Flaming Lips review – stops and starts make this too much of a good thing

TruthLens AI Suggested Headline:

"Flaming Lips Concert at Brixton Academy Highlights Visuals but Struggles with Pacing"

Flaming Lips review – stops and starts make this too much of a good thing analysis cover image The Guardian 7.8
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Original Article Source: https://www.theguardian.com/music/2025/apr/27/flaming-lips-review-02-academy-brixton
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AI Analysis Average Score: 7.8
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TruthLens AI Summary

The Flaming Lips' recent performance at Brixton Academy was characterized by a frustratingly disjointed experience, marked by excessive pauses and lengthy anecdotes from lead singer Wayne Coyne. Audience members found themselves waiting for significant stretches of time between songs, with a notable seven-minute gap between 'She Don’t Use Jelly' and 'Flowers of Neptune 6.' This lack of continuity was compounded by the early arrival issues, where fans faced a long queue that delayed their entry, causing many to miss the start of the concert. The show, which featured a complete rendition of their 2002 album 'Yoshimi Battles the Pink Robots,' was visually spectacular, showcasing an array of stage effects such as confetti cannons, giant balloons, and lasers. However, the interruptions for these effects disrupted the flow of the music, leading to a mixed reception from the audience.

After a lengthy first set, the band took a break before returning with a second set that shifted in tone but maintained the signature Flaming Lips' energy. While songs like 'Pompeii Am Götterdämmerung' offered a unique take on psych-rock, the overall pacing of the evening left much to be desired. Critics noted that the concert could have benefited from a tighter schedule, suggesting that trimming 45 minutes from the performance would not have detracted from the setlist. As the show reached its climax with 'Race for the Prize,' many attendees were already leaving, anticipating the last trains home. Overall, while the concert showcased the band's creativity and visual artistry, the execution ultimately hindered the audience's experience, leading to a sense of frustration amidst the enjoyment of their music.

TruthLens AI Analysis

The review of The Flaming Lips concert highlights both the unique aspects of their performance and the frustrations experienced by attendees. The narrative indicates a mixed experience, where the band's creative stage presence is overshadowed by logistical issues and pacing problems throughout the evening.

Audience Experience and Reception

The review captures the audience's dissatisfaction, as evidenced by the comments made by concertgoers. The lengthy wait times and delays in starting the performance contribute to a sense of annoyance among attendees. The mention of people missing significant parts of the concert due to late entry underscores the importance of timing in live performances, especially for a band with a cult following like The Flaming Lips.

Performance Analysis

The review notes that while the band attempted to deliver a complete performance of their 2002 album, "Yoshimi Battles the Pink Robots," the execution was marred by excessive pauses and elaborate stage effects. This suggests that while the band's artistic vision is ambitious and visually stimulating, it may detract from the overall musical experience. The juxtaposition of exciting visuals against a backdrop of logistical delays creates a disjointed experience for the audience.

Implications for the Music Scene

The frustrations expressed in the review may reflect broader concerns within the live music industry regarding audience engagement and the importance of maintaining momentum during performances. As concertgoers increasingly seek both entertainment and efficiency, this review may influence expectations for future performances, encouraging artists to prioritize seamless experiences.

Public Perception and Community Impact

The review could potentially shape public perception of The Flaming Lips, as it emphasizes the negative aspects of their concert experience. Fans and newcomers alike may debate whether the band's unique style and creativity outweigh the frustrations highlighted in the review.

Comparative Context

In comparison to other reviews of live performances, this article stands out due to its focus on the drawbacks of the concert experience rather than solely celebrating the artistic achievements. This could lead to discussions within music journalism about the balance between artistic expression and audience satisfaction.

The review does not seem to conceal any information but rather presents a candid account of the experience. It doesn't appear to have a manipulative agenda; instead, it reflects genuine critiques that could inform future concert-goers about what to expect.

Overall, the review maintains a level of honesty that supports its credibility. The frustrations expressed are relatable for many concert-goers, making the review a valuable contribution to the discourse surrounding live music performances.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/music/2025/apr/27/flaming-lips-review-02-academy-brixton

‘You could have had a wee and got back,” the chap behind me says to his partner as Wayne Coyne comes to the close of another rambling between-song anecdote in an oddly frustrating, stop-start evening: over the course of two-and-three-quarter hours, there’s an awful lot of time when nothing is happening – the gap between She Don’t Use Jelly and Flowers of Neptune 6 stretches to seven minutes, what with watching balloons, and Coyne’s anecdote about Kacey Musgraves dropping acid.

The frustrations start before the band take to the stage. Plainly it is better that Brixton Academy is safe for visitors now, but there must surely be a middle ground where those arriving half an hour before show time don’t have to queue for 50 minutes to enter. When the Flaming Lips take to the stage, 15 minutes late, there are still many hundreds outside, and big gaps in the crowd.

That’s a shame, given that they miss a good chunk of the main purpose of the evening: a complete rendition of the 2002 album Yoshimi Battles the Pink Robots. That, too, keeps losing momentum, as assorted stage effects are brought on and off between songs (over the course of the evening we get confetti cannon, streamer guns, mirror balls, video screens, giant balloons, costume changes, giant inflatable pink robots, lasers, inflatable rainbows, swinging lamps and more), and the music pauses for minutes at a time. It being Brixton, the sound is boomy and muddy at first. It settles down – but for 20 minutes there’s almost no middle.

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After an hour, the band leave the stage for a longish interval before a second set, less gauzy and electronically shaped than the Yoshimi material, but just as suffused with the Lips’s peculiar ecstasy: Pompeii Am Götterdämmerung may be the only psych-rock song to ponder the upsides of petrification. But the evening is too much of a good thing, especially when 45 minutes could be shed without even losing a song. By the time a glorious Race for the Prize closes the show, the gaps are back in the crowd, last trains calling time long before the band.

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Source: The Guardian