Review: The Last Dinner Party, Live at The AEC Theatre, January 13 2026

In October, when I reviewed The Last Dinner Party's sophomore effort, From the Pyre, I was looking forward to the 13th of January. Between those dates, Australia's been through a bit.

A heatwave, the worst shooting the nation has ever seen, half the country being on fire, and the continued erosion of global social cohesion sets up an easy win for filling a room with like minded individuals and deeply sensitive artists who know their craft well.

Opened by Sir Chloe, from New York, amid a beautifully built set of stage craft, the gig started lukewarm - but as the opening act worked their way through their set, fans began to sing along to the work, but it was - to me, fundamentally clear that people were there for the main act.

The stage was gorgeous, veiled in typical mist, which revealed a theatrical series of archways and stairs, all of which was used during the performance.

Between the sets, I suggested starting a heavy metal style mosh pit when the track Rifle was to be played, and I had interest, but no one joined in when the moment came. In any case, that's a selfish want from someone at a concert of the entirely wrong genre.

The Last Dinner Party have a sound that is hard to pin down into a single genre. They sound like Queen's Bohemian Rhapsody, driven by piano riffs from Abba, layered with bluesy guitars and driving bass, and on the new album, layered choral sequences where all the members of the group contribute to harmonised, ethereal vocals. It sounds all at once like a tribe, a cult, and perhaps even a ritual.

Opening with Angus Dei from the new album drove the crowd to hysterics, before moving on in Count The Ways and The Feminine Urge, which got the crowd very involved vocally. Front woman Abigail introduced all the band members, and I learned that Georgia, the bassist - was a genuine Aussie, and you could see that she was absolutely so pleased to be back in her homeland, with a monologue about cultural unity, the beauty and devastation seen by the land, and the fact that we do not do enough to care for it. She wasn't reading from the back of her guitar. It was a heartfelt message. The crowd adored her.

Moving deeper into the set list, Caesar on a TV Screen, On Your Side gave a dim lull into Second Best, which got the crowd properly moving. I, and the entire audience were then transfixed by the beautifully delivered I Hold Your Anger, which is a track that has grown to be even more relevant.

Then, the true ritual and tribal events began with Woman is a Tree. The members of the band were arranged ritualistically in an arc, and the opening harmony was just incredible. It is normally a song a skip on the record, but given the time in the crowd , and the larger hall's reverberations - it was clearly made for live performance, like so much music.

Gjuha led into my favourite track of the evening, Rifle. Bodies were moving, but there was no mosh pit (sadly!). I was very pleased, however to see that this was not only my favourite track, but the peripheral vision was filled with a sea of bodies moving to the same sonic wave that came from stage to audience.

Each and every member of the band had their moment in the spotlight - and beyond Abigail's antics as a front woman, everyone elicited a rapturous cheer - be it for a guitar solo, a sax solo, the keytar, or particularly groovy, driving bass riffs. While it was clear that the band lost timing a few times, they recovered quickly, and the show very much did go on.

A highlight - and the emotional apex of the show was certainly The Scythe. There were tears welling in my eyes, as I stood, thinking about not only my own death, but those of the friends I was in, and the strangers in the room. It is, of course, a topic that we are all touched with, and the mood was downbeat, bleak, serious, and brought into even more seriousness, with the follow up, Sail Away. What a way to drive the emotional impact of music home - and in the words of the front woman - "some songs aren't complete until you sing them back to us."

This then followed Sinner, which brought the mood right back up to joy - leading into My Lady of Mercy, Inferno (which was a fantastic rendition) - before we were told "we've written more songs than we've performed, but here is a new one" - which silenced the crowd, as we were informed it was only the second time the track was played before an audience.

Hearing a song once doesn't really do it justice, but I am sure there are videos of it online somewhere. There were so many people recording on their phones. Too many, in my opinion. I took a few snaps, but... I didn't film six songs like some of those in front of me in the audience. A problem at every modern gig.

The closer was Nothing Matters before the crowd erupted into requesting an encore of This is the Killer Speaking and Angus Dei, thereafter, every single crew member from the tour was thanked.

Triumphant and humble, The Last Dinner Party clearly enjoy Australia - and I do hope that the next record is worth of a return to this venue, or perhaps even a more intimate setting of The Hindley St Music Hall, or The Gov. Otherwise, the next time they come, they may just well be playing open air at Womad, or the Adelaide Oval.

Time will tell. They're a young band, and they are improving - rapidly putting out work, and touring relentlessly.

View the set list here. If you haven't heard the band, go check out my review of From the Pyre.

My next gig is in about a month's time, when I will be heading to The Gov to see Italian metal juggernauts Lacuna Coil for the first time - and having had a listen to their new material in anticipation - I am keen for an excellent show!