By Eves Lynch
Saying goodbye to my car – possibly for the last time – and a brisk run through traffic and there it is, Victoria Warehouse, hidden down Trafford Wharf. The venue sits within a grand, red-bricked building that whispers tales of its one-hundred-year history. Its exterior feels gritty and vibrant, a nod to the industrial history of Manchester and its blossoming music and arts scene.
Queueing for the venue is relatively short; plus, I have early access, so I’m one of the first few people in, which is always a bonus. After grabbing some merchandise (I’m a sucker for a band tee), I head quickly to the stage where I witness all this venue has to offer. Raw brownstone walls, industrial-grade steel girders, and 16-foot ceilings give it a dramatic and historic feel. There are faint remnants of a storied past within the walls, as if the structure has absorbed decades of energy and is primed to unleash it all for tonight’s audience.
The lights dim, and the crowd falls silent as ‘Prelude to Ecstasy’ plays over the speakers. Suddenly, the crowd erupts in loud cheers as Emily Roberts, Lizzie Mayland, Georgia Davies, and Aurora Nishevci take to the stage. With Roberts and Nishevci on the left and Davies and Mayland on the right, Abigail Morris makes her entrance as the final piece of this theatrical puzzle, positioning herself at centre stage.
The band begins their set with ‘Burn Alive’, the second song from their debut album, Prelude to Ecstasy. The crowd is left in awe as the stage lighting casts red shadows over each band member. They then play ‘Caesar on a TV Screen’, which the audience loves. Morris holds the microphone out to the crowd and listens as 3000 devoted fans enthusiastically scream the chorus back to her. I along with all those in attendance – feel like I’m in heaven.
Everything about this gig, from the stage design and lighting to the crowd and the stage presence of each band member, makes it one to remember. One great thing about TLDP is that every band member participates; each one takes a turn speaking to the audience and introducing songs. For instance, Lizzie Mayland performs a cover of ‘Up North’ by Catherine Howe, after talking about growing up in Hebden Bridge, Yorkshire.
Following this, the atmosphere shifts to slower, more melodic songs like ‘Beautiful Boy’, ‘On Your Side’, and ‘Ghuja’. The audience absorbs each lyric from these three songs like a sponge soaking up water. This change of pace is a welcome break, allowing both band and audience to catch their breath, and for Abigail Morris to discuss the ‘Ribbons for Provisions’ campaign that the band has implemented. During each gig, the band raises money for local food banks by selling signed ribbons both at the event and online through the Bankuet platform, making it easier for fans to donate. At the end of each performance, the band matches the total amount donated by fans, effectively doubling their contributions. At this particular gig, the band raised £14,000. Through their UK and American tours, they raised more than £50,000 for Bankuet.
The band perform their hits ‘Sinner’ and ‘The Feminine Urge’, followed by an amazing cover of Blondie’s ‘Call Me’, which sends the audience crazy. Morris’s stage presence and her Florence Welch-esque energy enhance this rendition. ‘Big Dog’ and ‘My Lady of Mercy’ conclude the main set before a short break. The atmosphere both on and off stage during ‘My Lady of Mercy’ is ecstatic; the band jump up and down and run towards each other, bonding over their shared love for one another and their music. It is heartwarming to witness how close they are; the band became friends at university a few years ago, and that connection is evident. Everything – from the way they play together to the personal moments Morris shares with each member, often putting her arms around them – shows a genuine friendship. As a member of the audience, it’s comforting to see this isn’t just a job for them; they truly love what they do.
The band return to the stage, with Nishevci taking her place at the piano with the rest marching in a line. They perform ‘The Killer’ and conclude with ‘Nothing Matters’, a visionary masterpiece. The energy as the opening chord strikes is electric and unforgettable. Everything from the stage design, the band themselves, the stage presence of each member, the music, and the audience made me feel like I am seeing a show, a theatrical performance almost. With their rising popularity, I know they will soon be playing at larger venues, but I’ll always cherish the intimacy of this performance.
The performance ends, and the audience feels like this is just the start of a bigger story. The Last Dinner Party put on a unique show that combines theatre with rock music, leaving everyone wanting more. They now face the challenge of taking their personal, artistic performances to bigger venues while keeping the special feeling intact. For now, they are one of the most exciting acts out there, and you won’t want to miss them.
Surprisingly, my car is right where I left it when I return. As for the hi-vis men? Well, let’s just say they’ve mastered the art of disappearing – must be a side gig in magic.
