“A thundering parade of maximalist theatricality”: The Last Dinner Party at Cambridge Corn Exchange

Packed with unrelenting energy, punchy rock storms and unabashed showmanship, The Last Dinner Party smashed the latest show of their sold-out UK tour in true baroque-pop style.

Photography by Emma Last

The Last Dinner Party’s theatrical artistry was in full swing as they took to the stage at Cambridge’s Corn Exchange amidst a fitting sea of classical, painting-like staging.

To say the Brixton-formed quintet are rising through the music scene with full force would be an understatement. Since entering the industry on the live circuit opening for the likes of The Rolling Stones and securing an impressive string of festival performances under their belt, the group have garnered a reputation for delivering punchy live performances that balance classical elegance with alt-rock energy. 

As part of their sold-out UK tour, the five-piece brought a thundering parade of maximalist theatricality to the stage on Monday night, where a roaring performance proved they aren’t slowing down any time soon.

Following a swathe of classical tunes that filled the Cambridge venue with a fitting air of ornate elegance, the first support to take to the stage was Scottish indie-rock band Lucia & The Best Boys. A ravishingly dirgey opening paved the way for what was an expert display of moody synth pop.

Lead singer Lucia Fairfull’s strong stage presence was instantly evident as the first song exploded into a drum-filled climax. As the group launched into a powerfully repeated mantra, ‘I’ll show you what I’m made of’, they hinted towards the powerful performance that was to come, proving themselves as one to watch.

Other songs throughout the set carried punchier, pop-infused energy, along with powerful, hearty hits including So Sweet I Could Die, which was carried by a catchily heavy beat.

Next up was Scottish-born, London-based singer-songwriter Kaeto. Throughout the set, the singer’s captivating commitment to emotional rawness and performance was clear. With a background including a recent stint at a clown school, as well as a string of unique videos that showcase the artist’s ability to capture music as a full-body, movement-aided experience, Kaeto delivered a dynamic, engaging set with a smooth flow. 

CARRY YOU opened the singer’s set, a captivating track that seems to straddle genres and appears on the artist’s recently released mixtape INTRO, which is exemplary in its refusal to settle for sonic restriction. Kaeto’s wide-reaching tastes shone in her performance, which oscillated between smoother, laid back tunes and energetic, house-infused tracks like YOMM, which also appears on her latest mixtape.

Carried by a catchy keyboard hook, new track U R MINE was a particular standout, a tender exploration of the artist’s relationship with her body. With backing from her band, Kaeto’s floaty vocals formed dream-like, melodic landscapes that swelled into nostalgia-infused sounds of remarkable depth.

Orchestral album opener Prelude to Ecstasy provided the backdrop as The Last Dinner Party took to the Cambridge stage before they launched into first song Burn Alive.

The tune offered an electric opening as the group received a raucous welcome to the city, marking their first return since their performance at the 200-capacity Portland Arms. Since their last appearance, which was just over a year ago, the indie-rock band has gone from strength to strength, unrelenting in their sonic power and artistic vision that has launched them to fame. Within less than two years of their first single, the five-piece has been handed the BRIT’s Rising Star Award 2024 and were named Rolling Stone UK’s Rising Stars of 2023.

Next up was the critically acclaimed single Caesar on a TV Screen, which was released at the start of this year, a month before the release of their debut album, Prelude to Ecstasy.

Unabashed in its flaunting of romanesque pomp, the track is filled with colourful vocal explosions and atmospheric rock lashings. Underscored by confident tempo changes and a rhythm of conviction, the performance of the song felt like the epitome of the group’s theatricality, as the audience was cordially invited into a night of maximalist pop-rock excellence. 

Second Best and Beautiful Boy, followed, which enjoyed power-filled unison sections as well as seductively raw moments of exposed vocals.

Fifth on the bill was a well executed cover of Chris Isaak’s Wicked Game, which had a moody tone that felt almost Western infused at moments, before the group followed up with On Your Side, a reflective tune introduced by a gentle piano opening.

Imbued with a heavy feeling of nostalgia, the song grew into an atmospheric conclusion that whisked the audience into a space of peaceful reflection. A step away from the group’s usual frenzied art-rock bangers, the song saw lead singer Abigail Morris embrace the track’s tenderness, falling to the ground during the track’s closure in a theatrical display of stillness.

Keyboardist Aurora Nishevci took the lead on Albanian folk composition Gjuha, which was accompanied by a captivating mandolin backing and was a transportative exploration of the shame Nishevci has grappled with “not knowing [her] mother tongue”. 

Hotly anticipated hit Sinner was next on the bill, whose angsty effervescence launched the crowd into a quick buzz. Accompanied by the group’s raw, uninhibited movement across the stage, the song felt like a roaring release. The hit track’s arresting energy was palpable– The Last Dinner Party know how to rock up a storm. 

Next up was Portrait of a Dead Girl. Nishevci took to the grand piano for the heart-filled ballad as the crowd joined in at each chorus to chant ‘over and over again’, before Morris orchestrated the crowd into a magnificent choir, as choruses of ‘give me the strength’ rang out throughout the Cambridge venue. 

Continuing the slew of baroque rock bangers, the five-piece launched into The Feminine Urge, a guitar-led track that delivers with both operatic vocals and striking lyricism. As the track closed, Morris held a flag high in the air in what felt like a gesture of the immense power that the group has continued to build since their last appearance in the city. 

Other standout songs included the theatrical Big Dog, a heavier rock hit with gloriously scratchy, expressive vocals. 

It’s at the moments of coming together that the band are at their most powerful, and the group showcased their full glory with delightfully raucous swellings towards the end of My Lady of Mercy, a triumphant rock song that closed the main portion of their set.

After returning for the encore with unreleased song The Killer, the group launched into electric hit and debut single Nothing Matters. A glorious, upbeat love song whose ultra-catchiness helped propel the band to alt-pop stardom, the tune was a dazzling close to the night. 

With live performances that somehow manage to pack even more energy than that which oozes from their recorded music, The Last Dinner Party are not releasing their firm grasp on their rightfully earned crown any time soon.

Photography by Emma Last.