Excitement was in the air as the sun set and the crowd grew at Brisbane's The Riverstage.
It's the last leg (19 January) of the Australian From The Pyre tour, a decadent celebration of The Last Dinner Party's 2025 album with the same title.
Even before The Last Dinner Party or opening act Sir Chloe took to the stage, there was a palpable sense of otherworldliness as we entered the band's realm of theatrics, catharsis, and release.
The stage was already set – dreamy white drapes hung like dripping candle wax, framing the stage from each side. Behind them, more drapery, reminiscent of heavenly clouds, 'marble' archways, a church bell, a metal hound, and elegant staircases.
Sir Chloe swept onto the stage like rolling thunder, frontwoman Dana Foote casting a striking figure as she sang, backed by the equally impressive presence of her band. Her voice is gorgeous, deep and soulful.
Sir Chloe was an excellent choice as an opening act for The Last Dinner Party. Lyrically, they contrast in interesting ways, and while fans of one act would absolutely enjoy the other, they each offer something slightly different.
While The Last Dinner Party tends to lean more abstract and metaphorical, Sir Chloe tends to be more grounded in reality – this contrast extends in similar ways to their vocal performance, with Dana delivering some delightfully gritty vocals throughout Sir Chloe's set.
'Forgiving' from their recent album 'Swallow The Knife' is a notable highlight, mixing a playful chorus with '90s-inspired grunge sounds. The set also features viral hits such as 'Animal' and 'Michelle', to the joy of the audience.
Orchestral music plays in the background during a brief intermission after Sir Chloe's set, until it's taken over by ambient sound, the stage bathed in golden light. The excitement is unmistakable as the crowd cheers and The Last Dinner Party enter the stage.
Vocalist Abigail Morris enters last, draped in white and looking like a striking Joan of Arc as she delivers a mesmerising vocal performance of 'Agnus Dei', the first track off of 'From The Pyre', enhanced by lush harmonies and gritty guitar riffs that build to a beautiful and rhythmic performance of the catchy chorus.
Next is 'Count The Ways', as the mood of the night gets a little darker and sultrier. The band's use of the space is notable in this song – nothing is off limits as Abigail croons into the crowd from the very edge of the stage, as bassist Georgia Davies and lead guitarist Emily Roberts play intimately together from the raised platform at the top of the stairs, before stepping down either side in sync.
They then return to the world of their debut album, 'The Feminine Urge' receiving resounding cheers from the audience from the first tantalising note; however, before they continue, the band is introduced, and Brisbane is welcomed to the show.
While no one could doubt how mesmerised the crowd was by the first couple of songs, 'The Feminine Urge' sends them into an absolute frenzy, singing the lyrics back to the stage with explosive emotion.
Feminism is an underlying theme of the band's discography and has underpinned many of their lyrics and songs from the conception of the project; 'The Feminine Urge' is certainly a song where these themes are more overt, and the audience feels and resonates with this.
Frustration is palpable from the audience as they echo the chorus alongside the band. As it is repeated a second time, Abigail bows to the audience, letting them take the reins, and they deliver, singing loud and clear.
The song ends with Abigail raising the mic stand into the air. A commanding and celestial presence, she pulls us into the theatre, decadence, and drama The Last Dinner Party have curated so carefully.
We stay in this moment of catharsis, rage, community and relief a little longer as 'Feminine Urge' is followed by 'Caesar On A TV Screen', which features Aurora Nishevci delivering an excellent performance on the keyboard, and some standout guitar that differs slightly from the song's recorded counterpart.
The tempo changes in this song are emphasised in the live performance by masterful use of the staging and instrumental choices – transitioning quirky guitar riffs to cinematic solos, making this another standout moment of the set already.
After a land acknowledgment from Georgia, who speaks about the sanctity of the land and the 60,000-year-old tradition of storytelling within Australia, she states this is their last night in the country, and urges us to make the show a good one so they can return.
A moody and dreamlike performance of 'On Your Side' is followed by 'Second Best', and features some beautiful chorus-like vocal moments as the band overlap and intertwine their voices in ethereal fashion.
'I Hold Your Anger' sees Aurora begin solo, spotlighted as she plays the keys and sings. While the song has to be stopped briefly to allow security to assist in the crowd, the band does an excellent job picking it back up. After the song is stopped and started again, Abigail jokes: "If anyone was worried about us lip-syncing, now you know!"
After the witchy harmonies of 'Woman Is A Tree', Aurora takes up the mantle of lead vocalist once again for 'Gjuha', a beautiful song she describes as stemming from feelings of distance from her language and homeland of Albania. 'Gjuha' transitions seamlessly into 'Rifle', with Lizzie Mayland this time taking up the role of lead vocalist.
It's impossible to describe this song as anything but a religious experience – with smooth, beautiful vocals from Lizzie that are buoyed by yells of agony and rage from the rest of the band, before building to a peak for an intimate two-part harmony in French delivered by Lizzie and Abigail. The musical talent of the band is once again on display as they swap instruments and vocal responsibilities seamlessly.
While the set is largely comprised of material they have released, we are treated to some unreleased songs, including 'Big Dog', which begins with almost biblical spoken word before transitioning into an electrifying rock performance.
'Portrait Of A Dead Girl' and 'The Scythe' are delivered with luscious performances and a myriad of audience participation, as is 'Sail Away'. This feels like one of the most vulnerable songs in the set, a moment of confession supported by gently floating torchlights and swaying arms throughout the crowd.
As we move towards the end of the show, the band dive into some of the most beloved songs from their discography. However, it's hard remember these are meant to be the 'highlights', as every single song so far has been such a standout in its own way.
The beautiful instrumental outro of 'Sail Away' transitions into 'Sinner' – a massive fan favourite, and with good reason: this is a track filled with everything that encapsulates TLDP. Rock. Passion. Desire. Guilt. Elation. Community. A moment of cathartic release as whispered confession turns to emotional yells.
Within the next few songs, I'm overwhelmingly impressed by Abigail's overwhelming energy and presence – from 'My Lady Of Mercy' to 'Nothing Matters' and the songs in-between, she twirls, sings her heart out, and runs down to the barricade multiple times to the delight of the super-fans – one whose sign states she had been waiting at the venue for 20 hours.
The lights dim abruptly after 'Nothing Matters', and the band sweep off stage – after many chants of one more song, however, they return to the elated crowd for a fun and theatrical performance of 'This Is The Killer Speaking'.
Mid-song, they halt to draw a raffle: the band's ribbons for provisions charity campaign had been brought to Australia, but after a delivery mishap, the ribbons were lost. Instead, a raffle was drawn onstage with merch bundles to be won, and ticket proceeds going to OzHarvest.
After the winners are drawn, the song concludes, and the crew is thanked by name. The show comes to a close with a sweeping reprise of 'Agnus Dei', and we are left breathless and elated by the experience.
This may be the last of the Australian shows for this tour, but if their presence, prowess, and unreleased songs are anything to go by, it is definitely not the last we'll see of this band.
