The Last Dinner Party at Hammerstein Ballroom, NYC 4/25/26

Across the pond from London, England, The Last Dinner Party combines a variety of sounds and aesthetics, embodying a kind of medieval indie rock with a cool-girl, ethereal flair. Their first single, “Nothing Matters,” gained popularity throughout 2023 and into 2024, followed by several additional releases that would later appear on their debut album, Prelude to Ecstasy, released in early February 2024. This past October, they released their second album, From the Prye.

They are currently on the From the Prye Tour with guests Florence Road (3/27–4/26) and Automatic (5/19–6/13), making a stop at Hammerstein Ballroom for a sold-out show. Punk Pulse photographer and co-founder Lara Ziccardi headed into the city to catch the performance.

When I first heard of The Last Dinner Party, I was interning at SiriusXM in Spring 2024 through members of the music programming team. At that point, they had already released their first album, but I only knew two things: their hit, “Nothing Matters,” and their incredible sense of style.

The journey began well before I arrived at Hammerstein Ballroom. On the day of the show, it rained relentlessly. I had been in Connecticut the night before and was driving down to catch a train in New Jersey (yes, I am indeed a Jersey girl—born and raised). During the drive, my driver’s side windshield wiper snapped off. It felt a bit ominous… but I was determined to make it to the show.

Rain, for some reason, feels witchy—spiritual, even slightly feminine. It made navigating the city a challenge, but it somehow felt fitting for the band I was about to cover. By the time I reached the venue, I looked like a complete wet rat.

Before even walking in, I knew the crowd would be dressed impeccably—and that proved to be true. There were long skirts, flowy blouses, and bandanas in a variety of textures like crochet and silk. Footwear ranged from moto boots to Frye boots to lace-ups. It felt like a fashion show, and I was not disappointed. I was especially excited to see what the band themselves would wear.

The Last Dinner Party opened their set with “Agnus Dei,” “Count the Ways,” and “The Feminine Urge.” The crowd erupted—I always love watching fans at the barricade singing every word. From those first three songs, it was clear this was going to be a standout show. They are captivating performers, and I knew I was in for a treat. Each member has an amazing sense of style that feels individually authentic while still coming together cohesively.

Bassist Georgia Davies was unfortunately injured during their Houston show—sending a speedy recovery (and many sardines).

Every member of the band is incredibly talented. Lead vocalist Abigail Morris has the voice of an angel and a captivating stage presence. Throughout the night, multiple instruments were incorporated into the performance—guitarist Emily Roberts played flute and mandolin, while keyboardist Aurora Nishevci also picked up the saxophone. This variety adds even more depth to their already layered sound.

My usual scene involves photographing and writing about pop punk, some metalcore, and alternative acts. I’ve never covered a band quite like The Last Dinner Party, which speaks to just how unique their sound and aesthetic truly are. In many ways, the performance felt almost spiritual.

As the set continued, they played “Caesar on a TV Screen,” “On Your Side,” “Second Best,” “I Hold Your Anger,” “Woman Is a Tree,” “Gjuha,” and “Rifle.” During this portion of the set, I moved into the general admission area.

When I photograph shows, I like to move through the crowd—not just for photos, but to feel the energy. Coming from a pop punk background, I’m used to mosh pits and a very open, high-energy environment. I didn’t expect a pit here, but I still wanted to get a sense of the crowd. (Quick PSA: I always try to move through respectfully and be as unobtrusive as possible—being 5’1 definitely helps. The last thing I’d ever want is to disrupt someone else’s experience.)

As I made my way through GA, snapping photos and trying to connect with the crowd, the energy felt noticeably more guarded than what I’m used to. Coming from a pop punk scene—where movement, chaos, and a kind of unspoken camaraderie are the norm—the shift was immediate. I caught a few looks, and one comment in particular crossed into rude territory. It was a little jarring, especially in a space that visually felt so expressive.

That said, once I made my way up to the balconies, the entire atmosphere flipped. The people I interacted with there were warm, open, and genuinely excited—it felt like stepping into a completely different crowd.

Not only was their performance top-notch, but the set design and lighting were stunning. Their backdrop and the ceiling consisted of beautiful draped fabrics, along with two sets of stairs featuring arched details. On stage right, above the drummer, hung a bell, while stage left featured light, breezy white curtains near the piano. A fence-like structure sat at center stage on a platform, layered with more fabric and draping. Suspended from the ceiling was a sparrow-shaped mirrored chandelier, which cast reflections all around the ballroom when hit with light.

The second half of the set included “Big Dog,” “The Scythe,” “Sail Away,” “Sinner,” and “My Lady of Mercy.” During the set, they also performed a new song, “Knocking at the Sky.” While there’s no official release date yet, I can confidently say the riff alone will make it worth the wait.

The encore featured a cover of LCD Soundsystem’s “New York, I Love You but You’re Bringing Me Down,” followed by “This Is the Killer Speaking” and a reprise of “Agnus Dei.” I always love when artists bookend a set with the same song—it makes the entire performance feel intentional, like it’s been wrapped up in a beautifully cohesive bow.

I had such a hard time selecting photos from this show—I ended up with far too many, which is a good problem to have. Their energy translated effortlessly through the lens, making them one of my favorite bands to photograph and experience live.

The Last Dinner Party is easily one of the most unique bands I’ve covered. From their talent and stage presence to their distinct sense of style, they’re a band you won’t want to miss the next time they tour. I feel like I fit right into their ethereal, medieval aesthetic with my sword tattoo!

Lara’s Favorites:

• The Feminine Urge
• Second Best
• Rifle
• The Scythe
• Inferno
• Knocking at the Sky
• Nothing Matters
• This Is the Killer Speaking