The last dinner party gay members ages

T he annual scramble for Glastonbury tickets is a rite of passage — and Georgia Davies is used to disappointment. The baroque-pop five-piece have had a staggering rise since forming in the pandemic, fuelled by their maximalist, nihilistic debut single, Nothing Matters, released in April They expect this year to be different.

A month later, they shot to No 1 with a critically acclaimed debut album, Prelude to Ecstasyand took home the Brit award for Rising Star. At Glastonbury this weekend, they are performing on the Other stage on Saturday afternoon, teeing up Bloc Party, the Streets and Disclosure. TLDP can no longer be described as up-and-comers.

Still in their finery from their Guardian photoshoot, the group, aged between 24 and 27, are constantly teasing — each other, themselves, me.

The Last Dinner Party: Everything you need to know

Our interview gets so raucous sometimes that I later struggle to make sense of the tape. They are wise-cracking and whip-smart, but also visibly dazed by their success, with an undercurrent of trepidation coalescing around not just their Glastonbury set, but where they go from here. They found a manager within two months.

Nothing Matters was released a whole year later. It was important for them to take their time, says Davies. Regular gig-goers themselves, they aspired to generate a sense of occasion and community. Ironically, those images were later held up as evidence that the band was cynically assembled by Island Records, the label to which they had signed.

The charge dogged TLDP through their early press. The criticism conflates investment with inauthenticity, she complains. More recently, the criticism has given way to acclaim. How has the band learned to protect themselves? Have some fucking decorum. They are excited by the possibility of pushing open those rusting gates.

At Latitude festival last year, the band was set upon by two small boys who wanted their guitar picks. Part of the enthusiasm for TLDP stems from excitement that they are bringing rock back. But while reviewers compare them to David Bowie, Queen and Sparks, theacts they themselves namecheck most often are Chappell Roan and Lana Del Rey both also once tarred as industry plants.

While TLDP have been subjected to snark for their perceived poshness Morris was privately educatedthey are highly aware that their lightning-in-a-bottle success is far from the norm. That pressure and anxiety filtered through even to their rarefied institutions. Are they conscious of overexposure?

Despite their packed schedule, TLDP started writing their second album over a two-week session early in May. Whether the industry will allow them that remains to be seen. For the moment, the band agree: they are on a treadmill.