Aurora Nishevci, Emily Roberts, Abigail Morris, Lizzie Mayland and Georgia Davies of The Last Dinner Party perform onstage at the 2024 iHeartRadio ALTer EGO show.

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The Last Dinner Party mingles sincerity and bombast in disarming fashion. Its embrace of baroque theatricality is tempered by a kinetic, venue-rattling ferocity manifested in searing guitar and celestial harmonies.

The English rock band — Abigail Morris, Lizzie Mayland, Emily Roberts, Georgia Davies and Aurora Nishevci — has moved swiftly in the last five years, transcending its amalgam of influences to grab hold of the mainstream with ferocity. 

To gaze around a packed Bomb Factory Saturday night was to understand how profoundly the band holds their fanbase in thrall, yet the sentiment was as powerful on the performers’ side of the stage. 

“It’s been two years this week since the first time we were here, not only here in Dallas, but here in this venue in the other room, so I’m overwhelmed,” said lead vocalist Morris, clad in a black blazer and pants, alluding to the band’s March 2024 stop at the smaller Studio at the Bomb Factory. “We’re really happy, as I hope you can tell, and it’s such a joy to be back here. If you were at that little gig two years ago, I’d like to dedicate this next love song to you.”

With that, The Last Dinner Party tore into “On Your Side,” a tune from their 2023 debut, Prelude to Ecstasy, the antecedent to last year’s From the Pyre, the impetus for the current run of shows in America. The quintet, which expands by one with the addition of touring drummer Dave Adsett, played every track from Pyre on Saturday over the course of its roughly 100-minute showcase. 

Expanding upon the myriad pleasures of Ecstasy — not least of which is that album’s indelible single, “Sinner,” which fairly tore the roof off the Bomb Factory Saturday — Pyre weaves evocative imagery into its sophisticated, vivid compositions: “Oh, here comes the apocalypse/And I can’t get enough of it/Meet you at the bus stop/Tell me to wait, but I won’t,” Morris intoned during the set opener, “Agnus Dei.”

The stage was a deft visualization of the egalitarian sound conjured by the Last Dinner Party, with a sheer, rippling backdrop of fabric, fronted by an ersatz altar and a pair of vestibules, one of which sported a full-sized bell dangling above Adsett’s drum kit. The group moved easily across its levels, striking poses and goosing the audience to scream the lyrics back to them. 

Tucking flute, mandolin and keytar into the layers of guitar, bass and drums lends a distinct flavor to The Last Dinner Party, mindful of the ease with which barriers between countries collapse in the modern era: Nishevci sang the luminous “Gjuha” in Albanian, while “Rifle” featured Mayland opining briefly in French. 

All of it coheres thanks, in part, to the stunning multi-part harmonies the five members conjure — peeling off into duos, trios and quartets here and there, but delivering sledgehammer blows of brilliance when stopping down to weave all five voices together, as they did on “Second Best” and “Woman is a Tree.” 

That lightness contrasts beautifully with the heaviness The Last Dinner Party can deliver, rolling from “The Feminine Urge” to the seething “Caesar on a TV Screen” to the as-yet-unreleased “Big Dog,” which packed a pronounced bite Saturday. 

To hear the band tell it, however, the most potent ingredient in the extraordinary alchemy that is the Last Dinner Party was the passionate, multi-generational expanse of humanity arrayed before them.

“When we were making From the Pyre, we felt proud of it, and it’s a big achievement,” Morris told the roaring audience. “But it’s a different magic altogether to play these songs live, because it all depends on you. You bring them alive again. We need you for the songs to reach their full potential.”

A moment of genuine appreciation amid a captivating, cathartic rock show — just the sort of special spark The Last Dinner Party nurtures in its quest to set venues ablaze night after night.