The Last Dinner Party at The Midland, Kansas City MO (2026-04-01)

Flash flooding and intense storms acting as Mother Nature’s April Fool’s joke couldn’t keep the masses away from making their way into the Midland Theatre in downtown Kansas City to take in a long-awaited return of UK sensations The Last Dinner Party, who delivered on a memorable bombastic and grandeur-filled baroque pop/art rock performance.

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Irish quartet Florence Road took the stage first, in support of a new EP, Spring Forward, released March 27 via Warner Ireland. From the outset, the four childhood friends from Bray (lead singer and guitarist Lily Aron; guitarist Emma Brandon; bassist Ailbhe Barry; drummer Hannah Kelly) let their set carry the electricity of a band aware that this tour will be key, if they can fully break in North America, building on the momentum of their 2025 viral hit, “Heavy.”

Their music is harder edged than the headliner- veering between indie rock, folk textures, and bursts of grunge—with an added urgency in a live setting and represent ed a band in motion, not yet settled.

By the end, they had transformed from “support act” into something closer to co-conspirators with a world of opportunity ahead of them, and maybe just became your favorite new band in the process.

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With the ‘earlier course’ done and the ‘table cleared’, it was time for The Last Dinner Party (Abigail Morris– vocals; Lizzie Mayland- guitar; Emily Roberts– lead guitar, mandolin, flute; and Aurora Nishevci– keys, vocals) to take to the stage for their nearly two-hour part-concert/part performance art show, in support of second full-length, From the Pyre, released in October via Island Records.

Bassist Georgia Davies has unfortunately bowed out for the leg, due to a terrible fall resulting in a broken back, but their bass tech, Max Lilley did an admirable job filling in, as did drummer Luca Caruso, as the band soldiers on without a permanent person behind the kit.

The stage backdrop featured ruffled textured curtains, lighting was often dramatic with a pastel-leaning palette and a large mobile of silhouetted doves (some looked like magpies) above the band, which, with some clever lighting angles, threw reflections onto the backdrop to make it appear like birds were flying about them.

The band’s other signature aesthetic, the vintage corsetry, flowing fabrics, and a Gothic-romance outfits were even more pronounced in the audience, with so many dressed in the vein of their musical heroes and making the show seem more immersive and interactive as a live experience.

Frontwoman Morris looked honestly amazed when taking in the crowd, commenting how many more and how big the number has grown since their 2024 appearance at the nearby Truman.

Over those several years of touring, Morris’ voice has become more precise and versatile, able to vocally move between intimate vulnerability and full-throated power, often within the same song. There was a theatrical nature to her delivery and an unbridled joy and she danced about the stage and in-between band members, as the songs carried on.

Highlights came in waves. “The Feminine Urge” surged with defiant energy, while “Agnus Dei” unfolded like a Gothic hymn, its apocalyptic tone matched by those dramatic lighting shifts and the singles from the new record, including “The Scythe” (look for a live 7” of that one on April 18 Record Store Day) and “Count the Ways” were worked in alongside older favorites. (and, yes! there was some Aurora keytar!)

The main set ended with the band’s breakthrough single, “Nothing Matters” which found the crowd doing most of the singing on the (somewhat profane chorus) as the band smiled back.

The encore began with the lead single from the new album, “This is the Killer Speaking” but then somewhat derailed as Aurora and Abi went into conversation and Abi stepping up to the top platform to teach the crowd a couple of dance moves. The set regained its ..uh, footing as those very moves were put into play as the band resumed the song.

And the evening would end with almost where it began as the band finished with a reprise of the new album’s opener, “Agnus Dei” (Latin, meaning ‘lamb of god’) and one last opportunity of the live ritual being that connection between band and audience.

Now at the realization of their powers as a band (but still with so much more to go) The Last Dinner Party proved that a rock performance can still be extravagant, immersive, and unapologetically dramatic – their music is not just to be heard but also experienced live.

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FLORENCE ROAD​

National / International act coming through the Midwest / Kansas City area? Please email details to johnc@weheartmusic.com with a good lead time to be considered for Show Preview and Show Coverage consideration.