live shows remain a slick, high-energy fusion of crowd-pleasers and emotional bangers. The Driver Era have built a solid reputation as one of the most versatile acts around.
London, Eventim Apollo (25 Sept), Birmingham, O2 Academy (26 Sept), Bristol, Bristol Beacon (28 Sept)
Jamie xx
The wait is over. After nine years, Jamie xx has finally dropped ‘In Waves’ – the follow-up to his groundbreaking solo debut ‘In Colour’. As eclectic as you’d expect from the xx’s quiet mastermind, it blends the frenetic energy of UK bass music with dancehall rhythms, ambient textures, and everything in between, ‘In Waves’ feels like the work of a producer at the peak of his powers. Collaborators such as Robyn and Honey Dijon only add to the album’s already heady mix of innovation and emotion, and Jamie’s ability to balance the euphoric with the introspective remains unmatched. As always, his live shows promise an immersive experience for those lucky enough to nab a ticket.
London, Alexandra Palace (25 Sept), London, Alexandra Palace (26 Sept)
Los Campesinos!
After a seven-year hiatus, Los Campesinos! returned in 2024 with ‘All Hell’, an album that’s as cutting and biting as their early work but with a new layer of emotional depth. They’ve always been able to blend sardonic humour with heartfelt lyricism, and ‘All Hell’ is no different – it’s a reflective, sometimes nostalgic look at growing up, getting older, and the inevitable sense of disillusionment that comes with it. Expect a tour full of frantic singalongs and bittersweet reflection.
Bristol, SWX (27 Sept), Brighton, Chalk (28 Sept), Birmingham, The Crossing (29 Sept)
Orlando Weeks
After moving to Lisbon in 2023, Orlando Weeks returned earlier this year with ‘LOJA’, a deeply personal and introspective album that reflects his new life abroad. If his previous records were explorations of hope and fatherhood, ‘LOJA’ – named after the Portuguese word for “store” – delves into more complex emotional territory, marked by minimalist arrangements and a haunting sense of reflection. Known for his ability to craft atmospheric, quietly devastating music, Weeks is at his best here – with a live show that promises to be intimate and emotionally charged.
Newcastle, The Cluny (24 Sept), Manchester, Band On The Wall (25 Sept), Norwich, Norwich Arts Centre (26 Sept), Leeds, Brudenell Social Club (27 Sept), Bristol, Thekla (28 Sept)
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