The Last Dinner Party, the genre-bending British quintet known for their theatrical flair and poetic lyricism, have returned with a bang. Their sophomore album, From The Pyre, released on October 17, 2025, has quickly become one of the most talked-about records of the year. Critics and fans alike are lauding its darker, bolder, and more explorative sound, which pushes the boundaries set by their acclaimed debut, Prelude to Ecstasy.
From the opening notes of Agnus Dei, listeners are plunged into a world that is at once familiar and transformed. According to The Mancunion, the album’s opener trades the orchestral grandeur of their debut for swinging instrumentation and tough, introspective questions. Lead singer Abigail Morris’s dramatic vocals set the tone, asking, “Am I enough to make you stay?” and later declaring, “Here comes the apocalypse, and I can’t get enough of it.” It’s a sweeping introduction that promises a journey through emotional and sonic landscapes, with guitarist Emily Roberts closing the track in style with a memorable solo.
As the record unfolds, The Last Dinner Party prove they’re not afraid to experiment. Count The Ways brims with rich imagery and sharp, angular guitar work, channeling both the bitterness of betrayal and the willowy harmonies that have become a band signature. Second Best draws inspiration from 70s rock and 90s energy, evolving from a live fan favorite into a multifaceted, hard-hitting studio track. The song’s choral opening and frantic piano beats underpin Morris’s exploration of what it means to feel like someone’s backup option.
But it’s the lead single, This Is the Killer Speaking, that truly stands out. With a noticeable country inflection and hints of western tropes, the track is described by 13th Floor as “some of the best fun you’ll probably have listening to music this year.” The lyrics, which at first glance tell a murder mystery, actually serve as a clever metaphor for the demise of a relationship due to a lack of honest communication. The musical suspense builds to a raucous crescendo, punctuated by Morris’s cheeky, “Hope my television appearance drives you fucking mad,” a line delivered with both bravado and a wink during recent live performances.
The album continues to showcase the unique talents of each band member. Rifle features guitarist Lizzie Mayland on vocals, offering a more subdued but brooding track that grinds into action with menacing harmonies. The song’s final verse, sung in French, highlights the band’s sophistication and willingness to push boundaries. According to The Mancunion, the relentless guitar and drum thrashing in Rifle is destined to become a live highlight, reminiscent of the energy found in their earlier hit, My Lady of Mercy.
From here, the album delves into folklore and fantasy with Woman Is a Tree, a track that conjures medieval imagery and showcases Morris’s operatic range. The song’s magical harmonies and fantastical ambiance are a testament to the band’s ability to create immersive universes through music. I Hold Your Anger introduces keyboardist Aurora Nishevci on vocals, emphasizing the group’s collaborative spirit and the spotlight each member receives throughout the record.
Emotional devastation reaches its peak with Sail Away, a tear-jerker that tells the tale of a relationship’s end. The lyrics, described by 13th Floor as “heartbreaking poetry,” see Morris mournfully reflecting on lost memories and yearning for isolation: “If I could find a way to wipe out every day, I didn’t spend a second in your bed, and I would take my ship, have no one else on it, and sail away.” The song’s delicate metaphors and piano-backed melody evoke a sense of longing and independence.
As the album nears its conclusion, The Scythe explores themes of death, grief, and acceptance. The track features operatic highs and lows, an anthemic chorus, and a killer guitar solo from Emily Roberts. Critics have called it “one of the most exceptional pieces of music released this decade,” a fitting prelude to the album’s final chapter.
Closing out the record is Inferno, a track that combines references to Jesus Christ and pop culture with jangling keyboards and danceable guitar riffs. While the song’s surface may seem light-hearted, its conclusion is anything but. Morris’s final lines—“I’m nothing but a shell, nothing but dust in an inferno”—leave listeners with a sense of contemplation and existentialism, bringing the album full circle. Notably, the last note of Inferno matches the first note of Agnus Dei, an unintentional but poetic bookend.
Behind the scenes, From The Pyre was produced by Markus Dravs and released on Island Records, following up the James Ford-produced Prelude to Ecstasy. The new record cements The Last Dinner Party’s reputation as one of the UK’s most innovative and gifted bands, with each of the five members—Abigail Morris, Emily Roberts, Lizzie Mayland, Aurora Nishevci, and their rhythm section—taking turns in the spotlight.
To celebrate the album’s release, The Last Dinner Party have announced an ambitious 31-date North American tour for spring and summer 2026. The tour kicks off in Austin, Texas, on March 27 and wraps up in Atlanta, Georgia, on June 13. Major stops include The Salt Shed in Chicago, Hammerstein Ballroom in New York, and The Orpheum in Los Angeles. Support acts Florence Road and Automatic will join the band on select dates, adding to the excitement. In a nod to their commitment to social causes, proceeds from the tour will be donated to the Ally Coalition, supporting LGBTQ+ youth across the United States.
Tickets for the tour will be available through an artist pre-sale beginning October 22, 2025, at 10:00 a.m. local time, with general sales starting on October 24 via Ticketmaster. Fans eager to catch The Last Dinner Party live will also have a chance to see them in New Zealand in early 2026, where Sir Chloe will open the shows.
With From The Pyre, The Last Dinner Party have not only avoided the dreaded sophomore slump—they’ve delivered a bold, cohesive, and emotionally resonant record that confirms their place at the forefront of contemporary British music. Their willingness to embrace chaos, mythos, and wonder has drawn listeners into their beautifully tragic worlds, and their upcoming tours promise to bring that magic to stages across the globe.
