I wrote a piece this week about the strange relationship between music and social media, focusing on the case of Glastonbury.[ READ IT HERE ] The festival is renowned for its emphasis on unity, collective experience, and being in the moment. However, on social media, a different dynamic emerges, from a small but vocal minority, who perhaps would be better advised to visit their GP to treat their erectile dysfunction rather than deriving a twisted pleasure in deriding and mocking artists and festival-goers alike.
The Last Dinner Party experienced this firsthand when their stunning debut single had some questioning their “authenticity.” In my interview [READ IT HERE], it becomes clear that their breakthrough came via some luck and having actual songs rather than any dark arts or shadowy music industry conspiracies. However many music fans still base their judgments on the music itself, adopting the attitude of “Nothing Matters” if it connects with them.
Away from the dark void of vapid tiny nob energy that is Twitter, it was heartening to hear that The Last Dinner Party drew one of the largest crowds seen for such an early show when they performed at the new Woodsies (formerly Peel) stage at Glastonbury, which started at 11:30 a.m. Attendees attested that they not only delivered an outstanding performance but also that their set is now medically proven to clear even the most savage of hangovers, which is hugely impressive for a band with only one single.
The band follows up the success of “Nothing Matters” by releasing their second single, “Sinner.” It’s a track that is as equally impressive, showcasing the band’s diverse influences. It’s a captivating blend of modern-day New Wave and Blitz club New Romanticism, replete with more hooks than a pirate convention held in a fishing tackle shop.
