The Last Dinner Party Setlist

Agnus Dei
Count the Ways
The Feminine Urge
Caesar on a TV Screen
On Your Side
Second Best
Let’s Do It Again!
Woman Is a Tree
Gjuha
Rifle
Big Dog
The Scythe
Burn Alive
Sail Away
Sinner
My Lady of Mercy
Inferno
Nothing Matters
This Is the Killer Speaking
Agnus Dei (Reprise)

Automatic Setlist

Turn Away
Signal
Venus Hour
Black Box
mq9
Is It Now?
Lucy
Mercury

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■ The Last Dinner Party
The Last Dinner Party, originally the Dinner Party, are an English rock band from London, formed in 2021. The band consists of Abigail Morris (vocals), Lizzie Mayland (vocals, guitar), Emily Roberts (lead guitar, mandolin, flute), Georgia Davies (bass) and Aurora Nishevci (keyboards, vocals). They have no permanent drummer, and are currently joined for live performances by Dave Adsett and Luca Caruso.

St. Paul’s Palace Theatre is the venue for The Last Dinner Party and opener Automatic this fine summer eve. Yeah, that’s right I said it – Summer. June 5^th is after June 1^st, the start of meteorological summer. The only summer that matters. Astronomical “summer” knows where it can stick it. This was show sixty-seven (Kate McKinnon anyone?) of the From the Pyre tour in support of their second album of the same name. Sixty-seven is a LOT of shows and they have another thirteen to go. But they don’t seem to be taking a break, as they switch to stadiums later in 2026 and 2027 bouncing back and forth across the Atlantic. I’m ashamed to admit that I lost count of the shows because they have like 85 sold out shows at the Intuit Dome in LA and it was just hard to keep track while I was counting. OK, it’s only ten, but still ten. That’s a crazy number of shows to sell out. I’d like to see you sell out even one show at the Intuit Dome. Then they have ten sold out shows at Barclay Center in Brooklyn! That’s 20 sold out shows in January and February of 2027. I feel pretty lucky to be seeing them at the Palace and to have seen them at First Ave in 2024. Onto the show!

Automatic

Automatic took to the stage at 8:00 pm ± 2 minutes. Gold star for promptness. They got the party started with “Turn Away” off of their sophomore album – 2022’s Excess on Stones Throw Records. I would guess that the place was 75% full to start and the crowd wasn’t just waiting to see TLDP, they were excited to see Automatic, which provided a nice energy for their set. Up next “Signal” the title track off of their 2019 debut album also on Stones Throws Records followed by “Venus Hour”. With “Black Box” we finally heard something off of their latest album – 2025’s Is It Now? On, you guessed it, Stones Throw Records. It’s nice to see a band and a label work together for three albums and six years. Something’s working right. After “Black Box”, front woman – Izzy Glaudini – said hello to the crowd. She thanked TLDP for including them and saying that it was great to be touring with all these strong women. She quickly acknowledged her drummer, Troy who is not a woman, and let us know that he’s strong enough to be a woman, which the crowd appreciated. Go Troy! Izzy did not introduce Halle Saxon and Halle did not introduce herself. She knows we know who she is. For the entire eight-song setlist, take a look to your right, they brought the funk. They played a nice, tight 30-minutes set. They clearly know what they are doing up there and the audience was treated to a great performance.

There were five of us photographers (four professionals and me) in the pit waiting for TLDP (yeah I’m done typing it out) to take the stage. Security told us that there is an instrumental walk-out song, which did not count towards our three-song pit allowance. It’s pretty standard with shows of this size to get three songs in the pit and then be sent on your way, so we were all excited to get a little bonus time in the pit. Ok, I’ll stop saying pit now. Walk-on music starts, lights go down, crowd erupts, everyone but Abigail Morris walks out with focused flood lights from behind the stage backlighting everyone (see the picture of Emily Roberts below to get a sense), THEN Abigail comes out as the band begins “Agnus Dei” and the crowd gets even louder. Abigail absolutely knows how to work the stage; as she flits hither and yon like a hummingbird while the other band members rock out in their spots. “Count the Ways” off of their 2025 release From the Pyre and “The Feminine Urge” off of their 2024 debut “Prelude to Ecstasy” rounded out the “pit songs”. Alright, I said it one more time, but when you spend as much time in the pit as I do, it starts to define your existence and how you see the world. When I come home, my family knows in my head I’m still in the pit – struggling to figure out how the hell to take a picture that’s not either so blurry it looks like my mom took it or so dark that it’s basically just solid black. The struggle is real.

At some point, Abigail casually introduces the band – Dave on drums, Aurora on keys and vocals, Emily on lead guitar, mandolin and flute, Lizzie on guitar and vocals, and “I’m sorry I didn’t catch his name and I’m sure it’s somewhere on the internet but I can’t find it filling in for Georgia” on bass. Their set was nineteen songs and then a two-song encore, see the track list to the right. As the show continued, the other members of the band started moving about on stage one at a time joining Abigail at various points. One of the highlights for me was “Gjuha”, which means tongue in Albanian. This was a song written and sung by Aurora Nishevci who is from Kosovo. She talked about the meaning of and impact on her of the song. Initially it was about being ashamed about not knowing her mother tongue but has grown into a feeling of pride of being an immigrant. I’m not sure if this was just because of being in the Twin Cities and knowing what we’ve dealt with this year, but she talked about the strength and richness of immigrants and what they bring to a community and that is how the US is viewed throughout the world. It is a sentiment that resonated with the audience. Another highlight was watching an ASL interpreter sign to some audience members. I’m sure it’s become common for there to be interpreters for the deaf at concerts, but this was the first time I had seen it. I was mesmerized by the performative signing. I knew that “Nothing Matters” with its explicit lyrics was coming and was curious as to how that would be signed. My sense in watching the woman interpreting is that she had a sheet of lyrics to help her but did not know the song because of the micro expression right before she had to sign “I will fuck you like nothing matters” but she did it with gusto and the sign felt like fuck. It was an experience I’m glad I was able to have.

All in all, TLDP did not disappoint. Their star continue to rise and, again, I’m glad I’m able to take them in at these smaller venues before they begin their stadium tour. Who knows if they’ll ever come back. If you have a chance to catch them on the final baker’s dozen shows of the From the Pyre tour, do it; you will be glad you did.