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FIND TICKETS HERE

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INSPIRED

How I got into The Flaming Lips

I was born in 1962 so was fortunate enough to listen to and see a lot of the 70s classic rock and glam rock bands live. My first live concert was Pink Floyd in Bristol in 1974 when I was 12 and was hooked on Pink Floyd and other live bands and was lucky enough to see pretty much all the big bands at the time including Led Zep, Deep Purple, The Who and most of the touring bands who came through Bristol like Black Sabbath, ACDC, Rush, Genesis, Slade etc. – in fact it seemed we were seeing a live band every week throughout the late 70s, 80s & 90s.

By around 1998/9, I was still heavily into Pink Floyd and was also listening to more ‘Alternative’ bands like Radiohead, Mansun, Dandy Warhols, Mercury Rev and would read weekly music papers like Sounds and Melody Maker and a monthly magazine called Q. Like all music publications, Q would review new albums and at the end of each review, they would have a “if you like this then check out this” section and they would recommend a different band.

This was when I first came across The Flaming Lips – I saw their name mentioned a few times and when I saw The Soft Bulletin reviewed, I went and got it and played it endlessly. Then, using the newly-released Napster, I downloaded pretty much every Flaming Lips song they had listed including Mountain Side, She Don’t Use Jelly, Lightning Strikes the Postman and Halloween on the Barbary Coast and I liked what I heard. There were a few missteps – the track called Vaseline I downloaded turned out to be ‘Jelly’ and the track Detachable Penis turned out to be by King Missile.

I then started collecting the back catalogue and built up my collection so within a couple of months I had all of their official releases. Initially I avoided Zaireeka, as I read somewhere you needed four CD players to be able listen to it properly, but eventually I bit the bullet and bought it. I then had to work out how to listen to it. This initially meant cobbling together four CD players and hi-fi systems and trying – very unsuccessfully – to get them to start playing at pretty much the same time. I tried to do this a few times but it was not a good listening experience. I then hit on the idea of buying four identical mini hi-fi players from four different Argos stores in the area. These are catalogue stores where you can buy pretty much anything for the house including electrical items, phones and toys etc. and you have 16 days to return them if you don’t want them. So, much to my wife’s displeasure I got four units, carefully unpacked them, stacked them up and inserted a CD in each. As they were the same units one remote would operate them all and, after a couple of attempts, I got to hear Zaireeka in all of its glory. I’m not sure it was worth the hassle but still enjoyable. The hi-fis were then repacked and returned to Argos for refunds. A friend of mine had some sort of mixing software on his Mac and was able to make me a CD that contained all of the synced up CDs, which means I can now listen to Zaireeka without the hassle.

As well as all the official releases I have collected a lot of live recordings. I started collecting live ‘bootlegs’ during the 70s – mainly Pink Floyd – at record fairs and independent record shops in the area. If you were lucky, you could pick up a vinyl copy, but it was usually 1000th generation tapes. And then in 2002 I joined the Neptune Pink Floyd website and forum (it’s still going and a great place and a great resource for anything Floyd related), which had a Pink Floyd and other bands bootleg section. Through this, you could swap ‘trade lists’ and ‘trade boots’ or, if you had nothing to trade, you could do B&P (blanks and postage) where you would send someone two or three blank CDs for every disc you wanted off of their trade list. Through this method, I hooked up with someone who had quite a few Flaming Lips bootlegs, so we started trading and I started collecting Flaming Lips live shows. Also around that time, a lot of trading sites and some download sites started up including The Flaming Lips, so it made it a lot easier to get bootlegs, to an extent that I have over 1000 Pink Floyd and around 600 Flaming lips live show boots or related CDs/DVDs. Nowadays it’s pretty easy to get live shows for any band you like via Youtube, especially when you have Flaming Lips live show Guru’s like The Satellite Head @thesatellitehead, who not only has the best Flaming Lips collection I have ever seen, but he is also honourable enough to let you download the shows as well.

I’ve been lucky enough to see The Flaming Lips on quite a few occasions in the UK and Ireland, and have tried to catch them live whenever they came to the UK. The first time was in Bristol in November 1999 during the Soft Bulletin tour and I was blown away with the performance, including confetti, hand puppet, blood etc. I particularly liked the fact that the band pretty much set up their own equipment and it was the first time I saw a band that didn’t appear to have a drummer.

I have managed to see them around 20 times since then and a girl at the last Bristol concert in May 2025 reckoned to have seen them 80 times…. So fair play to her. Each time I saw them, the visuals and stage got better and my favourite effect was when Wayne used to wear that strobe effect vest during Lightning Strikes the Postman. Of all the times I’ve seen them, my favourite was at the Eden Project in 2011 – especially as you can catch a glimpse of me during the crowd. Also, all of the Bristol shows, as it’s nice not to have to travel to see them – especially the Bristol show in 2017 when I shook Wayne’s hand as he came through the crowd on a Unicorn!! Another noticeable show was in Portsmouth in 2009. When we got in, it was rammed and we were right at the back. Luckily for us, Stardeath and White Dwarf set the fire alarms off and they evacuated the hall. When we got back in, we were quite close to the front and had a great view. But that show was paused briefly when someone in front of us had an epileptic fit during the WAND.

The two shows I was most disappointed with were Brighton Dome in 2013 – I was already in trouble because it was on my wedding anniversary, but the show seemed very downbeat and not uplifting like all the other times I had seen them – and Aylesbury 2022, when the reality of Michael not being in the band anymore struck. Wayne also spent most of the show inside the bubble which was off putting. On the plus side, I have bought some amazing T-shirts at these concerts and worn some of them to destruction! My favourite was the ‘Death Plays a Futuristic Machine’ from 2006 – unfortunately no longer available, so if someone has a hi-res image of the artwork I am interested, as I would get one printed.

So, over the last 25 years I have seen a lot of changes; the band size has risen from 3 the first time I saw them to around six or seven on the later tours; core members have left, so it’s now pretty much “Wayne’s World” and the visuals have got bigger and better. But through all of that, the music has been amazing and it will be interesting to hear the post-Steven music that is coming our way.

Editor’s Note: The Flaming Lips have also announced a new album set for possible release later this year.

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from the archives: February

February, 1989
Telepathic Surgery
Studio Album

February, 1989
“Drug Machine in Heaven”
Single from Telepathic Surgery

February 1996
“This Here Giraffe”
Single from Clouds Taste Metallic

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Before the joy, there was chaos, noise, and a fearless willingness to stare into the void. Welcome to Telepathic Surgery

Telepathic Surgery is one of The Flaming Lips’ darkest, most confrontational albums — a raw plunge into noise, paranoia, and emotional extremity. Released in February 1989, the band’s third studio album, and the last with drummer Richard English, captures a moment when their music was less about wide-eyed wonder and more about psychological collapse, channeling the chaos of late-’80s underground rock.

The record is dominated by blown-out guitars, droning feedback, pounding rhythms, and tape-manipulated voices that feel claustrophobic and at times, disorienting. Songs bleed into each other, often collapsing into walls of sound or repetitive, hypnotic passages. There’s a raw, almost hostile energy to the production, as if the music is constantly threatening to fall apart — or swallow the listener whole.

Lyrically and conceptually, Telepathic Surgery leans into themes of paranoia, bodily invasion, and psychological breakdown. The title itself suggests unwanted intimacy and loss of control, and the album often feels like being trapped inside someone else’s fractured mental state. Wayne Coyne’s vocals are frequently buried, distorted, or screamed, reinforcing the sense that clarity and comfort are not the point.

• Based on available concert setlist records, songs from Telepathic Surgery haven’t been part of The Flaming Lips’ regular live rotation for decades. For example U.F.O. Story — last played March 22, 1989 on tour supporting Telepathic Surgery.
• The album was reissued and remastered as part of the Finally the Punk Rockers Are Taking Acid box set in 2002, and again in 2005 in limited quantities on blue vinyl.
• The single Chrome Plated Suicide stands out as a fan favorite from the album.

The album received mixed reviews with some critics calling it “forgettable,” while others loved its “weird exploratory nature.”

Following Telepathic Surgery, the band began to work in the studio with producer Dave Fridmann, which would become the start of their decades-long relationship, creating some of the most important and incredible music in the history of The Flaming Lips.

The band’s first album with Fridmann would be their fourth studio album In A Priest Driven Ambulance, released 19 months after Telepathic Surgery in September 1990. The period between the two albums could be considered as a transformational beginning of the Lips‘ cosmic creative climb.

While it lacks the lush emotional warmth and accessibility of the band’s later work, Telepathic Surgery is crucial to understanding The Flaming Lips’ evolution. It documents their fearless willingness to challenge audiences in pursuit of experimentation, pushing noise rock and psychedelia to uncomfortable extremes. For listeners willing to embrace its intensity, the album stands as a bold, uncompromising snapshot of a band testing the outer limits of what original rock music could be.

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38 years ago

Live at the O.U. Union in Norman, OK (February 8, 1988)

Video: thesatellitehead

Whole Lotta Love (Led Zeppelin cover)
One Million Billionth Of A Millisecond On A Sunday Morning
Ode To C.C. Pt. 2
Halloween (Dream Syndicate cover)
Unplugged
an’t Stop The Spring
With You
Prescription: Love
Jesus Shootin’ Heroin
U.F.O. Story
Maximum Dream For Evil Knievel
Scratchin’ The Door (medley into “Radar Love” and “Who Do You Love”)
My Own Planet
Staring At Sound
Owner’s Lament (Scratch Acid cover)

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14 years ago

Live at Noise Pop In San Francisco, CA (February 21, 2012)

Video: thesatellitehead

Sleeping On The Roof
Race For The Prize
A Spoonful Weighs A Ton
The Spark That Bled
Laser Hands [MISSING]
The Spiderbite Song
Buggin’
Slow Motion
What Is The Light?
The Observer
Waitin’ For A Superman
Suddenly Everything Has Changed [MISSING]
The Gash
Feeling Yourself Disintegrate
Sleeping On The Roof
Do You Realize??

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11 YEARS AGO

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3 YEARS AGO

The Flaming Lips @ The Commodore Ballroom, Vancouver – February 28th 2023

Last night, American rock band The Flaming Lips graced the stage at the Commodore Ballroom, kicking off their two-night stint with a show that was nothing short of magical. With no openers, the band had ample time to showcase their talent and put on a truly mesmerizing performance. READ MORE

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Psych Fest Headlining Date Added May 8

The band continues to add new dates to the 2026 calendar with a mix of domestic and international shows.

The 2026 Austin Psych Fest line-up was dropped on January 21 with The Flaming Lips announced as headlining along with The Black Angels and The Sacred Souls.

The Lips will perform on Friday May 8 at The Far Out Lounge in Austin, Texas to celebrate the festival’s 18-year anniversary.

In July, two additional UK dates have been added to the calendar as The Lips will perform in Nottingham at the Nottingham Splendour Festival, and the following week in Glasgow for that city’s Summer Nights at The Bandstand music festival.

The May and July dates are the latest performances added to the growing 2026 World Tour.

We will be waiting with enthusiasm for any new concert date announcements and will keep the world tour blog updated.

Confirmed dates for 2026… so far:

March 28 – Teton Village, Wyoming: Rendezvous Music Festival

May 8 – Austin Texas: Austin Psych Fest

May 30 – Denver, Colorado: Outside Days festival

June 15 – Vienna, Austria: Gasometer

June 17 – Milan, Italy: Parco Della Musica

June 18 – Bologna, Italy: Bonsai Gardens

June 20 – Prague, Czechia: At the Letnany Airport (other notables include Nick Cave, Sting, Slowdive)

June 22 – Belgrade, Serbia: Luka Beograd

June 23 – Zagreb, Croatia: Inmuic Festival (other notables include Gorillaz, Idles, Jack White)

June 25 – Athens, Greece: Release Athens Festival – SOLD OUT

July 16 – Galway, Ireland: Galway International Arts Festival (with Mercury Rev) – SOLD OUT

July 19 – Nottingham, England: The Nottingham Splendour Festival.

July 23 – Halifax, England: The Piece Hall (co-headline with The Beta Band)

July 26 – Suffolk, England: Latitude Festival (other notables include David Byrne, Lewis Capaldi)

July 27 – Glasgow, Scotland: Summer Nights at The Bandstand

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FACES OF THE FREAKS

A Visual Journey Through the NYE Freakout

There have been thousands of photographers who have circled around The Flaming Lips at their live shows over the years. Some get caught up watching the glitz and spraying confetti while other picture-makers remain focused on capturing the moments that help to visually document the music and the connection with the audience.

London-based photographer Zach White made the trek over the Atlantic Ocean to Washington D.C. for the band’s New Year’s Eve freakout on December 31, with the motivation to capture the band in action, and intimately document the fans who love their music.

Photographs by Zach White

“I had seen the band two times before on the Yoshimi tour and it completely changed my perception of what a concert could be. They’re a band that have been around forever, but still are so unpredictable and constantly reinventing themselves. Being a long-time fan, I’d heard legends of their infamous new year extravaganzas. So when tickets went on sale I nearly fell on the floor.” — Zach White

As dozens of fans waited in line through the frigid Virginia evening for doors to open, White made his way down the line asking fans politely if he could make their portraits.

Inside, White would spend the next several hours capturing why thousands of fans from around the world had found their way to D.C. to stand before the band and feel the warmth of the music.

“I’ve had the honor of photographing many of the bands that I grew up listening to, but no group has shaped me more as a person or artist than The Flaming Lips. They were number one on my bucket list and I was determined to find a way to get there. And sure enough, everything fell into place and very cosmically worked out. Wayne and Blake Studdard were so kind, and my parents also worked some behind the scenes magic… you could say it was a whole family affair! My best friend Fabian even flew in from Austria to join in on the fun!” — Zach White

VIDEO: The Process (Live on New Years Eve 2025-2026)

VIDEO: The Process (Live on New Years Eve 2025-2026)

The Observer asked White about his creative mindset in documenting the New Year’s Eve Freakout, and if he had his eye on anything in particular

The Observer (TO): What was your goal in documenting the Washington D.C. Freakout on New Year’s Eve?

ZACH WHITE (ZW) — “Like all the gigs I shoot, the thing that I put as number one priority is to capture the atmosphere of the live show, while also being rooted in the spirit of the recorded music and the feelings that it invokes. Being actively aware of the synergy between those two things and trying to capture that balance has been one of the things I enjoy most in band photography. Sometimes those things can clash, and that makes for some really fun photos. The Flaming Lips discography wears a crown of immense celebration, like some kind of orchestra running on pure joy and wonder. But they’re also underscored by ghostly, introspective, and at times quite existential and dark themes. Just listen to the lyrics of “Feeling Yourself Disintegrate”. There’s a constant acceptance of loss in this music, and they wear that like a badge of honor. I digress. Without getting too deep, I was really just trying to do justice to how much I love this band through my photos.“

TO: Was there anything in particular you were looking to capture?

ZW — “I kind of had an idea of what I wanted to capture but knew that the best things would come naturally. To me, It’s all about being an observer (pun intended). I guess I’m just very lucky haha! Fan Portraits were a priority as with everything I shoot.“

TO: What was your favorite picture that you captured if you had to narrow it down?

ZW — “Ooh, that’s a tough one. Probably the close up of Wayne with the red background. The expression on his face is priceless… what could he possibly be thinking of in that moment? Battling pink robots? Pizza? The world may never know.“

TO: Why was capturing portraits of fans important to you?

ZW — “The Flaming Lips community is honestly the kindest and most diverse group of people I’ve ever met! You see people from all walks of life at these gigs. young couples in love, old grannys, little kids. If you look around at any Lips show, you’ll see that the fans are the lifeblood. These gigs are a safe place and a celebration of being unapologetically yourself in a world of complete conformity. In my opinion that’s essential, especially for young people such as myself. So it’s really cool to be able to honor that through the fan portraits. There’s something for everyone and as you get older, the music and message means something different. Crazy story: I ran into the dude who I had stood in line with at the London show and we caught up for a while. I was telling everyone how this was my total dream band to work with. As I walked out into the photopit, nervous as fuck, everyone in the front row started giving me high fives and cheering me on. One guy shouted “That’s our friend!!”. It honestly brought a tear to my eye. Also a shout-out to the lovely woman with the tiara who gave me a mini dinosaur.“

TO: Are there any greater plans for this body of work?

ZW — “I’d love to make prints or even do an exhibition of all my concert photography work. It means a lot to have Wayne and the band’s support on social media. Grateful for every opportunity I can get! If you want to support my work, please share with your friends and give me a follow @zachvision_16 as well as my band @electriccherryblossom”.

Bartees Strange Delivers Powerfull Set In D.C. in support of the Lips

We would be remiss if we didn’t give some love to Bartees Strange for his wonderful support of The Flaming Lips on New Year’s Eve in D.C.

The Baltimore-based musician with ties to Oklahoma City and The Lips, delivered a raw and expansive set filled to the brim with music that felt confessional and cathartic, moving from quiet vulnerability to explosive intensity.

Over the course of his career, Strange has been known for making genre-defying indie rock that blends punk energy, hip-hop rhythm and folk intimacy into emotionally-charged, unpredictable songs.

We loved his addition to the bill for the NYE Freakout. And it would be great to see him perform with The Lips again down the road.

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Copies of Live Summer Freakout album making their way around the world

On a warm and humid Oklahoma night in 2024, the Oklahoma City Zoo stayed open long past closing time — not for the lions or the elephants, but for The Flaming Lips. The paths were lit low after dusk, and the animal calls mixed with the murmur of a crowd that knew it was about to witness something wonderfully strange. The stage sat tucked near to the enclosures, as the outdoor amphitheater filled with anticipation and joy.

Flaming Lips shows have always felt like communal rituals, but here —surrounded by habitats and nocturnal life — it felt especially right. This was Oklahoma City, their hometown, and the zoo felt like a living metaphor for the band’s universe: colorful, fragile, loud, tender, and full of creatures just trying to make sense of the night.

As the show unfolded, confetti (biodegradable, of course) bloomed like wildflowers, and giant inflatables rose and fell against the sky. You could hear kids laughing, adults crying, and somewhere in the distant background, an animal calling out perhaps?

Unbothered, or maybe perfectly in tune.

Songs that had once lived on headphones and car stereos stretched out and breathed differently here. They sounded warmer, looser, like they’d grown up alongside the crowd. Old anthems landed with the weight of shared history; newer songs felt curious and open, still figuring themselves out.

When the band announced the performance would become a live album, well, it made sense. This wasn’t just a concert — it was a document. You can hear it in the recording: the echo of voices and the laughter that became the swell of a hometown crowd singing back words they’ve known for decades. It captures The Flaming Lips not as a spectacle alone, but as neighbors who never left – still experimenting, and still inviting everyone along.

The album ends the way the night did — not with a sharp goodbye, but with a gentle release. The crowd drifts toward the exits, confetti sticking to shoes, ears ringing softly. Somewhere behind them, the zoo settles back into its nocturnal rhythm. And pressed into the grooves of that live record is the feeling that, for a few hours, in a very specific place, joy was louder than doubt — and everybody, human and animal alike, was part of the show.

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WATCH:

Derek Brown on The Flaming Lips debuting ‘The Terror’ live at SXSW 2013 at Auditorium Shores

Kliph Scurlock on The Flaming Lips‘ 2010-2011 NYE Freakout!!! & playing ‘The Soft Bulletin‘ live

Steven Drozd discusses his departure from The Flaming Lips in an interview for Nathan Thompson’s One More Thing podcast in January 2026

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Editor’s Message

"And I thank the Lord for the people out there like you," 

^{_{— Elton John, Mona Lisas and Mad Hatters}}

It’s so true these days.

If you are reading these words, then think of this message as a personal thank you from me to you. I am incredibly grateful for the music and the people who come with it. There is no finer thing in life.

"And I thank the Lord for the people I have found," — EJ

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Welcome to Issue 14

So when you see the band live this year, there is a good possiblity the house music before the show could contain a few tracks from Brainwasher’s 2025 release, 39 Lightyears from Heaven. In Washington D.C. it was so cool to hear the music through the sound system, and it made this boy dream of hearing Brainwasher live someday. And I watched a curious guy nearby in The Anthem theater in D.C. whip out his phone and hit the shazam app to catpure the Brainwasher song over the PA. The album is fucking fire, and Burning Cars is part of my daily mental workout routine.

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Thank you to Zach White for sending over his pictures and words from the New Years’ Eve Freakout. There were so many great pictures to experience, they literally take those who were there back to that joyful night. To see all those beautiful faces melting together in pure enjoyment of the music is just so wonderful.

For me personally, it was nice to see White capture a picture of my beautiful wife in her costume. Sadly, she fell ill as soon as we walked inside the venue and only got to hear a few songs before her sickness overwhelmed her. The extra special Vein of Stars that the band performed, she may or may not have heard from the bathroom stall. Well, here’s to hitting the road again this year to make it up to her, as we officially celebrate 20 years together. So far, we got some tickets, and shows lined up, every one of them, is a gift…

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And thank you to Nick aka @Drafsack, for his submission. Thanks for reaching out and providing your perspective. Yours was a great journey to ride along with too.

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Happy Anniversary to AJ Slaughter on his first show with The Flaming Lips! Owen White posted a wonderful interview with A.J. on the thesatellitehead Youtube Channel on January 29, which was the anniversary of Slaughter first joining the group on stage.

I, like many fans, was curious as to who the new face was on stage right. In videos and pictures over the past year we’ve come to know Slaughter and his musical talent. Over the 10 shows I saw in 2025, I have come to witness a warm and brilliant musician with an infectious smile that has brought incredible energy to the group. 

AJ walked past me in Dublin and I was too shy to say hello, but later that night we all got to watch him groove with the band during The Golden Path followed by a jaw-dropping rendition of Riding to Work in the Year 2025. 

For me though, the pedal steel on Five Stop Mother Superior Rain has had me simply blown away. I’ve always loved that song, and to have the gift of it for five shows in 2025 left me beyond grateful. Sitting here I have goosebumps just thinking about it.

In conversations with friends from the UK, I know fans over there are super pumped to possibly hear Five Stop Mother Superior Rain in Europe this summer because it was brought back into the performance rotation for the 2025 U.S. tour starting in Atlanta.

In Washington D.C. when Wayne walked over to AJ on the pedal steel during Five Stop Mother Superior Rain and asked the crowd to send AJ some love during the performance, what came to my mind in that moment was Wayne telling the world “hey everyone, see this musician, he’s now part of this band family”.

Another moment in D.C. that stayed with me came at midnight, just after The Process had finished playing. As the clock turned, friends and family of the band and crew gathered to celebrate — not loudly or extravagantly, but in a way that felt deeply human and full of meaning. Watching Derek and his wife, Raechel, share a quiet moment together was especially moving. It was a gentle reminder that, beyond the music, beyond the work and the milestones, what truly gives life its weight and beauty is sharing it with the people we love. In those moments, time feels less like something passing and more like a gift — each day together something rare, fragile, and worth holding close.

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We have had some fans express interest in our fan interview series. We had one planned for this issue and we are now hoping it will be included in the March issue. Just so it’s clear, there are no deadlines with The Observer. Of course, we need stuff to be submitted in order to produce each issue, but there is no hard deadline to speak of. If you would like to contribute, we may give a general date of return so that production can continue. But if you are a fan that we have sent questions to, there is no hurry to fill out the questionnaire – if we can’t get it in the current issue, we can always wait until the next issue. So, no pressure! We produce The Observer as a labor of love and tribute, with only the materials that make themselves available.

And if you are a fan wanting to participate, reach out! We want to include everyone!

If you are a writer, photographer, poet, artist, or in general creative mind, and have work inspired by the band, consider submitting to this newsletter. We’d love, love, love to have you.

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Please think about referring this newsletter to your friends, or drop the link into your groups or whatever. This newsletter was designed for fans who maybe are not on social media. The mission of this newsletter is to celebrate the fans and the music of The Flaming Lips. This is a safe space for those wanting to share stories of their connections to the music and the band.

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In these challenging times, please remember, to make time to care for yourself, each other and keep the love and light burning bright for those who need it most.

“We have arrived too late to play the bleeding heart show…”

“We have arrived …”

Keep screaming y’all…

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Parting shot:

Founded January 1, 2025 

This newsletter was created by fans, for fans, and is in no way affiliated with The Flaming Lips or their management.

By signing up you will only receive this monthly newsletter and no other promotions or solicitations.

The Observer operates under the same ethics and principles of traditional journalism. All information, including quotes, facts and attributions are verified before publication. All visual components are independently sourced by the contributing artist(s) and The Observer adheres to all copyright instructions and labels.

The Observer may not consider any form of advertising or sponsorship. The mission is to celebrate the music, and the lives of those who cherish it. For anyone wanting to contribute words, pictures, art and essays, please feel free to reach out.

Questions?
editorobserver1@gmail.com

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Thank you for being you,
– Woody