King Gizzard & the Lizard Wizard talk going orchestral at the Bowl, and finally saying ‘F— Spotify’

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Looking for a blueprint on how to prosper amidst the tight grip of today’s music industry? Perhaps you should consider a group of Australian garage-rock artists who churn out albums as fast as an Atlanta hip-hop collective, tour relentlessly like the peak-era Grateful Dead, and recently stood up to the largest streaming service by telling them to take a hike.

King Gizzard & the Lizard Wizard are an intriguing force in the world of rock music, known for their versatility and prolific output. Over the past 15 years, they’ve effortlessly navigated various genres such as punky scuzz, regal soul, krautrock, electro-funk, and psychedelia with remarkable skill. Their albums have been released at a rapid pace, sometimes even five in one year, totaling 27 to date. Their energetic live performances have earned them the reputation of a highly sought-after arena act, a distinction that few new rock bands can claim.

Two weeks past, the band with a significant profile withdrew their music from Spotify, following Daniel Ek’s investment in an AI-controlled arms manufacturer as CEO. Being independent label artists, they didn’t require anyone’s approval to release their own music.

As a devoted moviegoer, I’m thrilled to share that King Gizzard is gracing the Hollywood Bowl once more on a Sunday evening! This time, they’re accompanied by the esteemed Hollywood Bowl Orchestra for a live rendition of their latest masterpiece, “Phantom Island.” This album, a true gem, expands their musical arsenal with exquisite orchestration.

The band’s charismatic leader, Stu Mackenzie, recently sat down with The Times to discuss their decision to part ways with Spotify, the influence of the L.A. Phil on the new album’s arrangements, and their strategies for navigating the challenging music industry landscape where artists are being compressed from every angle today.

What was your initial reaction to Daniel Ek’s investments in an AI arms company?

Initially taken aback, yet not truly surprised. For years within our musical community, we’ve been expressing disdain towards Spotify. The reasons are numerous and have been discussed extensively. Upon witnessing other bands we respect making a similar choice, we found ourselves questioning the placement of our music on their platform, at least temporarily.

I don’t view myself as an activist, nor do I relish the thought of standing on a soapbox. However, this decision feels like a stand for authenticity and doing what we believe is best for our music. We aim to have our music in places where we feel comfortable with its presence.

Was choosing to leave a complicated decision for the band?

The primary challenge I faced was my desire for our music to reach a wide audience, rather than earning income from streaming. Although I understand they’re amassing wealth and it seems unfair, my main goal is simply creating music that people can enjoy. The struggle was making it difficult for many people to access our music. However, sometimes you have to stand firm and say “We’re not available at the moment,” which in this case meant a brief phone conversation with the others to step away from the project.

The bigger everything becomes, the more pressing the implications seem to become, which isn’t my preferred style as it often feels like high-pressure situations. However, I long for those carefree days when there were no repercussions to our actions. Yet, I strive to maintain that mindset. Previously, I felt obligated to be present in such situations, but with this group, we’ve been content to take many risks, and I’m mostly just excited to see where choosing the intuitive path leads us.

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Investments by Daniel Ek in the AI-focused drone manufacturer Helsing have caused alarm among artists, with one referring to Spotify as a “harbinger of catastrophic destruction.

Do you think Spotify noticed or cares that you left?

It’s unlikely that Daniel Ek will take notice of this. Our approach to music release has been quite unconventional, such as distributing free bootlegs. We’ve given ourselves the freedom to challenge established norms, and it’s remarkable that our listeners have shown trust and faith in us, even when we do something a bit unexpected. I’m thankful for a fan base that’s open-minded enough to join us on this journey. It seems like an ongoing experiment to me; it feels as though we’re saying, “Let’s step away from Spotify and see what unfolds.” Why must this be such a big issue? Frankly, it feels more like we’re seeking our own optimism in a difficult situation.

The album, “Phantom Island,” stands out uniquely in your collection due to its extensive use of orchestration. I’ve heard rumors that L.A. Philharmonic’s founder, L.A. Phil, was the one who initially suggested this concept.

Approximately two years ago, we performed at the Hollywood Bowl, which is where the L.A. Phil typically plays. During that show, we had the opportunity to chat with them. The conversation sparked the idea of performing there accompanied by an orchestra. At that time, we were midway through recording a new album but weren’t sure how to complete it. Inspired by the idea of a concert backed by an orchestra, we decided to create an album featuring an orchestra instead. We collaborated with composer Chad Kelly to rearrange and rewrite these songs, realizing they needed something more. Ultimately, we rewrote the songs to suit both a rock band and a symphonic setting.

Did you refer to any resources on how to implement that strategy successfully? I notice elements of ELO, Isaac Hayes, and even The Beatles’ “A Day in the Life” in there.

As a music enthusiast, I can honestly say that our creation was unlike anything we had a blueprint for. It seemed like fate led us to craft something extraordinary because we composed the songs without initially planning for orchestral elements. When you ask me about our inspirations, truth be told, there weren’t any clear-cut touchstones. However, my mind was likely drawn to the soulful tunes of the early ’60s, filled with rich orchestral arrangements that resonated deeply with me. The likes of Etta James embodied the tone and essence we were aiming for. Although this wasn’t a conventional approach, the process felt incredibly fortunate and serendipitous.

Given that your performances are undeniably lively, I’m curious about how you managed to maintain that energy when playing with an orchestra during this tour?

Admittedly, I was quite nervous since we’d only had one rehearsal before our debut performance. The next day felt like a leap of faith: “I guess this will do.” I could only hope that all our preparations would pay off. That one rehearsal was an intense 2.5 hours, but come showtime, it was time to take the plunge and perform as scripted.

Our team has been fortunate to collaborate with some truly exceptional individuals – Sean O’Laughlin has skillfully handled the arrangements for our live performances, while Sarah Hicks showcases her exceptional conducting abilities. As a garage rock band hailing from Australia, we’re incredibly grateful for the opportunity to work alongside top-tier professionals like these two.

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At the opposite extreme of the performance venues, how would it feel to have a long-term engagement, or a residency, at a Lithuanian prison?

Previously, Lukiškės Prison 2.0 in Vilnius, Lithuania was a true prison, but only very recently has it transformed into something else. Its history is extremely grim, almost unimaginably so. However, today, there are artistic spaces within its walls, making it a beacon of cultural positivity. These places have a way of restoring one’s faith in humanity. Despite the many moments in life when we question our faith in humanity, visiting such locations reminds us that people can indeed be kind and creative.

When it comes to potential dangers facing humankind, I believe your musical group challenges the notion that artists must employ AI to generate a substantial amount of music in order to thrive on streaming platforms. Your band serves as evidence that creating a vast quantity of music swiftly can indeed be achieved with real human talent.

Creating music is an incredibly enjoyable experience, especially when collaborating with others. This shared endeavor serves as a powerful motivator, fostering a great deal of fun among us. The process feels deeply human, spiritual, and social. It’s a core aspect of our identity as humans, and it doesn’t feel like a struggle or a competition against artificial intelligence trends. Instead, we make music simply because it brings us joy.

Being a self-labeled band that operates independently, have you discovered any key strategies for thriving in today’s competitive music industry?

It appears that we have excelled in questioning our own actions, as well as those of others, to determine if they are necessary. Occasionally, we follow the same path as others, but other times, we opt for a unique approach because it aligns with our beliefs. In essence, I believe we’ve shown a strong commitment to staying true to ourselves and having the courage, or perhaps the audacity, to do so.

I believe there’s an element of chance and destiny in the characters of the band members and colleagues we collaborate with, who, like us, have taken an unusual path. I hope, in a modest manner, that others will appreciate this journey and not get overly concerned about other matters.

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Are you looking forward to observing independent, up-and-coming bands making a name for themselves, given that the major players in the music industry seem to be falling short when it comes to aligning with their principles once more?

I’ve found certain strategies effective for us, but I can’t guarantee they’ll work the same way for others. It seems there might not be a specific blueprint or model here. The fact is, you’re free to choose your own path, and while the traditional route may work for some, you don’t have to adhere to it if it doesn’t suit you.

Reflecting on this band, I believe one aspect that stands out is our unwavering acceptance of falling short. If everything crumbled and we returned home to normal jobs, I’d wager we would all look back with pride, acknowledging, “We’ve done something remarkable. We had a blast.” We pursued our dreams, braving the consequences as they came. Our reckless spirit, which might seem selfish at times, has drawn people to us, and for that, we are profoundly thankful.

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2025-08-08 13:33