King Gizzard and the Lizard Wizard have one of the biggest cult followings in recent history, and with good reason. Their music spans a plethora of genres including jazz, metal, pop, and rock, creating a unique and highly influential sound.
Their sold-out show at Bristol Beacon encompassed everything King Gizzard is as a band. They started their set with a series of long, complex songs played on the biggest modular synth I’ve ever seen. The majority of the band stood around facing each other and proceeded to demonstrate musical technicality that surpasses my own (albeit limited) comprehension of tech. They bounced off each other in playful musical conversation, not only during their opening songs but throughout the whole set. Clearly, these guys have bagged the best day job going and are having the time of their lives on stage, performing to a captive audience who are all waiting to see what this talented bunch of friends will produce next.
Moving into the next section of the night, the tone changed as each member selected their respective instruments and a cacophony of metal began. They played several of my favourite tracks from one of their 2023 albums (and my personal favourite) “PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation” (or just “Petro” for short), including “Flamethrower” and “Supercell,” which was a true wakeup for those in the audience who were somewhat hypnotised by the synths and trippy visuals, myself included.
The whole thing was visually mesmerising from start to finish. Not only was there incredible lighting design, but there was also an enormous screen at the back of the stage which displayed psychedelic visuals in time with the music, which only added to the blissfully bizarre nature of the entire show.
Speaking of bizarre, frontman Stu Mackenzie slowly lost his footwear as the night progressed. Starting in shoes which were promptly discarded, the socks were next to go, one by one, into the crowd. He then completed the set barefoot, which seemed only fitting for this Aussie band.
Much to everyone’s delight, halfway through the set, Stu brought out the infamous Flying Microtonal Banana. This guitar was custom-made specifically to explore the world of microtonal tuning, which eventually produced their album “Flying Microtonal Banana”. Not only does it produce an incredibly recognisable tone, but it is also shaped somewhat like a banana which, if you’re going to make it recognisable, is a pretty cool move if you ask me.
From a jam section to funk to metal to experimental synths, King Gizzard and the Lizard Wizard have it all. This was a joy for all the senses and a phenomenal display of musicianship from this talented band. With one of the highest album turnover rates and some of the most impressively diverse musicians I’ve come across in the 21st century, it was a privilege and a joy to witness the magic live.
@anna.h_photos
Role: Photographer/ Journalist
Available for: Gig and press phototography, album shoots, music videos, tour coverage
Qualification: 1st class BA photojournalism degree
First attended gig: First ticketed gig I remember is Newton Faulkner but there was plenty of live music that I saw growing up in the folk scene in Cornwall
First gig shot: Rattler Fest for all three days
Dream gig: It's too hard to pick just one, and i'm lucky enough to have been able to shoot some of my bucket list bands already, so top 3 would have to be Frank Turner, The Hives, and Twenty One Pilots
