The last time I encountered King Gizzard & The Lizard Wizard was amidst a vibrant festival audience, where I lost half of a front tooth due to a flailing head. Therefore, as I approached the seated orchestral performance at the Royal Albert Hall, I expected a more subdued experience. Accompanying the band was conductor Chad Kelly and the Covent Garden Sinfonia, as part of their ‘Phantom Island Orchestral Tour’. This particular event marked the kickoff of the fifth annual Pitchfork Festival, occurring in various venues across London from November 4th to 8th.
I should have known better than to make assumptions about the prolific Australian psych-rock band (can we really still label them as psych-rock?). They have consistently evaded straightforward categorization, exploring intricate concept albums and microtonal tunings, delving into genres from metal and folk to jazz and dance. In 2025, their duality has been prominently showcased with simultaneous tours featuring both this orchestral performance and a distinct rave set.
Last night marked their first appearance on the iconic stage of the Royal Albert Hall, a fact that was clearly acknowledged: “We’re very lucky to do this. Mwah,” remarked the charismatic frontman Stu Mackenzie during the band's opening half, a complete performance of their 27th album, 2025’s ‘Phantom Island’. This album blends rock with orchestral elements, offering a gentler sound than their heavier metal work, which set the tone for the more laid-back first half of the show. The tracks ‘Spacesick’ with its psychedelic, Beatles-like vocals, followed by ‘Aerodynamic’, mesmerized the audience, showcasing the orchestra’s soaring horns and elegant strings.
After several crowd surfers were returned to the standing area during the final track of the album, ‘Grow Wings and Fly’, Mackenzie declared the band would be taking an intermission, although they never ceased playing. Instead, they launched into a 15-minute improvisational jam, resembling a group of friends enjoying themselves on stage.
Following the "intermission," King Gizz and the orchestra gracefully transitioned into a full ten-minute version of the beloved track ‘The River’, which was succeeded by another ten-minute epic ‘Crumbling Castle’, igniting the mosh pits and causing the audience to whirl. At least two dozen attendees beneath the Hall’s dome were carried over the heads of fellow spectators into the arms of security, who remained busy throughout the night. Then, ‘Mars For The Rich’ and ‘Dragon’ allowed the band to further showcase their metal prowess to an engaged and enthusiastic crowd.
The only criticism of the set was the projector screen. While it provided some intriguing animations and audience visuals, it largely obscured the venue’s renowned Grand Organ. This seemed like a missed chance; the organ's distinctly infernal appearance—fit for a King Gizz album cover—would have made for a perfect backdrop.
The band wrapped up the performance with an electrifying version of ‘Iron Lung’. The event was aptly summarized by Mackenzie in his straightforward style: “Thank you! Fuck it – simple as that really.”
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Words: Dan McCarthy
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The most recent occasion I witnessed King Gizzard & The Lizard Wizard was in a wild festival atmosphere. I ended up losing part of a front tooth due to a head that whipped around. Therefore, going