Travel chaos couldn’t dim a dramatic, baroque-pop spectacle that had the Denver crowd dancing on cue.

Of all the crowds we could’ve rushed across land and sea to see, I’m glad it’s you,” Abigail Morris tells the Mission Ballroom crowd.

The lead singer of The Last Dinner Party explains that the band endured an ordeal to be on stage only 10 minutes late. Their tour bus broke down in Utah that morning, so they frantically booked flights to make it to the show. However, they initially boarded a plane but had to disembark after half an hour. Then they were stranded in the airport for hours before another flight finally brought them to Colorado.

“We landed here about an hour ago,” Morris adds. The band smiles as the audience erupts in applause.

They’re not like other girls, gays and theys

With such a saturated music scene, it can be difficult to discover bands and artists that are completely unique.

Enter: The Last Dinner Party.

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The English-Australian band from London is deeply theatrical and cinematic. They craft ’70s-inspired baroque pop and art pop, punctuated by devastatingly vivid lyricism exploring feminine rage, romance and trauma.

The band is composed of Morris (vocals), Emily Roberts (lead guitar, mandolin and flute), Lizzie Mayland (rhythm guitar and vocals), Aurora Nishevci (keys, vocals and saxophone) and Georgie Davies (bass).

They released their sophomore album “From the Pyre” in October last year, chronicling mythical stories as allegories for heartbreak, passion and love.

The Last Dinner Party took the stage at Mission Ballroom in Denver on June 2 on their From the Pyre Tour. Unfortunately, Davies is recovering from a spinal injury, so she isn’t able to perform, but Max Lilley fills in.

Dramatic scenery and costuming

The venue takes on a dark, eerie vibe that perfectly fits the band’s aesthetic. A light fog fills the space packed with people in corsets and flowing skirts.

A backdrop with the effect of dramatic fabric draping sits behind the band. The set looks like the ruins of an ancient European town with an archway and belltower covered in moss.

The Last Dinner Party’s outfits correspond with their genre-bending musical style. Nishevci wears a flowing white gown, Roberts rocks a Selkie-esque dress with puff sleeves and Mayland dons a blouse and medieval-inspired cap. Morris leans more into the rock vibe with black tights and mini shorts.

Into the underworld

Soft red and white lights pour over the band as they begin with “Agnus Dei” off their latest album. It feels like The Rocky Horror Picture Show‘s opening “Science Fiction/Double Feature” — the track welcomes the audience into The Last Dinner Party’s macabre, moody underworld.

Morris floats across the stage like a delicate bird, bewitching her fans. Her dancing is akin to Uma Thurman in Pulp Fiction — it’s free, slightly awkward, but captivating nonetheless.

She knows how to put on a fun show, but she also shines in the quiet, introspective moments. On “Sail Away,” Morris sits under a spotlight, accompanied only by keys. With the jazz-informed musicality of Laufey, she seems to wistfully visualize a memory as she sings.

Nishevci creates standout moments when she takes over as lead vocalist. On “I Hold Your Anger,” her deep alto echoes over keys until the song bursts into an unbelievably rich and emotional soundscape.

Beyond skillful artistry, she explores the intricacies of being a child of immigrants. Before performing “Gjuha,” Nishevci explains that she wrote the track about being ashamed of not knowing her mother tongue and desperately wanting to connect with the people and culture of Albania.

The song is inspired by Balkan folk music and rises with sorrowful yet hopeful choral harmonies. Nishevci adds that she thinks experiencing different cultures is what makes America beautiful.

The Last Dinner Party knows how to create big, explosive moments. Bittersweet, glittering synths pour into the audience as they sing the chorus of “The Scythe” and dance under an oversized disco ball.

Wholesome moments

The Last Dinner Party dedicates their melancholic ballad “On Your Side” to Davies and expresses how much they miss her. Morris sings the song’s tender promise to hold a loved one’s hands through a 4 a.m. heartbreak, and haunting harmonies soar over simple keys at the end for a stunning display of vocal prowess.

The band wanted a way to give back while they lived their dreams, so they did just that. Morris announces that the band launched Ribbons for Provisions in partnership with WhyHunger to raise money for food banks across their tour. Donations collected at the show will support local food banks across Denver.

While it’s clear The Last Dinner Party is enjoying themselves, the audience also expresses their joy for this special night. During “Knocking at the Sky,” two audience members dance their hearts out in the back of the venue. One girl falls to her knees playing fake guitar. They both have huge grins and seem to truly soak in the moment.

Morris becomes a dance instructor during the band’s encore. She teaches the audience how to kick their legs and throw up their arms during the cheeky Western-inspired track “This is the Killer Speaking.” The audience dances on cue and smiles at the goofy, synchronized moves that unite everyone.

Some musical performances are passive experiences where it’s perfectly fine to sit back, relax and enjoy. The Last Dinner Party charms their audiences with their captivating storytelling and performance style — there’s nothing their seasoned and new fans can do but stand up, dance and sing along.