The Last Dinner Party
Are The Last Dinner Party the future of British rock? With four BRIT Award nominations and an acclaimed debut album, this all-female/non-binary band is here to prove it.
As the music award season kicks off, the buzz surrounding nominations and potential winners is reaching fever pitch. The past year was a whirlwind of major comebacks and thrilling new discoveries, making it almost impossible to predict who will take home the coveted awards for Song and Album of the Year. Alongside industry titans like Beyoncé, Billie Eilish, and Kendrick Lamar, rising stars such as Charli XCX and Chappell Roan have taken center stage as the revelations of 2024. However, among the contenders for the prestigious BRIT Awards—arguably the United Kingdom's biggest music honors—there is one name that has captivated the public: The Last Dinner Party.
From the top left, clockwise: Lizzie Mayland, Abigail Morris, Georgia Davies, Emily Roberts, and Aurora Nishevci. Photography byTom Marshak, available via Vogue Germany © All rights belong to their respective owners. No copyright infringement intended.
The British band, who claimed the Rising Star award last year, have garnered an impressive four nominations this time around: Best New Artist, Group of the Year, Alternative/Rock Act, and Album of the Year. Sharing the latter category with seasoned heavyweights like Dua Lipa, The Cure, Charli XCX, and Ezra Collective, The Last Dinner Party has solidified its status as one of the most exciting and promising acts to emerge in years.
Following a whirlwind year, the group—composed of Abigail Morris, Lizzie Mayland, Emily Roberts, Georgia Davies, and Aurora Nischevci—has not only released a critically acclaimed debut album but also embarked on a global tour, demonstrating their remarkable skill as performers. Their debut record, Prelude to Ecstasy, which marks its one-year anniversary on February 2, quickly climbed to the top of the UK charts and became one of the most significant debut albums in recent memory. Even before earning a BRIT nomination for Album of the Year, it had already dominated several year-end “Best Albums” lists from prominent music magazines.
The brilliance of Prelude to Ecstasy lies in its polish and maturity, qualities that are rarely found in debut efforts. From the very first listen, the album exudes an almost theatrical perfection that, combined with the band’s meteoric rise—including opening for none other than the Rolling Stones—inevitably sparked accusations of being “industry plants.” In today’s music landscape, where rawness is often conflated with authenticity, delivering such a flawless product can arouse suspicion. However, the 12 tracks on the album—entirely written and composed by the five musicians themselves—are irrefutable proof of their talent and originality.
The soundscape of Prelude to Ecstasy is a masterful blend of theatrical baroque influences, glam rock sensibilities, and modern rhythms. It seamlessly melds nostalgia for alternative and indie rock from decades past with a distinctly contemporary energy. Lush orchestral elements, powerful strings, harpsichords, and choral arrangements accompany lyrics that transcend typical themes. Instead, the band addresses issues such as gender inequality and feminism with sharp, often dark undertones, enriched by references to literary works and historical figures.
At the center of it all is Abigail Morris, whose velvety, dramatic voice has drawn comparisons to Florence Welch, Kate Bush, and even Chappell Roan. Her vocal range, at once rich and gritty, perfectly complements the band’s elaborate instrumentation, which recalls the grandeur of David Bowie, Queen, and even Arctic Monkeys. This rich tapestry of influences was evident from their very first single, "Nothing Matters," released in April 2023. The track, which delves into the harsh realities of intimacy with a melancholic undercurrent, features winding basslines and a soaring, anthemic chorus, elevated by Morris’s arresting vocals. The accompanying music video established the band’s bold aesthetic: a spiritual, almost religious theatricality that reflects their evocative name, The Last Dinner Party.
Subsequent singles only strengthened the band’s identity and solidified their reputation. In the gospel-tinged "Sinner," Lizzie Mayland takes over lead vocals, showcasing the depth of talent within the group. Meanwhile, standout tracks like "Caesar on a TV Screen" and "The Feminine Urge" further highlight the band’s ability to craft both intricate narratives and compelling soundscapes.
"Caesar on a TV Screen" is perhaps the album’s most grandiose track, a mini-rock opera that culminates in a Wagnerian crescendo. Its lyrics, which satirize male fragility through the lens of a despotic ruler, are brought to life in a theatrical music video starring Morris as a brazen, flamboyant Caesar. On the other hand, "The Feminine Urge" addresses themes of generational trauma and societal expectations for women, drawing inspiration from a viral meme. With a sound reminiscent of Kate Bush’s Running Up That Hill and Lana Del Rey’s lush arrangements, the track is a delicate yet defiant exploration of the struggles and resilience of women. The lyrics, “Here comes the feminine urge I know it so well / To nurture the wounds my mother held,” resonate with a powerful vulnerability, while another standout line, “Oh Ballerina bend under the weight of it all, ain’t it fun to hold the world in your hand,” encapsulates the song’s central tension.
Other tracks on the album, such as "On Your Side" and "Beautiful Boy," reveal the band’s softer, more introspective side. These songs, while still featuring the group’s signature baroque crescendos, showcase their ability to convey emotional intimacy. Meanwhile, "Burn Alive" and "My Lady of Mercy" stand out for their historical and religious references, drawing on figures like Joan of Arc and the Virgin Mary to evoke themes of strength, sacrifice, and martyrdom. As Morris sings in the brooding opener "Burn Alive," “I am not the girl I set out to be / Let me make my grief a commodity,” the line feels like a sly critique of a culture that values women’s art based on their suffering.
Listening to Prelude to Ecstasy from start to finish feels like witnessing a breathtaking theatrical production. The album’s baroque imagery, coupled with its dramatic vocal delivery and biting lyrics, offers a sense of revolution—a defiant challenge to societal conventions that suppress individuality, particularly for women and non-binary individuals. Beyond its stunning production, the album’s deeper implications lie in the way it reflects on the nature of power and identity, especially for an all-female/non-binary band navigating a male-dominated industry.
But Prelude to Ecstasy isn’t just an expertly crafted studio album—it’s also a testament to the band’s remarkable live performances. Their global tour brought their debut project to life with a theatricality that left audiences spellbound. Even Brian May, legendary guitarist of Queen, declared the group to be “the future of British rock.”
Despite skepticism about their seemingly perfect debut, The Last Dinner Party has proven to be one of the most thrilling discoveries in recent years. By reviving retro sounds and orchestral instrumentation while pairing them with cutting-edge themes and modern rhythms, they have breathed new life into alternative rock. In a music industry often dominated by conformity, The Last Dinner Party stands as a beacon of creativity and defiance.
In 2025, alternative and rock are alive and thriving—and they look like five British non-binary women who refuse to go unnoticed.
