"The more you share your sorrow with others, the easier it is to manage it alone." — Abigail Morris. This album isn’t non-stop lightheartedness. Among the three singles, one stands out in particular; while it aligns with bold pop-rock, it’s ‘The Scythe,’ featuring organ-driven, soaring melodies, that leaves the most profound impact. “It’s a very vulnerable song,” Abigail admits, “but I began writing it when I was 16, so I don’t feel as raw about it anymore. It explores grief in all forms—grief for death, the end of relationships, and the dreams that might have been.” The video accompanying the song depicts an elderly couple going through their daily routines, offering a touching look at love, loss, and unrealized potential. Even more touching is the comment section beneath, where countless YouTube users have shared their own heartfelt experiences of grief without prompting. Upon hearing about these comments, Abigail, Aurora, and Georgia share a knowing glance, smiling slightly, evidently aware of this phenomenon as well. “Yeah, it was really striking,” Abigail remarks. “I read so many comments that were so specifically tied to people's personal experiences of loss; it was incredibly overwhelming, sad, and beautiful. I didn’t expect that impact; I hadn’t thought about how it might resonate with people. But clearly, something like this would.” “It’s refreshing to see a YouTube comment section that isn’t toxic,” Georgia adds, referring to the controversy surrounding ‘Prelude…’. “It feels like a space—almost like a message board—where people can share their own stories. A lot of the comments read, ‘my nan passed away’ or ‘my cat died’ or ‘I was heartbroken,’ or ‘I had a three-day relationship that ended’… it’s a truly beautiful thing to feel compelled to leave a piece of yourself in the comments.” “I think it’s very special,” Aurora agrees, “because it’s generally hard to find a place where one can express such feelings—where discussing weighty topics is socially acceptable.” “That’s something I’m incredibly proud of,” Abigail responds, “because as a society, we struggle with grief. I lost my dad as a teenager, and having to inform people and witness their reactions… they often treated me like I was ill.
No one knows how to handle grief or converse about it. You find yourself telling someone about your loss and then reassuring them, ‘But it’s okay! Don’t worry!’ If we, as a culture, were just better at publicly mourning and not fearing it—especially in England, where we have such stiff upper lips,” she chuckles a bit, “I believe it would improve the world. So, if we can create a comment section where people feel free to express their grief without fear of stigma… it’s true—the more you share your grief with others, the easier it becomes to handle alone.” This encapsulates what The Last Dinner Party aims to achieve: granting fans the liberty to feel deeply, dramatically, and openly; treating everyday occurrences, from being ghosted to grieving, with the significance of a major event; and fostering environments, whether online or offline, for individuals to seek catharsis and community. Perhaps there’s something significant to be appreciated in The Last Dinner Party collective, after all. ‘From The Pyre’ is currently available through Island.
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If last year’s Mercury-shortlisted, BRIT-winning debut was The Last Dinner Party’s ‘Prelude’, then the second album ‘From The Pyre’ is an entire symphony – a series of expansive sonic vignettes that encapsulate young adulthood in all its splendid, imperfect, and multifaceted beauty.