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Black Lips  

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The Black Lips is a garage rock from Atlanta, Georgia which currently consists of Cole Alexander, Jared Swilley, Jack Hines and Joe Bradley.

The roots of the band's formation are traced Dunwoody, Georgia and guitarist Cole Alexander and bassist Jared Swilley, they had both worked on other musical projects before settling on Black Lips and progressing as a band from there on. Their debut single 'Ain't Coming Back' was released in 2002 and with a selection of material the band were set to embark on a tour in December. However just a couple of days before it was due to start, guitarist Ben Eberbaugh was involved in a fatal car accident with a drunk driver. The band decided to carry on as a group partly as a legacy to Eberbaugh.

'Black Lips!', the debut album was released through Bomp! Records in 2003. The album was a small tribute to their guitarist and friend and was a moderate critical success. The second studio album was titled 'We Did Not Know the Forest Spirit Made the Flowers Grow' and was released in 2004 yet it wasn't for another few years that the band began to be noticed by the likes of Spin and Rolling Stone. The New York Times covered their impressive live show dedication at the 2007 South By South West festival where the band played a mighty twelve shows over just three days.

They continued to record and release albums through Vice Records, achieving their first appearance on the US Billboard charts in 2014 with 'Underneath The Rainbow'. Black Lips have become a cult phenomena due to the intensity of their live shows which are known to include vomit, urination and nudity. They pride themselves on their punk mentality with many of their shows ending in huge stage invasions.

Live reviews

I saw the 'Black Lips' last night in Montreal.

They were amazing... the epitomy of 'cool', awsome songs, presence.

Everything was perfect, except that I could not understand a word of what the band mates were telling the crowd in between songs (really not a problem, and it actually added to the mystery)

I never write reviews on songkick, but this time I felt compelled to do so.

I have often had to endure terrible opening acts in my past 'concert-going career', but this concert really pushed it to new proportions.

I won't mention the names of the bands, I think they know who they are.

Conceivably their music appeals to 'some' audience but I cannot believe for one second that the 'Black Lips' picked them, there is just no way...

After the first act, my friend and I were puzzled but at the very least, we found it bearable (thought completely out of character...) It was like watching a rat on steroids

The second act, my friends... OMG

I never thought I would ever feel this, but here it is (keep in mind that I am a royally peaceful music addict, who listens to pretty much any and every style)

1- for the first time in my life, I hoped that there would be a power failure during the concert

2- for the first time in my life, I felt like grabbing the singer's guitar and shoving it inside his mouth (to everyone' relief)

3- for the first time in my life, I really felt that going to confront the singer/guitarist after the show to give him a peace of my mind, would be a good thing to do for him an mankind

4- for the first time in my life, I felt so pissed at the concert organizers/the Black Lips for giving these guys a platform to their - conceivably, hard-won - fans, I actually thought about leaving the venue before the main act

There are no way in english to describe how bad these guys were, a terrible death-metal style noname non-stop assault on your ears and mind

My request...

Black Lips... I love you guys, you are amazing... but PLEASE PLEASE PLEASE pay more attention to who the organizers sign up as your opening acts

[Unnamed Death-metal Act]... please for the love of god, stop what you are doing ASAP and focus on your day job... The World does not need what you have to offer in terms of useless sound wave production (I am sorry I cannot bring myself to call it music)

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Controversy has often followed Black Lips around during their career, sometimes to the detriment of the band. Yes, I’m sure it’s nice for Cole Alexander and the rest of his Atlanta, Georgia band mates to be in people’s thoughts but worries over on-stage nudity, spitting and what have you can take away from the fact that Black Lips actually do have some great garage rock tunes in their arsenal. When I witnessed the band play, there was a complete lack of controversy, save for some spitting (not in each other’s mouths, thankfully) and some withering put-downs to some clueless hecklers, so that meant a complete focus on the great songs from some of the band’s best records. So "Bad Kids" and "Cold Hands" from 'Good Bad Not Evil' sends the moshpit into meltdown through their glam-punk stylings, with Alexander and Swilley trading vocal duties throughout the evening. Not just content with throwing out a noisy racket to the crowd, Black Lips know how to slow things down occasionally and the Beatles-esque slow number "Dirty Hands" is definitely one for the lovers in the crowd. It’s never too long before things get rowdy again and alongside the "Bad Kids," "Raw Meat" closes out the set with the crowd providing the handclapping rhythm as the band chants out the lyrics. So, worry not about controversies; Black Lips has decided to put most of that stuff behind them and concentrate on the tunes – and that’s why going to see this bunch live is always worth doing.

Black Lips are an Atlantan garage rock band known for having some pretty wild stage antics. These include vomiting (apparently a medical condition of guitarist/singer Cole Alexander), nudity, “penile guitar playing”, spitting, tongue-kissing each other, and stage invasions. They’ve been banned from a long list of venues, and narrowly escaped being arrested in India after some lewd onstage behaviour. Tonight we seem to be getting a slightly toned-down version, although there’s still plenty of beer flying around, toilet-roll projectiles, a near constant moshpit, and crowd-surfing. Guitarist Ian St. Pé swats cans of lager back at the audience using his guitar, nobody seems to mind. Cole Alexander takes a swig from his can and sprays the people nearest the front, who remain unfazed, enjoying every moment. And yet, a lot of their music, often overshadowed by their notorious stage antics, draws more on catchy, repetitive choruses, and 60s era Stones-like rock ’n’ roll. They are intermittently aggressive, but on the whole they seem to have somewhat mellowed out recently. Their most recent album was produced by Mark Ronson, and possibly signals a shift towards, well, trying to make a hit. It’ll be interesting to see where they go from here.Write your review of Black Lips here...

Commerciality has unfortunately escaped garage rockers the Black Lips however since their debut in 2003, they have gained a cult-like status globally. This is not wholly due to the strength of their music but also the controversy of their live show. Nude performance, exchanging of spit, crowd diving and coarse language have seen the band narrowly avoid arrest numerous times as well as being barred from a large amount of venues.

This negative press has seemed to spur fans on to see the rambunctious rockers perform. Their recent date at Scala in London was not filled with crude display possibly due to the reputation of the place. Therefore the garage rock stylings of 'Modern Art' and 'Sea of Blasphemy' took centre stage and the crowd cheered them on intently. There is of course still a lot of choice language between tracks by Cole Alexander and the occasional spit to the side of stage but aside from that it is all about the music.

It was a great example of how the band has amassed a cult following in a short time due to the strength of their sound. By the final sneering guitar riffs of 'Bow Down and Die' the only clothes to have been blown off are the audience's collective socks.

If you've heard the Black Lips' brand of psych - rock/punk, you already know they have one of the more original sounds in contemporary music.

Their live show doesn't quite live up to their rowdy musical endeavors, but if you enjoy listening to their albums the live show will give you a glance into the creativity they've harvested into their albums.

I saw them once before and the concert only made me want more! I became a bigger fan after that first live show. The only negative thing to say would be about the venue. The Exit/In provides a deep, musically influenced atmosphere, but when the band was having audio problems, not much was done to correct it. I was forced to watch the show barely being able to hear the lead singer. I was disappointed they didn't do more to resolve the sound issues.

Amateur sound men aside, this band is definitely worth the ticket price. I would've gladly paid more than $15 to see them. The overall vibe of the audience and the consistent positive mood their music exudes will leave you satisfied and yet, wanting more...

You ever see see a 20 year old band a hootin and-a hollerin like it’s their maiden tour? You ever see dozens of crowd surfing 40 something hipster chicks? You ever see a fist fight during a quiet encore serenade? You ever seen a mustache mullet look cool? You ever seen your mind suckcum to a sexy succulent succubus, her leather clad long legs lure you, swirling hips hypnotize your head while having your heart hopping through hoops & holding at heel on demand? No??? Well that’s because you missed the Black Lips last Friday at the chapel in San Francystco Fooooo.

The Black lips Rocked!! Great character venue at the Rickshaw. .. but sadly the show IMHO was short, they were sandwiched between Hinds (all girl band from Madrid, which were 1st on stage), and Ariel Pink. Don't know if that was why the B-Lips were shortened up, didn't even come out for one encore. Missed most of the songs from Arabia Mountain.. which was bummer. Need to see them when/if they come back and headline solo (they co-headline with Ariel Pink on this tour)

Hinds were pretty good, poppy garage sound.

LOVED IT!! I saw them here 10 months ago, and I have to say that this show was even better!! The band is energetic, creative, and unpredictable, but loads of fun!!! The crowds both times were crazy though, so be careful not to stand in the front/middle. The opening bands, especially Warish, were great!! The Black Lips are super approachable too, and I met them both times after the show. I got setlists from both shows too. Looking forward to the next show!!

Missed timmys organism sadly, like their work tho, really loved black lips. Great energetic performance if a tad short. They have toned down their stage antics seemingly; unless they were just in a subdued mood, but there was no "venue trashing" or penis guitar playing. Still great

The show was INSANE!! A lot of fun and quite energetic!!! I met Oakley before the show; got the setlist and also met Jared after the show! The guys were really nice and I had a great time! Perfect outlet for finishing my degree this spring!!

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Flower Punk Meets Flower Pop: Black Lips on Playing With Kesha and Upcoming Country Record

Atlanta punks Black Lips discuss their bond with Kesha, the evolution of the band, and why Black Lips will live on forever.

By John Norris

John Norris

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I’ll admit I did a double take when I first saw the announcement, weeks back, that venerable indie scruff punks Black Lips would be playing support on a string of East Coast dates with none other than newly reinvented dance-pop avatar Kesha .

But however unlikely it might seem at first blush, the pairing is an inspired one. The band from Atlanta and the singer-songwriter from Nashville are each, in their own way, hippies at heart — not afraid to get grimy, but also free spirits forever looking for, in the words of the 2011 Black Lips single, a “new direction.”

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Kesha’s Rainbow finds her casting her musical net more widely, while the Lips’ latest, Satan’s Graffiti or God’s Art (released in May of this year) is also their most ambitious to date — a sprawler that sees them mining familiar territory (cowpunk-garage tracks abound) as well as going in more experimental places, under the aegis of producer Sean Lennon . So, of course they were up for going on the road with Kesha, a longtime friend.

“We were like, ‘Why not?” says Lips’ bassist and vocalist Jared Swilley. “I think her crowd’s pretty receptive, more so than other big artists with a built-in audience. I mean, they’re young kids, covered in glitter, so it’s kind of, they’re into whatever.”

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I’m sitting in the eat-in kitchen at VICE’s Brooklyn headquarters across from Swilley and his partner in punk of the last 18 years, guitarist and vocalist Cole Alexander — the two founded the band while in high school, and remain its core — and it’s the afternoon following their first date on Kesha’s Rainbow tour.

Kesha Hits No. 1 on Billboard Artist 100, Powered by 'Rainbow' Album

“I really enjoyed her show last night,” says Swilley, adding that they’ve known the singer for years. “We met her at Coachella years ago and we got in trouble with NPR , cause we were doing an interview with them, and Kesha was there, and we were like, ‘Yeah, we’re doing a record with Kesha.’ And then a journalist called me up to fact-check it, and I said, ‘I didn’t say we were in the studio doing it, only that we were talking about it.’”

Alexander adds that the door is certainly open for Black Lips and Kesha to collaborate on music in the future, and says they’re more kindred spirits than a casual observer might think. “You know, for a pop artist, she’s just different, in a way,” he explains. “She kind of has a rocker’s sensibility. And her boyfriend [Brad Ashenfelter] too, he’s playing with her, he had like a [Portland punk band] Dead Moon patch, so he seems like a rock n’ roll dude. I think her mom [Pebe Sebert] is really into rock n’ roll too. Her roots are kind of steeped in that.”

Black Lips’ short run with Kesha winds up Monday and Tuesday with two shows in New York, and soon the band heads again to Europe, where it spent part of the summer, continuing to tour on Satan’s Graffiti despite currently having, in their words, “a revolving door” at the number two guitar spot in the lineup. Jack Hines, who came back for his second stint with the band in 2014, replacing longtime guitarist Ian St. Pé, recently split from the group himself after the birth of his second child.

So for the moment, the Lips are in ad hoc guitar mode: Danny Lee Blackwell from Seattle’s Night Beats has been filling the role on the current run, while St. Pé will temporarily return for the European shows. “It’s kind of cool to not pick somebody right now,” says Alexander. “We can kind of have different people come in and keep it more open. I think it’s exciting for fans to see Ian come back, and then maybe somebody else next time. It keeps things interesting.”

Hines played a significant role on Satan’s Graffiti, and his departure has meant cutting some of the songs on which he was the principal singer from the set list, including “Occidental Front”, a track which also features a guest vocal from the record’s producer, one Yoko Ono. And the change at guitar comes on the heels of an even bigger upheaval in Black Lips: last year’s departure of drummer Joe Bradley, who’d been with the band nearly as long as Swilley and Alexander, and who’d played an integral role, including serving as main vocalist on what became the band’s de facto anthem, “Bad Kids.”

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As such, that fan favorite has also been dropped from the live shows. “We kind of stopped doing that one because Joe left,” says Alexander. “We might try and bring it back because it’s such a big song for us — it’s kind of our biggest hit.” Adds Swilley, who provided the “response” to Bradley’s “call” on the song, “That’s a hard one to sing. I would feel weird without Joe singing it.”

Still, Black Lips have more than enough bangers to fill several set lists. Their live shows are still rowdy and raucous affairs, if not quite as scabrous as when I first saw them more than a decade ago, and with the addition of new drummer Oakley Munson and the charming, exotic presence of saxophonist and backing vocalist Zumi Rosow, there’s a undeniable new energy to the lineup.

A band that moved into Sean Lennon’s upstate New York studio in 2016 with no new songs, no record deal and no drummer emerged from the experience with a remarkable 18-track record and seems to be enjoying a new renaissance-in-progress, whatever the hiccups. “I mean, in a way it kind of opened up things to new possibilities now,” says Alexander. “Because we had like a structure there, and it kind of broke that up.”

Tastemakers: Black Lips

While Black Lips have never been an overtly political band, Black Keys’ reflexive impulse has always been to mess with genres, poke at sacred cows and flirt with taboos. There was “Noc-a-Homa” on 2011’s Arabia Mountain, which Swilley wrote as an homage to the Atlanta Braves’ original Native American “mascot”, who was dropped by the team, according to Swilley, “for PC reasons.” “I liked him, and I hate how the Braves dumped him.”

On Satan’s Graffiti, there’s “Wayne”, about Atlanta’s Wayne Williams, convicted in 1981 of the murder of two men and implicated in the deaths of many more children — allegations never proven. “I think a ton of crimes got dumped onto him,” says Swilley. “But he definitely killed someone, and deserves to be in jail. The song is a completely neutral observation. We’re not weighing in pro or negative.”

And then there’s recent single “Crystal Night,” which employs the Holocaust as the backdrop to a Spector-ish tune of broken romance, and comes complete with a fractured-prom-night video. “I thought, ‘What’s the most tragic way for two lovers to have to be broken apart?’ And I watch a lot of war documentaries, and thought, ‘That would be absolutely heartbreaking.’”

It could be potentially controversial, as well, particularly in the more watchful social media world of 2017, an environment with which the Lips find themselves increasingly at odds. “We came up in a world where punk rock is supposed to be rude and offensive and that’s been a real challenge for us, honestly,” says Alexander. “You know, I don’t want to come off like a bigot and there’s been times when me and Jared have been accused of that kind of stuff. But at the same time, it’s been stifling when I just want to say whatever the fuck I want.”

Next on Black Lips’ agenda is another curve ball — a country album. The band has only recorded one song for it so far, but Swilley has paid for studio time to do another three. “I’m really excited,” exclaims Alexander, adding that the band hopes to do a month-long residency in Nashville and land a spot on Goldenvoice’s twangy sister festival to Coachella, Stagecoach. And while there’s apparently nothing ironic about their intentions, no one will confuse their music for Toby Keith: The band hopes to take a page from country music’s more progressive past.

“I think we’re gonna try to highlight some underappreciated aspects of country,” he says. “Like in the early ’60s, it was kind of the innovative music form. They were using fuzz guitars and talk boxes before anybody in rock or funk or soul was, using special effects and reverbs and kind of experimental stuff was happening.”

And culturally, Alexander and Swilley point to the success of Charley Pride , one of country’s preeminent black artists, and genre-mashers like Joe Tex ’s 1968 Soul Country and soul man The Mighty Hannibal — another Atlantan — as evidence that country isn’t as one-dimensional or uniracial as it’s often perceived.

Black Lips keep on keepin’ on. After 18 years together that have included the tragic death of original guitarist Ben Eberbaugh in a 2002 car crash, multiple personnel changes and too many pronouncements that “this will be the record that really breaks them” to count, Swilley and Alexander grind it out as reliably fun, inventive, provocative and proud standard-bearers of their beloved ATL. On 2011’s Arabia Mountain (produced by Mark Ronson) and 2014’s Underneath the Rainbow , they leaned toward a cleaner, cheeky pop sound — but now seem less encumbered by concerns of “accessibility”.

“I feel like we tried to a little bit of a commercial thing, and it went somewhere, but only so far,” says Alexander. “So this time, it’s like, we felt like didn’t have to cater to anything like that. Kind of like, ‘Oh, we tried that.’”

“I’ve been trying to make every [record] ‘The big one’,” adds Swilley. “It’s funny how some people interpret it, cause I just always want to put out the best songs. This one actually, I was like, ‘Man, this is gonna be a hit.’ And it wasn’t a dud, it wasn’t a miss.”

Even tested by their recent disruptions, with nearly two decades in the game Alexander insists the pair has no plans to hang it up. “I think once you get in a groove, it’s like we’re unstoppable,” he says. “Everything bad that would break up a band, we already know, and it’s already happened, and it hasn’t broken us up. So, I kind of feel like we’re invincible now.”

Black Lips play their final two dates with Kesha Monday Oct. 9 and Tuesday Oct. 10 in New York. Satan’s Graffiti or God’s Art? is out now on VICE.

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Iceage, Black Lips Unveil Co-Headlining Tour

By Jon Blistein

Jon Blistein

Danish punks Iceage and Atlanta garage rockers the Black Lips  will unite for a co-headlining North American tour this fall.

The trek launches November 5th at the Rickshaw Theatre in Vancouver and wraps with a two-night stand at the Earl in the Black Lips ‘ hometown of Atlanta, November 23rd and 24th. Iceage will then play two additional shows in New York City, November 25th and 27th, at the Music Hall of Williamsburg and Elsewhere, respectively.

Tickets for the co-headlining tour go on sale Friday, June 22nd. Throughout the tour, Iceage and the Black Lips will receive support from Brooklyn outfit Surfbort.

Iceage already have a packed tour itinerary this summer as they promote their new record, Beyondless . The group recently launched a North American trek with harpist Mary Lattimore that wraps June 28th at Market Hotel in New York. A European tour will follow. 

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Iceage released Beyondless , their fourth studio album, in May. The record marks their first since 2014’s Plowing Into the Field of Love . As for the Black Lips, their last record  Satan’s Graffiti or God’s Art?  arrived in 2017.

Iceage, Black Lips Tour Dates November 5 – Vancouver, BC @ Rickshaw Theatre November 6 – Seattle, WA @ The Showbox November 7 – Portland, OR @ Wonder Ballroom November 9 – San Francisco, CA @ Great American Music Hall November 10 – Pomona, CA @ The Glass House November 11 – Tustin, CA @ Marty’s On Newport November 12 – Los Angeles, CA @ The Regent Theater November 13 – San Diego, CA @ House of Blues November 14 – Phoenix, AZ @ The Crescent Ballroom November 16 – Dallas, TX @ Granada Theater November 17 – Austin, TX @ The Mohawk November 18 – Houston, TX @ White Oak Music Hall Downstairs November 19 – New Orleans, LA @ One Eyed Jacks November 20 – Birmingham, AL @ Saturn November 23 – Atlanta, GA @ The Earl November 24 – Atlanta, GA @ The Earl November 25 – New York, NY @ Music Hall of Williamsburg (without Black Lips) November 27 – New York, NY @ Elsewhere (without Black Lips) 

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Upcoming Black Lips Festivals Appearances

Upcoming black lips concerts near me.

Quarantine Livestreams: What to Watch, April 11th

Today's schedule includes John Prine tribute concert, Farm Aid, and a DJ battle between RZA and DJ Premier

April 11, 2020

Record Store Day 2020 Reveals Full List of Exclusive Releases

Including exclusive releases from The Cure, Robyn, Miles Davis, My Chemical Romance, Fleetwood Mac, Dinosaur Jr., and more.

March 5, 2020

Primavera Sound reveals 2020 lineup: Pavement, The Strokes, Massive Attack, Lana Del Rey

Tyler, the Creator, The National, Beck, Bauhaus, Bikini Kill, and more are also on the bill.

January 15, 2020

Black Lips share the Origins of new song "Rumbler": Stream

Latest single was inspired by a specific G.I. Joe and band member Jared Swilley's great uncle.

January 9, 2020

Black Lips announce new album Sing in a World That's Falling Apart, share "Gentleman": Stream

Plus six shows have been added to the tour, all in Florida.

November 7, 2019

The Black Lips return with new single "Odelia": Stream

A tease of their new album expected in early 2020.

October 17, 2019

Iceage and Black Lips announce co-headlining tour

The 18-date trek kicks off in early November.

June 19, 2018

The Black Angels announce spring tour dates with Black Lips

Garage psych groups will rock the road for 25 shows.

January 17, 2018

Black Lips recruit Yoko Ono for chaotic new single "Occidental Front" — listen

Ono's son, Sean Lennon, produced the band's new album, which is due out this Friday.

May 1, 2017

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Garage punk saviors the Black Lips transform from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of 21st Century rock ‘n’ roll. Their new album ‘Apocalypse Love’  cryogenically mutates all recognized musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup de’ tats, stolen valor, certified destruction and the creative use of quicksand, all set against a black setting sun

Garage punk saviors the Black Lips transform from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of 21st Century rock ‘n’ roll. Released on Fire Records, their new album ‘Apocalypse Love’  cryogenically mutates all recognized musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup de’ tats, stolen valor, certified destruction and the creative use of quicksand, all set against a black setting sun.

Propagating a new age for the band, one that’s a long way from Atlanta garage; Black Lips return with a record that’s impregnated with ghost rider-haunted Tarantino-meets-Morricone sounds. ‘Apocalypse Love’   emanates from a dive bar jukebox that’s lit up in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, estranged honky tonk and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and real harmonies filtered through infectious melodies.

“A wonderful new chapter… The world may be on fire, but at least we have Black Lips.” The Line Of Best Fit

The Black Lips’ rapid stylistic evolution has played out over decades of prolific touring and releases, taking them where no garage punk band had gone before – huge venues, network television shows, and major music festivals. Making their living the way they knew how, burning up the road like their heroes – gaining and losing members up and down the highway.

  “We had to be in a band, to play live. We had no idea how to record. In the beginning we simulated our live shows, the recording was like being inside a smoky club. I think a lot of people thought we were trying to be intentionally lo-fi, that wasn’t the case” adds Jared Swilley .

2020’s debut for Fire Records, ‘Sing In A World Falling Apart’ , was their grimiest, most dangerous, and best collection of songs to date, showing a new-found maturity, their grab bag of influences spiked with a southern twang managed to simultaneously circumnavigate trailer park angst and rubber room madness; like some kind of snapping point during an austere broken country unreality show.

  “Simply masters in their field” NME

Forming in 1999, their self-titled debut album was released in 2003, following which their fan base grew with the release of 2004’s ‘We Did Not Know The Spirit Made The Flowers Grow ’. The band’s 2007 effort, ‘Good Bad Not Evil’ , propelled them onto TV screens on both sides of the Atlantic. Line ups shuffled, stages were invaded, songs were mooted for TV shows and Mark Ronson, Sean Lennon and Black Keys’ Patrick Carney all put in a shift in the producer’s chair as touring momentum increased. In 2013 they added secret weapon Zumi Rosow who was later joined by Oakley Munson on drums and guitarist Jeff Clarke .

As the band venture into their third decade and with huge tours on the horizon, ‘Apocalypse Love’   is proof that The Black Lips show no sign of slowing down…

Black Lips – Underneath The Rainbow

Black Lips – Satan’s Graffiti or God’s Art

Black Lips – Arabia Mountain

Black Lips – Let It Bloom

Black Lips – 200 Million Thousand

Black Lips – Good Bad Not Evil (Deluxe Edition)

Black Lips – Apocalypse Love

Black Lips – Sing In A World That’s Falling Apart

Simply masters in their field.

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The Black Lips

The black lips tour dates.

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ConcertFix is thrilled to present the iconic rock band, The Black Lips. Known for their raw and energetic performances, The Black Lips have been captivating audiences since their formation in 1999. This Atlanta-based band is renowned for their fusion of punk rock, garage rock, and blues. The Black Lips have a reputation for their wild and unpredictable live shows, which often include fireworks, flaming guitars, and other exciting antics. Over the years, they have released numerous albums that have showcased their unique sound and solidified their place in the rock and roll scene. Their music is a testament to their passion, creativity, and unwavering dedication to their craft. Whether you're a long-time fan or new to their music, a Black Lips concert promises an unforgettable experience filled with high-energy performances and their distinctive rock sound. Don't miss the chance to see The Black Lips live with ConcertFix!

The Black Lips Concert Schedule

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The Black Lips: Good Bad Not Evil

The Black Lips: Arabia Mountain

The Black Lips: (500) Days of Summer

The Black Lips: 200 Million Thousand

The Black Lips: Let It Bloom

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Black Lips announce 2023 Australian and New Zealand tour

It comes in support of their 10th album, ‘Apocalypse Love’

Black Lips have announced their first Australian shows in eight years – as well as their first New Zealand show in 13 years – locking in a six-date run for next March.

It’ll kick off in Auckland on Thursday March 2, when the Atlanta, Georgia-based garage-rockers play the Tuning Fork. They’ll head to Melbourne next, playing The Espy on Friday March 3, before trekking down to Mount Duneed for the inaugural Tent Pole festival (where they’ll play alongside the likes of Pavement , Spiderbait , Magic Dirt , Floodlights and Black Rock Band ) on Saturday March 4.

The following week will start with a show at Dicey Rileys in Wollongong, with one at Sydney’s Crowbar to follow it that Tuesday (March 7), and The Zoo in Brisbane a day later (March 8). Finally, Black Lips will wrap their tour up in Fremantle on Thursday March 9. Tickets for all six of the shows are on sale now – find them here .

The tour comes in support of Black Lips’ 10th album, ‘Apocalypse Love’, which arrived back in October via Fire Records. It was followed last month by a deluxe reissue of their fourth album, 2007’s ‘Good Bad Not Evil’, released in celebration of its 15th anniversary.

Additionally, the band’s upcoming tour will mark Australian fans’ first opportunity to see tracks from Black Lips’ eighth and ninth albums – 2017’s ‘Satan’s Graffiti Or God’s Art?’ and 2020’s ‘Sing In A World That’s Falling Apart’, respectively – performed live.

Black Lips’ 2023 Australian and New Zealand tour dates are:

MARCH Thursday 2 – Tāmaki Makaurau/Auckland, Tuning Fork Friday 3 – Naarm/Melbourne, The Espy Saturday 4 – Gulidjan/Mount Duneed, Tent Pole Festival Monday 6 – Dharawal/Wollongong, Dicey Rileys Tuesday 7 – Warrang/Sydney, Crowbar Wednesday 8 – Meanjin/Brisbane, The Zoo Thursday 9 – Walyalup/Fremantle, Freo Social

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Rank your records: cole alexander groggily ranks seven black lips records.

7. Underneath the Rainbow (2014)

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Who are the Flaming Lips? A guide to music and more at the 2024 Word of South festival

T ake 100 artists and 50 events sprinkled across 10 stages over three days at Cascades Park and you have Word of South , a festival of literature and music. The words fly April 26-28 for the 10th year.

It's like everything everywhere all at once. You might miss something you had meant to see but on the way you'll stumble on something else delightful. There are events geared to children near the playground, for example, and cool seats inside for jazz lovers.

First thing, look for a map and schedule to grab when you enter the downtown park at 1001 S. Gadsden St. to help with locating the stages.

Sapped by the sun? There are abundant spots for cold libations, snacks and shady places under trees and awnings to revive yourself. Some events are inside in the air conditioned Marriott AC Hotel Ballroom while many artists perform under tents.

Keep an eye on the weather, though. Hats, sunscreen, sunglasses, water and folding chairs come in handy. In case of rain, check Word of South social media .

The festival is all free except for the The Flaming Lips show on Friday.

Here's a guide to navigating all the culture.

More festivals: Looking for fun events? Top 5 things to do around Tallahassee

First up: Flaming Lips kick it off

The Flaming Lips live in concert as the kick-off act of Word of South fest at The Adderley Amphitheater in Cascades Park. 7:30 p.m. Friday, April 26. Tickets are $40 to $75. Almost sold out. Visit theadderleyamphitheater.com .

The first time the Grammy Award-winning The Flaming Lips played Tallahassee was when the novice Oklahoma City band had just released its debut album “Hear It Is” in 1986. The Lips, which also came back to the capital in 1987 when the follow-up “Oh My Gawd!!!” disc came out, were a loud, noisy, gee-tar band that played a blend of post-punk and psychedelic rock.

Initially, lead singer Wayne Coyne, on his first visit, still held onto his regular job as a fry-cook at Long John Silver’s. Coyne, who is also a gifted visual artist, got hired to draw a cartoon for Student Campus Entertainment T-shirts at Florida State.

In 1993, mainstream success strangely popped up when The Lips scored a hit single with “She Don’t Use Jelly.” Beavis and Butt-head called the song’s trippy video “college music” on MTV and the tune landed The Lips a guest spot on the then-smash teenage soap opera TV show “Beverly Hills 90210.”

Even the non-core audiences who recoiled at the band’s usual freak-out fare loved “Jelly.” Then it was back to experimental ways for The Lips. Just when it looked as if The Lips were destined to become a One-Hit Wonder of the Grunge Era, the band changed its sound, thanks mainly to the addition of multi-instrumentalist Steven Drozd. The group transformed itself into something sounding like a symphony orchestra mixing it up in the parking lot with the world’s strangest pop band.

The recording studio practically became part of the new approach. The Lips’ lush album “The Soft Bulletin” blew nearly everyone away in 1999. “The Bulletin” paved the way for the gold-record selling concept album “Yoshimi Battles the Pink Robots” (2002). The album’s swooningly melancholy single “Do You Realize??” quickly became a bittersweet anthem that people used on videos taken at births, funerals, graduations, and other major life events.

For a brief spell, “Do You Realize??” was named the state song of Oklahoma before a killjoy governor got elected and decreed, “Enough of that poignant stuff.”  

When The Flaming Lips outfit returns to Tallahassee to kick off this year’s annual Word of South festival in Cascades Park on Friday night, April 26, the band will play the “Yoshimi” album, track for track in order, for the LP’s 20th anniversary.

And, yes, “Do You Realize??” is the final cut on the album. For all the math nerds out there, “Yoshimi” was released 12 years ago but a little thing called the COVID-19 pandemic got in the way. Better late than never. Cue the robots. — Mark Hinson

Here's the whole shebang:

Jazz: Feel the rhythm as Latin and Cuban jazz take an energetic spin at Word of South

SCHEDULE FOR FRIDAY, APRIL 26

The Flaming Lips, 7:30 p.m., Adderley Amphitheater. Gates open: 6 p.m. Show starts: 7:30 p.m. *This is a ticketed event.

Black Opry: Black artists put folk and country music in spotlight at Word of South

SCHEDULE FOR SATURDAY, APRIL 27

10 a.m. - Move Walk (Meet behind the Amphitheater)

Adderley Amphitheater Main Stage

11 a.m. - Rickards High School Marching Raider Band

6:30 p.m. - The Currys / The Krickets

8 p.m. - Rising Appalachia

Literacy Lane Kids Events

Noon – 4 p.m. Leon County Schools STEAM Bus

Noon - Bracelet Making and Watercolor Art with FINACIOUS

1 p.m. - Maya Johnson , Founder of Maya’s Book Nook

1:30 p.m. - Good Morning Tallahassee , Leon County Schools

2 p.m. - Dylan Snowden

2:30 p.m. - Anna Blalock

3:30 p.m. - Storytelling Workshop

Salvation South Stage

2 p.m. - Daniel Wallace / Chuck Reece

3:15 p.m. - Abe Partridge / Jim White / Tad Bartlett

4:45 p.m. - Tommy Prine / Chuck Reece

Club Downunder Stage at Centennial

1:45 p.m. - 911

3:30 p.m. - Ally Free

5:15 p.m. - Daniel Bedrosian / George Clinton / The P-Funk All-Stars

Cascades Stage

1 p.m. - Allison Clarke

3 p.m. - Phabrik

4:30 p.m. - Katie Skene Band

Flamingo Magazine Stage

1:15 p.m. - Virginia Chamlee / Frank Douglas / Doug Moody

2:45 p.m. - Hotel Fiction

4:15 p.m. - Anne Hull / Diane Roberts

5:30 p.m. - The Sh-Booms

Florida Jazz & Blues Stage at the Marriott AC Hotel Ballroom

12:45 p.m. - Peter and the Wolf

2 p.m. - Anne Bogel / What Should I Read Next? Podcast

3:30 p.m. - Anne Bogel / Lauren Groff

5 p.m. - The Road to Now Podcast (Bob Crawford and Ben Sawyer) / Jonah Goldberg

Midtown Reader Stage

12:30 p.m. - FBA Fiction Panel: Pat MacEnulty / Thomas Reed / Kweku Abimbola / Jessica Stark

1:45 p.m. - FBA Non-Fiction Panel: Doug Alderson / Phillip Hubbart / Sarah McNamara / Jacki Levine

3 p.m. - Bicentennial Panel: Jay Revell / Ely Rosario / Mandy Stringer / Tiffany Baker / Rachel Porter

4:15 p.m. - Suzanne Allain / Michelle Johnson

5:30 p.m. - Ed Gray Tribute: Jennifer Portman / Jane Kamensky / Katherine Mooney

FSU Credit Union Stage at the Marriott AC Plaza

1:30 p.m. - Leon Timbo

3 p.m. - Tray Wellington

4:30 p.m. - The Psycodelics

Amicus Brewing Ventures Stage

2:30 p.m. - The Eyrie

4 p.m. - Robocromp

SCHEDULE FOR SUNDAY, APRIL 28

Salvation stage south.

1:30 p.m. - The Black Opry: Ally Free / Leon Timbo

2:45 p.m. - Blind Boys of Alabama

4 p.m. - Blind Boys of Alabama Book Talk / Charles Driebe

Club Downunder Stage at Centennial Field

2:15 p.m. - Annie DiRusso

3:45 p.m. - Willi Carlisle

3 p.m. - Ginny Myers Sain / Sofia Camille

4:30 p.m. - Pat Puckett

1:15 p.m. - Tananarive Due / Melinda Michelle

2:30 p.m. - Kelsey Barnard Clark / Leon Majcen

4 p.m. - Sarah Morrison

12:45 p.m. - Roger Glenn

2 p.m. - Son d’Aqui

3:15 p.m. - Panel on Latin and Cuban Jazz

4:15 p.m. - Pan Con Bistec

12:30 p.m. - Rebecca Renner / Nancy Klingener

1:45 p.m. - Kyle Kimbrell / Kerry James Evans

4:15 p.m. - Sunshine State Biodiversity Group: Nathaniel Rich / Jeff VanderMeer

1:30 p.m. - Bill Wharton

3 p.m. - DJ Demp / Tokyo Extra0rdinaire

4:30 p.m. - Leyla McCalla

1:45 p.m. - Jim White / Mark Hinson

3:15 p.m. - Grant Peeples / Rosalee Walsh

FREQUENT Q&A

Can i bring my dog.

Yes! Your furry friend will love Cascades Park. Dogs are not allowed in the amphitheater area.

Can I bring a cooler?

No coolers. However, there will be food and drink vendors at the park during the festival.

Where can I park?

All State of Florida parking lots and garages labeled here are free and open starting 6pm Friday, April 26 through Sunday, April 28. See maps at wordofsouthfestival.com.

Where can I sit?

Word of South has open seating for all performances, except The Flaming Lips performance on Friday, April 26. The Saturday and Sunday Amphitheater shows are open seating in the seats and on the grass. All other outdoor performances will be under tents in the grassy areas of Cascades Park. Please bring your own portable chair, towels, or blankets to sit on. Chairs will not be available for stages designed on grassy slopes.

Is the park wheelchair accessible?

Yes, there is wheelchair accessibility throughout Cascades Park.

How do I access the Florida Jazz & Blues/Marriott AC Stage?

This stage is located in the ballroom of the Marriott AC, the new hotel at Cascades Park. The Marriott may be entered through the main entrance on Gadsden St. or the plaza facing Gaines St. To access the plaza, use the stairs directly behind the Capital City Amphitheater. (Need an elevator? Ask a festival volunteer for assistance.) The ballroom is on the same floor as the bar. Look for Word of South signage.

How do I access the Midtown Reader Stage and Bookstore?

These are both located in the Parkview Event space overlooking Cascades Park. The entrance is from the plaza facing Gaines St. Take the staircase behind the Amphitheater up to the plaza and look for Word of South signage.

What if it rains?

In the event of rain, Word of South performances will be moved to alternate venues. Check Word of South social media pages, or the Word of South app for schedule and location changes.

This article originally appeared on Tallahassee Democrat: Who are the Flaming Lips? A guide to music and more at the 2024 Word of South festival

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A Brief Guide to Who’s Who on Taylor Swift’s ‘Tortured Poets’

Ex-boyfriends may be alluded to. Travis Kelce, too, fans believe. And some actual poets.

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By Madison Malone Kircher

When Taylor Swift released “The Tortured Poets Department,” on Friday at midnight, her fan base quickly got to work decoding the album, looking for layers of meaning and insight into Ms. Swift’s life. Of course, that includes the pop singer’s romantic history.

Like many of her past works, the songs on this album — which features over a dozen additional tracks as part of an extended album called “The Tortured Poets Department: The Anthology” — are laden with names and references, many of which appear to be to real people from Ms. Swift’s universe and the literary canon. At least two poets, Dylan Thomas and Patti Smith, are mentioned.

Here’s a look at some of those characters.

Matty Healy

Plenty of lines from “Tortured Poets” have fans guessing that certain songs — including “The Smallest Man Who Ever Lived,” “The Black Dog” and “Down Bad” — may be about Matty Healy , the frontman for the 1975 who was spotted out and about with Taylor on several occasions last spring. One clue Swifties are latching on to: On the “The Black Dog,” Ms. Swift refers to the band the Starting Line. Mr. Healy covered one of the band’s songs while he was touring last spring. And then there is the much-discussed reference to a person Ms. Swift describes as a “tattooed golden retriever" on the album’s title track. Mr. Healy seems to fit the bill, according to her fans.

Travis Kelce

Ms. Swift’s fans have been floating the notion that the many sports references in the track “The Alchemy” allude to the football player Travis Kelce , the singer’s current boyfriend. “So when I / Touch down, call the amateurs and cut ’em from the team / Ditch the clowns, get the crown, baby, I’m the one to beat," she sings in the chorus. “Where’s the trophy? / He just comes running over to me,” she adds in the bridge. But there is some debate, with some fans noting that her use of the term “blokes” would seem to imply the song is not about an American. (A winking line about “heroin but this time with an E” has some guessing the song is about Mr. Healy, who has previously spoken about his drug use.)

Ms. Swift and the actor Joe Alwyn broke up last year after a lengthy relationship. In the lead-up to the release of “Tortured Poets,” many fans believed this new album would process the end of that relationship. (Mr. Alwyn said in a 2022 interview that he was in a group text chat with the actors Paul Mescal and Andrew Scott called “ The Tortured Man Club .” Some fans believe Ms. Swift was nodding to this name with her latest album title.) There is some speculation that Track 5, “So Long, London,” is about Mr. Alwyn, who is British.

Jack Antonoff

A longtime collaborator of Ms. Swift’s, Jack Antonoff, who is credited as a producer on many of the new album’s songs, appears to get a lyrical shout out on the album’s title track.

The musician Lucy Dacus also appears on that same track. (In addition to her work as a solo artist, Ms. Dacus is a member of the supergroup boygenius, who surprised fans with a performance during a stop on Ms. Swift’s Eras tour last year.) “Sometimes, I wonder if you’re gonna screw this up with me / But you told Lucy you’d kill yourself if I ever leave / And I had said that to Jack about you, so I felt seen,” Ms. Swift sings.

Kim Kardashian

Ms. Swift often leaves clues for fans by capitalizing seemingly random letters in words which, when strung together, spell a different word. In the case of this album, the song “thanK you aIMee,” seems to reveal the name Kim. (Ms. Swift and Kim Kardashian have a long and unfriendly history .)

In Greek mythology, Cassandra is given the gift of prophecy by Apollo, but is cursed such that no one will ever believe her. On a song with the same name as the goddess, Ms. Swift sings, “So they killed Cassandra first / ’Cause she feared the worst / And tried to tell the town / So they filled my cell with snakes, I regret to say / Do you believe me now?” Snake emojis have also played a key role in the feud between Ms. Swift and Ms. Kardashian.

Charlie Puth

The singer-songwriter Charlie Puth gets a name drop on the title track: “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist.” Mr. Puth, through a representative, declined to comment.

The song “Peter” appears to refer to the storybook character Peter Pan. “You said you were gonna grow up / Then said you were gonna come find me,” Ms. Swift sings. She has made similar allusions in the past, including a line about “Peter losing Wendy” on her song “cardigan” in 2020.

Patti Smith

The American singer, songwriter, poet and author Patti Smith gets a name check on the title track in a line about New York’s iconic Chelsea Hotel , where she once lived. Ms. Smith has been hailed as the “ punk poet laureate .”

Dylan Thomas

The Welsh poet, known for works like “Do not go gentle into that good night,” is also mentioned along with Ms. Smith. “You’re not Dylan Thomas / I’m not Patti Smith / This ain’t the Chelsea Hotel / We’re modern idiots,” Ms. Swift sings. Thomas, who was also a resident at the Chelsea, is famous for his work as a neo-Romantic poet. (Ms. Swift has an older song, from her album “1989,” titled “New Romantics.”)

Clara Bow, an actress from the silent film era known as the first “it girl,” has an entire song dedicated to her on “Tortured Poets.” In 1927, Bow starred in a film titled “It” and became a national sex symbol before leaving the industry. Fans have pointed out that Ms. Swift’s thinly drawn eyebrows in a video teasing a new music video to accompany the song “Fortnight” bear a striking similarity to Ms. Bow’s.

Stevie Nicks

Stevie Nicks is named on the song “Clara Bow.” Ms. Nicks has said that Ms. Swift’s song “You’re on Your Own Kid” reminds her of Christine McVie, her Fleetwood Mac bandmate who died in 2022 . “You look like Stevie Nicks / In ’75, the hair and lips,” Ms. Swift sings in the song. (Ms. Nicks also wrote an original poem that accompanies a special vinyl edition of “Tortured Poets.”)

Madison Malone Kircher is a Times reporter covering internet culture. More about Madison Malone Kircher

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history  by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?  

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex  at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence  to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .