The Last Dinner Party instills awe at The Sound with Automatic

Following the release of their new album From The Pyre, British pop-rock icons The Last Dinner Party played Del Mar’s The Sound, with opening band Automatic. A sold-out show on a Sunday night, there was no doubt it would be a night to remember.

With an incredibly unique sound, Los Angeles-based Automatic were a treat. A gorgeous blend of electronic and classic rock, their post-punk sound is truly like no other. With dramatic lighting casting a shadow on the band, their bold melodies fusing with it, they formed a perfect mix of mysterious and confident.

The Last Dinner Party did not fail to live up to their name and reputation. With a taste for glamorous theatrics and purely ethereal stage presence, it was impossible to disregard the care and consideration they put into their craft. The band manufactures a truly raw reflection of the feminine experience, painting a portrait of this internal cry to be heard; A deeply emotional and irreverent rage that lives inside of most women, reflected in their lyricism and irreverent tone. Abigail Morris, lead on vocals, reached out with hope in her heart and rage in her soul, making an individual connection with each attendee. Their delicate piano created a dark, dreamy juxtaposition with their deep vocals, giving the show an almost gleaming quality. Each member is gloriously unique but still a part of the team; there is something incredibly powerful in the way they hold themselves, a kind of generational fury at the circumstances of the word combated with undying confidence.

The Last Dinner Party obviously played “Nothing Matters,” accompanied by “The Feminine Urge,” “Caesar on a TV Screen,” and “The Scythe,” as well as standout tracks “Big Dog” and the unreleased “Knocking at the Sky.” With such a phenomenal set, the opportunity to catch the last Dinner Party live is one not to miss. The band has shows booked through February 2027, with dates in Los Angeles, Brooklyn, and even a few in the UK.
Photos & Review by: Theo Adams
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