Grunge…yep, Grunge.
That was the unlikely starting point for The Flaming Lips when they first emerged from Oklahoma back in 1983. Few could have predicted that four decades later they would become one of the world’s most visually extravagant live bands, transforming concerts into surreal, kaleidoscopic celebrations of colour, sound and imagination.
Their appearance at Glasgow’s Summer Nights Festival was always going to be something special. Promises of confetti cannons, giant pink inflatables—apparently elephants, although that’s still open for debate—and an all-encompassing psychedelic experience had set expectations high long before a note had been played.
The journey from rough-edged alternative rock to the wonderfully eccentric outfit we know today has been gradual rather than sudden. Across 16 studio albums, numerous line-up changes and a collection of well-earned awards, Wayne Coyne and company have constantly reinvented themselves. The current line-up of Wayne, Derek, Matt, Tommy and Adam continues that tradition with remarkable confidence.
The beautiful Kelvingrove Bandstand provides a fitting backdrop. Nestled within Kelvingrove Park in Glasgow’s West End, the intimate open-air amphitheatre has become the spiritual home of the Summer Nights Festival, hosting an impressively varied programme of artists each year. There can have been few better ways to launch the 2026 edition than with The Flaming Lips.
Opening proceedings was Yorkshire singer-songwriter Ellur—Ella to most people, although, as she happily explained, it’s pronounced “Ellur” back home. Supported by an accomplished band, she delivered a polished set of accessible indie-pop that immediately connected with the steadily growing crowd.
Fresh from releasing her debut album earlier this year, which reached an impressive No. 41 in the UK Albums Chart, Ellur looked entirely at ease on stage. Her confident vocals, relaxed stage presence and engaging chat between songs helped establish an immediate rapport with the audience, while her songwriting demonstrated genuine promise. By the end of her set it seemed safe to assume she had added plenty of new admirers to her growing fanbase.
As the interval arrived, glorious sunshine continued to bathe the venue while gig goers took advantage of the food and drink stalls. There is something uniquely satisfying about live music on a warm Glasgow evening, and judging by the conversations drifting around the amphitheatre, many had travelled considerable distances to experience this show.
The atmosphere shifted dramatically as ‘It Overtakes Me’ filled the venue, signalling that the headline act was moments away. Instantly, some of the most spectacular lighting ever seen at Kelvingrove came to life. Three-dimensional lasers swept effortlessly above the audience while an enormous LED screen flooded the stage with vivid, ever-changing colours. Before the band had even appeared, it was obvious this would be no ordinary concert.
‘Yoshimi Battles the Pink Robots Pt. 1’ exploded into life and, quite simply, wow.
The lasers and visuals completely transformed the amphitheatre, while the mysterious pink inflatable creatures slowly emerged from either side of the stage like oversized dream sequences coming to life. Whether they were elephants or not hardly mattered—they were wonderfully ridiculous and perfectly suited the occasion.
If that wasn’t enough, ‘Yoshimi Battles the Pink Robots Pt. 2’ raised the bar again. Four enormous confetti cannons erupted across the venue, filling the air with shimmering paper that caught the laser beams beautifully. Then came the giant balloons, bouncing around the crowd as fans punched, kicked and headed them in every direction. It was joyful, gloriously organised chaos—and astonishingly, less then a handful of songs into the evening.
Looking back, the exact running order of every visual spectacle has become slightly blurred. With so much happening at once, it’s hardly surprising. One thing is beyond dispute though: the giant balloons definitely made an appearance.
Across a superb 16-song set, The Flaming Lips somehow balanced musical excellence with sensory overload. Lesser performances could easily have been overshadowed by the production, yet the songs remained the beating heart of the evening. The sound mix was exemplary, loud enough to generate excitement without sacrificing clarity—a refreshing change from concerts where sheer volume overwhelms everything else. Credit is due to the sound engineers, while the lighting team deserve enormous praise for creating something genuinely breathtaking throughout the night.
The setlist also included two inspired covers that couldn’t have been more different. ‘The Golden Path’, originally by The Chemical Brothers, sat surprisingly comfortably alongside a thunderous rendition of Black Sabbath’s ‘War Pigs’. It’s certainly not every night those two songs share the same setlist, yet somehow The Flaming Lips made it feel perfectly natural.
Closing with the uplifting ‘Race for the Prize’, the band finally allowed the audience a chance to catch its collective breath after ninety minutes of sensory overload. Confetti-covered fans drifted away wearing wide smiles, still discussing the lasers, inflatables, balloons and extraordinary visuals, yet crucially never forgetting the outstanding musicianship that held it all together.
The Flaming Lips didn’t simply perform a concert at Kelvingrove Bandstand—they created an unforgettable spectacle that delighted the eyes as much as the ears. Astonishing, joyous and gloriously eccentric, this was live music at its most imaginative.
Review & Photographs by John Brown Photography
