The last dinner party gay members ages

From prestigious rising star awards, to a chart-topping debut album, few other acts have captured the attention of the music world as rapidly, or as powerfully, as The Last Dinner Party. At the time of our first conversation, squished around a picnic table before their mid-afternoon slot at the most unexpectedly tropic Electric Picnic on record, so much has yet to happen to the dazzlingly decadent five-piece.

And to be in a sweaty room! We came at just the right time when that was happening again. She met bassist Georgia Davies and guitarist Lizzie Mayland at university in London, before joining forces with lead guitarist Emily Roberts and keyboardist Aurora Nishevci through mutual friends in the city.

We just wanted to be part of that. I was into contemporary music, and then I went back into pop and rock — you know, the music you listen to growing up. And even at this stage in their career, those close ties at the heart of the band have proved crucial to their ongoing success. We can just debrief, share in it together, and ground ourselves.

Five months later, in the last legs of winter, the heat of that Saturday afternoon in Electric Picnic feels like another world away. In our current reality, The Last Dinner Party have graduated from flashy up-and-comers to an all-consuming topic in conversations about new indie music, following their string of high-profile, platform-boosting awards.

Their UK chart success has also proved that the five-piece are resonating with more than just music critics and industry heads — with Prelude To Ecstasy scoring the biggest opening week for a debut LP by a band sincewhile also becoming the fastest-selling debut album by a group on vinyl this century.

Catching up over Zoom, Georgia and Emily tell me that opening for Hozier across Europe, on their first major support tour, was particularly transformative.

The Last Dinner Party: Everything you need to know

And we feel more ready for big crowds. We stepped out onto the stage for soundcheck, and it was enormous. It was just a crazy experience, on a different scale. So it was chaotic — and so good. The way we present ourselves in the music videos and on stage is pretty essential to the whole experience.

Maintaining control over that kind of creative vision is important, she agrees, especially as a band made up of young women and non-binary musicians. They can just roll out of bed onto the stage, and no one really gives a shit what they look like. But I still find the imagery really compelling.

Your childhood, and the way you grow up, will always inform the way you process things in your adult life. So using the imagery of the things that were imbued with importance in childhood — like religion in their case — is a way of exorcising any trauma you sustained in that, or that you continue to have.

To subvert the tradition, and use the images of the saints and martyrs to express a sort of queer female experience. I think it goes with that world of maximalism really well. But just as the band emphasised around that picnic table in our first conversation, their friendship remains a profoundly precious saving grace.

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