I went to see King Gizzard & the Lizard Wizard at their last London gig in 2024, when they headlined Wide Awake Festival in Brockwell Park. This is what I wrote at the time:
“Having followed the psychedelic rock gods – King Gizzard & the Lizard Wizard – since their first gig at the Shacklewell Arms in 2014, I knew I was in for a treat. Their high-energy performance, influenced by legends like Black Sabbath, Can, and the Grateful Dead, was a frantic blast through their 24 studio albums. This is a band everyone should see at least once – they’re destined to go down in musical history.”
Since then, they’ve released three more albums, bringing their total to 27 studio albums, the latest being Phantom Island – their second release on their own (p)doom records label.
When I first heard that the self-proclaimed polymorphous psychedelic voyagers were touring the UK again, I assumed it would be their usual setup: loud, sweaty, guitar-driven chaos – utter brilliance. I rallied a few friends, told them to get ready to rock, wear something they didn’t mind getting drenched in sweat, and prepare for the mosh pit.
But the more I looked into it – the Royal Albert Hall show as part of the fifth annual Pitchfork Festival, and two Electric Brixton gigs, one starting at midnight on a Saturday – it became clear this was something a little different.
The UK tour was split into two distinct experiences: the Rave gigs and the Orchestral gigs.
The Rave element was perhaps the boldest move yet. Taking cues from their 2023 album The Silver Cord, the band swapped their no-nonsense guitars and fuzz pedals for a table of oscillators, modular synths, and sequencers that dominated the stage. For a band so rooted in guitars and improvisation, venturing into electronic territory was a completely new challenge – but they embraced it fully. The midnight start time said it all – this wasn’t a regular gig; it was a late-night rave.
Watching a psych-rock band tackle electronic dance music that wouldn’t feel out of place on Berghain’s dance floor was fascinating. Some traditional Gizz fans looked on in confusion, while others threw themselves into it wholeheartedly. I’ve never seen so many people crowd-surf to pounding techno. The absence of guitars, their signature instrument, was glaring, and the dance-floor mosh pit seemed a little unsure of itself, even as it instinctively moved to the beats. They played both Saturday and Sunday nights, impressively delivering completely different sets each night – a true testament to the band’s versatility, ambition, and creativity.
The Orchestral show was breathtaking and downright phenomenal. The band conceived Phantom Island, the album that inspired the show, after a chance encounter at their Hollywood Bowl show in 2023. Backstage, they met members of the Los Angeles Philharmonic, who encouraged them to participate in a series pairing orchestras with rock and pop acts. They soon connected with Chad Kelly, the British historical keyboardist, conductor, and arranger.
Focusing on Phantom Island and with the Covent Garden Sinfonia orchestra led by Kelly, the band’s performance was elevated by a powerful, if expensive, backing ‘band’. Performing at the Royal Albert Hall added distinct gravitas – some of the crowd even dressed in regal outfits – and Stu declared, “We’re very lucky to do this.”
I’m not sure how many people have ever crowd-surfed at the Royal Albert Hall, but I’d wager the majority of them were at this gig. One guy even crowd-surfed in a suit and tie and a mini mosh pit formed despite the minimal standing area. Some attendees even ballroom-danced amid the chaos – and somehow, it all worked.
I especially loved the 20-minute jam in the middle of the set, when the orchestra rested and the house lights were up. The jam then flowed seamlessly into Gizz classics: The River, Crumbling Castle (which got the biggest cheer of the evening when the orchestra finished its crescendo), This Thing, Mars for the Rich, and Dragon. The band closed the night with a rousing rendition of “Iron Lung”, leaving everyone euphoric after an inspirational 2.5 hours.
The orchestra and venue added a cinematic, emotional and grand dimension to the evening – a standout performance that every band must dream of. The orchestra left the stage smiling, and so did the crowd – it truly created a “WTF just happened?” moment for all, including the band.
King Gizzard & the Lizard Wizard are one of the best live bands in the world and will go down in musical history. These gigs showcased their diversity, energy, and sheer greatness. My only thought? Imagine combining all their sets – orchestral, rave, and rock – into one continuous show. Now that would be a spectacle for everyone lucky enough to see it!!!
Words by Woody Anderson
Photography Kimberly Ross and Sam Huddleston
