YES & The Birth of Prog Rock: A Deep Dive into Their Legacy

The Story of YES: Humble Beginnings to Their First Album

YES was formed in 1968 in London, England, emerging as a band that would eventually define the progressive rock movement.

Their journey began with a chance meeting between Jon Anderson, a singer from Accrington, and Chris Squire, a talented bassist from London. Anderson had been singing in local bands like The Warriors and had a love for rich harmonies and ambitious songwriting.

Squire, fresh from his time with The Syn, had a unique approach to bass playing, using it as a lead instrument rather than just a rhythm foundation.

The duo bonded over their shared appreciation for harmony-driven music, particularly The Beatles, Simon & Garfunkel, and the emerging psychedelic and progressive rock scenes. They soon set out to form a new band that would blend intricate musicianship with soaring vocals.

The First YES Lineup (1968-1969)

Anderson and Squire recruited:

• Peter Banks (guitar) – Previously of The Syn, he brought a sharp, inventive approach to the band’s early sound.

• Tony Kaye (keyboards) – A classically trained pianist who preferred a straightforward Hammond organ over the more experimental synths that would later define YES.

• Bill Bruford (drums) – A jazz-influenced drummer with incredible technical ability and precision.

This lineup came together with the goal of pushing rock music into new territories. Their sound mixed elements of jazz, classical, and psychedelic rock, with complex harmonies and intricate instrumental interplay.

First Gigs & Early Success

YES played their first gig on August 4, 1968, at the East Mersey Youth Camp, and soon after landed a prestigious gig opening for Cream at their farewell concert at the Royal Albert Hall.

Their live performances gained attention for their ambitious reworkings of classic songs, showcasing extended instrumental passages and tight vocal harmonies.

Debut Album: YES (1969)

After building a strong reputation on the live circuit, YES signed with Atlantic Records and recorded their self-titled debut album, YES, which was released in July 1969. The album featured:

1. Beyond and Before – A psychedelic-tinged opening track showcasing their vocal harmonies.

2. I See You – A jazz-infused cover of a song by The Byrds, highlighting Bruford’s drumming.

3. Yesterday and Today – A softer ballad showing Anderson’s emotional vocal delivery.

4. Looking Around – A driving rock song with Tony Kaye’s Hammond organ leading the charge.

5. Harold Land – A mini-epic with dramatic storytelling and intricate instrumental sections.

6. Every Little Thing – A reimagined Beatles cover with complex arrangements.

7. Sweetness – A dreamy, harmony-driven track.

8. Survival – A glimpse of the progressive elements YES would later become known for.

   
   

While the album didn’t make a huge commercial impact, it was well-received by critics and set the foundation for what YES would become. The band’s ambition and musicianship were already evident, and they were just getting started.

The Road Ahead

Following their debut, YES continued to refine their sound, moving toward a more complex, symphonic style. Their next album, Time and a Word (1970), would push them further into orchestral arrangements and ambitious songwriting, paving the way for their golden era in the early '70s.

YES in the 1970s:

The Rise of Progressive Rock Titans

The 1970s saw YES evolve from a promising band into one of the most influential progressive rock groups of all time. This decade was marked by groundbreaking albums, multiple lineup changes, and some of the most ambitious music ever recorded.

1970: Time and a Word – A Bold Step

After their self-titled debut, YES released their second album, Time and a Word, in July 1970. This album experimented with orchestral arrangements, which caused tensions within the band, particularly with Peter Banks, who preferred a rawer rock sound.

Before the album was even released, Banks was fired and replaced by a young, classically trained guitarist named Steve Howe (formerly of Bodast).

Key Songs:

• No Opportunity Necessary, No Experience Needed (Richie Havens cover with orchestral backing)

• Time and a Word (A melodic, uplifting anthem)

While Time and a Word showed promise, the real transformation of YES began with their next album.

1971: The Yes Album – Defining the Sound

With Steve Howe on board, YES moved toward a more intricate and dynamic style. The Yes Album (released in February 1971) marked the first major step toward their signature progressive rock sound.

The album eliminated orchestral elements and focused on long-form compositions, complex harmonies, and Howe’s innovative guitar playing.

Key Songs:

• Yours Is No Disgrace (A 9-minute epic showcasing Howe's guitar mastery)

• Starship Trooper (A three-part suite featuring a soaring climax)

• I've Seen All Good People (A folk-inspired anthem that became a radio staple)

• Perpetual Change (A bold experiment in rhythm and structure)

The album was a major success, reaching #4 in the UK and establishing YES as a band to watch.

1971-72: Fragile – Wakeman Joins & Breakthrough Success

YES’s lineup solidified when Rick Wakeman, a classically trained keyboard virtuoso, replaced Tony Kaye, who was resistant to using synthesizers.

Wakeman’s arrival transformed YES’s sound, bringing in Minimoogs, Mellotrons, and grand piano flourishes that would define their progressive rock style.

Released in November 1971, Fragile became YES’s breakthrough album, thanks to the hit "Roundabout", which featured an iconic opening guitar riff.

Key Songs:

• Roundabout (YES’s first big radio hit)

• South Side of the Sky (A dynamic song blending heavy rock with classical elements)

• Heart of the Sunrise (One of their most dramatic compositions, full of shifting time signatures)

The album was a massive success, reaching #4 on the US charts and launching YES into rock stardom.

1972: Close to the Edge – Progressive Rock Masterpiece

YES reached the peak of their creativity with Close to the Edge (released in September 1972). This album contained only three songs, including the 18-minute title track, a towering masterpiece of progressive rock.

Key Songs:

• Close to the Edge (A side-long epic with intricate musical sections and philosophical lyrics)

• And You and I (A soaring, uplifting track)

• Siberian Khatru (A fast-paced, complex piece showcasing Howe and Wakeman’s interplay)

The album was a critical and commercial triumph, hitting #4 in the US and UK. It remains one of the greatest progressive rock albums of all time.

1973: Tales from Topographic Oceans – The Double-Album Epic

With confidence soaring, YES took their ambition to the extreme on their next album, Tales from Topographic Oceans (December 1973). This was a double album consisting of four side-long tracks inspired by Hindu scriptures.

Key Songs:

• The Revealing Science of God

• The Remembering

• The Ancient

• Ritual

While it reached #1 in the UK, the album was divisive—some fans considered it a masterpiece, while others felt it was too indulgent. Rick Wakeman grew frustrated with the direction and left the band after the tour.

1974-75: Relayer – Jazz Fusion & A New Sound

YES recruited Patrick Moraz (a Swiss keyboardist with a jazz background) to replace Wakeman. Their next album, Relayer (December 1974), was heavily influenced by jazz fusion, particularly Mahavishnu Orchestra.

Key Songs:

• The Gates of Delirium (A chaotic, war-themed epic featuring "Soon," a beautiful closing section)

• Sound Chaser (One of YES’s most aggressive, jazz-influenced songs)

The album was another success, but by 1976, Moraz left, and Rick Wakeman rejoined the band.

1977: Going for the One – A Return to Form

YES returned with Going for the One (July 1977), marking a return to shorter songs while still retaining their progressive edge. The album was recorded in Switzerland and featured Wakeman’s church organ work on the title track.

Key Songs:

• Going for the One (A high-energy rocker with slide guitar)

• Wondrous Stories (A delicate and uplifting track)

• Awaken (A 15-minute spiritual journey and one of YES’s finest pieces)

The album hit #1 in the UK and showed YES could still evolve while staying true to their roots.

1978: Tormato – Signs of Decline

Their next album, Tormato (September 1978), saw the band struggling with direction. While still successful, it lacked the cohesion of their earlier work. Wakeman and Howe were particularly unhappy with the production, and by 1979, tensions were high.

Key Songs:

• Don't Kill the Whale (An environmental anthem)

• On the Silent Wings of Freedom (A complex piece featuring Chris Squire’s driving bass)

1979: Anderson & Wakeman Leave – The End of an Era

By the end of the decade, Jon Anderson and Rick Wakeman left due to creative and personal disagreements. This led to a major shake-up in the 1980s.

YES in the 1970s: Legacy

Throughout the '70s, YES pushed the boundaries of rock, classical, jazz, and avant-garde influences, leaving behind a catalog of some of the most ambitious and influential progressive rock albums ever recorded. They ended the decade at a crossroads, but their legacy as pioneers of progressive music was already cemented.

YES in the 1980s: Reinvention & Commercial Breakthrough

The 1980s were a decade of transformation for YES. The band went through dramatic lineup changes, nearly disbanded, then re-emerged with a new sound that propelled them to mainstream success.

The era was marked by progressive rock's decline, the rise of new wave and pop, and YES adapting to the times with a sleek, modern sound.

1980: Drama – The Trevor Horn & Geoff Downes Experiment

After the departure of Jon Anderson (vocals) and Rick Wakeman (keyboards) in 1979, YES faced a crisis. Instead of breaking up, the remaining members (Steve Howe, Chris Squire, and Alan White) recruited Trevor Horn and Geoff Downes from the new wave duo The Buggles (known for Video Killed the Radio Star).

This lineup recorded Drama (released in August 1980), which modernized YES’s sound with a more aggressive, high-energy approach.

Key Songs:

• Machine Messiah (A heavy, futuristic track with complex guitar work)

• Tempus Fugit (A fast-paced, bass-driven piece showcasing Chris Squire)

• Into the Lens (A dramatic, layered song later reworked as The Buggles' I Am a Camera)

Despite solid UK chart success (#2 album) and a well-received tour, many YES fans rejected this lineup without Anderson. Trevor Horn struggled vocally to perform classic YES songs, and by early 1981, YES disbanded.

1981-1982: YES Splits – Birth of Asia & Cinema

• Steve Howe & Geoff Downes formed Asia, a supergroup with John Wetton (King Crimson) and Carl Palmer (ELP). Asia's debut album in 1982 was a massive commercial success with hits like Heat of the Moment.

• Chris Squire and Alan White started working on a new band called Cinema with Trevor Rabin, a South African guitarist/singer with a pop-rock style. They also brought in keyboardist Tony Kaye, a founding YES member who had left in 1971.

At first, Cinema was not intended to be YES—but that changed when Jon Anderson rejoined in 1983.

1983-1985: 90125 – YES Goes Pop & MTV Famous

With Jon Anderson back on vocals, Cinema rebranded as YES, and in November 1983, they released 90125, their biggest-selling album ever.

The new lineup:

• Jon Anderson – Vocals

• Chris Squire – Bass

• Trevor Rabin – Guitar, vocals

• Tony Kaye – Keyboards

• Alan White – Drums

Trevor Rabin’s influence modernized YES’s sound, bringing in polished production, digital synthesizers, and a radio-friendly rock style. The lead single, "Owner of a Lonely Heart", became YES’s first and only #1 hit in the U.S., thanks to its punchy riffs, electronic elements, and an innovative MTV music video.

Key Songs from 90125:

• Owner of a Lonely Heart (YES’s biggest hit, with a bold new sound)

• Leave It (A vocal-driven track with an a cappella intro)

• Changes (A dynamic song showcasing Rabin’s songwriting)

• Cinema (A Grammy-winning instrumental)

This lineup, sometimes called "YesWest" (because they were based in Los Angeles, unlike the London-based earlier versions), brought YES to a new generation of fans. They became MTV stars and filled arenas worldwide.

1987: Big Generator – Trying to Recapture the Magic

YES followed up 90125 with Big Generator (released in September 1987), but tensions between Jon Anderson and Trevor Rabin made the process difficult. The album continued the 90125 sound, though with a slightly heavier edge.

Key Songs:

• Rhythm of Love (A catchy, radio-friendly single)

• Love Will Find a Way (A pop-rock ballad featuring Rabin’s orchestral arrangement)

• Shoot High Aim Low (A moody, atmospheric track)

While successful (#15 US, #17 UK), it failed to match 90125's impact. Jon Anderson grew frustrated with YES’s more commercial direction and left the band in 1988.

1989: YES Splits into Two Bands

By the end of the 1980s, YES was a mess of conflicting visions:

1. YES-West (led by Trevor Rabin & Chris Squire) wanted to continue the modern, pop-rock approach.

2. Jon Anderson wanted to return to the classic YES sound with a more spiritual, progressive direction.

   
   

Anderson reunited with Steve Howe, Rick Wakeman, and Bill Bruford (YES’s original drummer) to form "Anderson Bruford Wakeman Howe" (ABWH), essentially a classic YES reunion without Chris Squire.

ABWH released an album in 1989 that felt like classic YES, featuring songs like Brother of Mine. Meanwhile, the official YES (Squire, Rabin, Kaye, White) was still active, creating two rival YES factions.

This set the stage for a dramatic reunion in the early 1990s…

YES in the 1980s

✅ YES transformed from a progressive rock band into an MTV-era pop-rock powerhouse.

✅ 90125 and Big Generator introduced YES to a new generation.

✅ Trevor Rabin’s influence modernized the band, making them radio-friendly.

✅ The decade ended with YES splitting into two competing groups.

YES (2010–2025): Hall of Fame Recognition, Lineup Changes, and Legacy

By the 2010s, YES had cemented their place as one of the most influential progressive rock bands of all time, yet their journey continued with new music, tours, member departures, and their long-overdue induction into the Rock and Roll Hall of Fame in 2017. The band continued to evolve, even in the wake of the passing of key members, while their legacy influenced modern progressive and rock musicians worldwide.

YES in the 2010s: New Vocalists, Tours, and a Hall of Fame Induction

2011: Fly from Here – The Return of Geoff Downes & Trevor Horn

• After Jon Anderson was unable to rejoin due to health issues, YES brought in Benoît David (a singer from a YES tribute band) to handle vocals.

• They recorded 2011’s Fly from Here with Geoff Downes returning on keyboards and Trevor Horn producing.

• The album was seen as a spiritual follow-up to Drama (1980), reviving many ideas from that era.

• However, Benoît David left in 2012, citing vocal strain.

2012–2015: Jon Davison Joins as Vocalist

• In 2012, YES recruited Jon Davison (former Glass Hammer vocalist), whose vocal style was closer to Jon Anderson’s.

• YES toured heavily, focusing on full-album performances of their classics (Close to the Edge, The Yes Album, Going for the One).

• In 2014, YES released their final studio album, Heaven & Earth—a lighter, melodic album that received mixed reviews.

2015: The Loss of Chris Squire

• The biggest blow to YES came in 2015, when Chris Squire, the only constant member of the band, passed away from leukemia at age 67.

• Squire’s final request was that YES continue without him, leading the band to recruit Billy Sherwood (a longtime YES collaborator) to fill his role.

• Despite this tragedy, YES continued touring, with Steve Howe taking on a larger leadership role.

2017: Rock and Roll Hall of Fame Induction

YES were finally inducted into the Rock and Roll Hall of Fame on April 7, 2017, after years of being overlooked.

Key Moments from the Ceremony:

• The band was inducted by Geddy Lee and Alex Lifeson (Rush), both of whom cited YES as a major influence.

• Jon Anderson reunited with the band for the first time in over a decade to perform "Roundabout" and "Owner of a Lonely Heart."

• Geddy Lee played bass on "Roundabout" in place of Chris Squire.

• Rick Wakeman stole the show with a hilarious and sarcastic speech, making fun of how long it took YES to get inducted.

2018–2022: Touring as Two Versions of YES

YES entered a strange period where two different versions of the band were touring at the same time:

1. YES (Official Version) – Led by Steve Howe, Alan White, Geoff Downes, Billy Sherwood, and Jon Davison.

2. YES featuring ARW – Featuring Jon Anderson, Trevor Rabin, and Rick Wakeman (who performed separately from Howe's lineup).

This created some confusion among fans, but both versions of YES celebrated the band’s music in their own way.

2022: The Passing of Alan White & Continued Touring

• In May 2022, drummer Alan White passed away, leaving Steve Howe as the only surviving classic member still actively performing with YES.

• YES continued to tour with Jay Schellen on drums.

YES’s Influence on Modern Rock & Legacy

YES’s impact on rock music is immeasurable. Their influence can be seen across:

1. Progressive Rock & Metal Bands

YES helped define progressive rock, paving the way for bands like:

• Rush (who took inspiration from YES’s complexity and arrangements)

• Dream Theater (whose technical prowess mirrors YES’s ambition)

• Porcupine Tree & Steven Wilson (modern prog rock artists influenced by YES’s soundscapes)

• Opeth & Tool (who incorporate prog elements into their heavier sound)

2. Alternative & Indie Rock Bands

Even in genres outside of prog, YES’s influence is present:

• Radiohead – Their experimental approach to song structure reflects YES’s fearless creativity.

• The Mars Volta – Their chaotic energy and progressive elements draw from YES.

• Muse – Their grandiose symphonic rock has echoes of YES’s arrangements.

3. Electronic & Modern Music Production

• YES’s use of synthesizers, experimental production techniques, and ambient textures influenced electronic and ambient artists.

• Producers like Trevor Horn (who worked with YES) shaped the sound of 80s and 90s pop music using techniques pioneered by YES.

Who Inspired YES?

YES didn’t invent progressive rock in a vacuum. They were influenced by:

• The Beatles – Inspired them to experiment with song structure and melody.

• The Moody Blues – One of the first bands to blend rock and orchestral music.

• King Crimson – A major influence on their early progressive sound.

• Jazz & Classical Music – YES incorporated elements of bebop, symphonic music, and avant-garde compositions.

What’s Next for YES? (2025 and Beyond)

• YES is still active, with Steve Howe leading the band alongside Geoff Downes, Billy Sherwood, Jon Davison, and Jay Schellen.

• They continue to tour worldwide, playing classic albums and deep cuts.

• Rumors suggest they may release new music, though Howe has stated they are focusing on legacy tours.

• Their influence continues to grow, with new generations discovering their music through streaming, vinyl reissues, and tribute bands.

The Lasting Legacy of YES

YES’s legacy is one of relentless innovation, boundary-pushing musicianship, and a commitment to artistic exploration.

Despite lineup changes, commercial struggles, and losses, they remain one of the most important and enduring bands in rock history.

Their music—from the symphonic grandeur of Close to the Edge to the radio-friendly hooks of Owner of a Lonely Heart—continues to inspire musicians and fans across genres.

Even if the band eventually retires, their timeless music will ensure that the YES spirit never dies.

Funk, Fun, and Psychedelia: The Secret Sauce of Pigeons Playing Ping Pong

The Rise of Pigeons Playing Ping Pong: From College Jams to National Recognition

In the mid-2000s, on the campus of the University of Maryland, a group of friends came together with one goal in mind—making music that was as fun as it was funky.

Guitarist and vocalist Greg Ormont and fellow guitarist Jeremy Schon started jamming together, blending their shared love of funk, jam, and psychedelic rock. Soon, bassist Ben Carrey and drummer Dan Schwartz joined the mix, and Pigeons Playing Ping Pong was born.

Live From The Big ROom, Sierra NEvada Brewery Chico CA March 18, 2025 filmed by the gooch

The name, as quirky as the band’s high-energy style, was a reflection of their playful and unpredictable musical approach. They weren’t just another jam band—they infused their grooves with humor, explosive energy, and a vibrant stage presence that set them apart from the pack.

Grinding on the Road

and Early Buzz (2009-2013)

Like many jam bands before them, Pigeons honed their craft on the road. They gigged tirelessly, playing house parties, small clubs, and college events. Their infectious, funk-driven sound and wild live performances started earning them a dedicated fanbase—affectionately known as "The Flock."

By 2010, they had released a rough collection of early tracks called Funk E P, which gave a taste of their evolving style. However, it was their debut studio album, Funk (2010), that started turning heads. The record showcased their knack for blending deep grooves, playful lyricism, and improvisational jamming—setting the foundation for what would become their signature sound.

As they continued to tour heavily through the early 2010s, Pigeons started gaining traction on the festival circuit, appearing at small regional festivals and winning over crowds with their boundless energy. The band's relentless touring and reputation as a must-see live act helped them grow steadily, and word of mouth spread fast in the jam scene.

Breakthrough

and National Attention (2014-2016)

By the mid-2010s, Pigeons Playing Ping Pong had solidified themselves as rising stars in the jam and festival world. The release of their second full-length album, Psychology (2014), marked a turning point. It wasn’t just a collection of fun funk tunes—it was a more polished and dynamic record that proved they had depth alongside their onstage antics.

Their reputation grew even stronger as they landed spots at major festivals like Domefest (their own curated festival), Electric Forest, and The Peach Music Festival. Fans started recognizing their signature elements—spaced-out jams, rapid-fire funk guitar licks, and Ormont’s animated stage persona.

By 2016, with the release of Pleasure, Pigeons had officially arrived on the national jam band radar. Their relentless work ethic, infectious live energy, and signature sound had earned them a place alongside modern jam greats like Umphrey’s McGee, The String Cheese Incident, and Aqueous.

From dorm room jams to festival headliners, Pigeons Playing Ping Pong had proven that funk, fun, and pure unfiltered energy could still make waves in the modern music scene. And they were just getting started.

Pigeons Playing Ping Pong (2016-2018): Breaking Through the Jam Scene

By 2016, Pigeons Playing Ping Pong had built a strong grassroots following through relentless touring and high-energy live shows. With the release of their third studio album, Pleasure (2016), the band solidified their reputation as one of the most exciting and unpredictable acts in the jam-funk scene.

Their fanbase, known as “The Flock,” was growing rapidly, and they were no longer just a college-party band—they were becoming festival favorites.

The Touring Explosion & Festival Takeover (2016-2017)

Pigeons had already been road warriors, but from 2016 to 2018, they truly kicked their touring schedule into high gear. They played more than 100 shows per year, hitting nearly every major festival in the jam and funk circuit.

Their appearances at Electric Forest, Summer Camp Music Festival, The Peach Festival, High Sierra, and LOCKN’ helped introduce them to a broader audience beyond their college fanbase.

A key factor in their rise was their ability to blend humor, showmanship, and insane musical chemistry into every performance. Greg Ormont’s high-energy, almost cartoonish stage presence—coupled with Jeremy Schon’s fiery guitar work, Ben Carrey’s deep funk bass, and Alex Petropulos’ tight drumming—made their shows an experience rather than just a concert.

Lineup Change: Enter Alex Petropulos (2017)

One of the biggest shifts during this time was the departure of Dan Schwartz, the band's original drummer. In 2017, Alex Petropulos joined the band, bringing an even tighter and more dynamic rhythm section.

His addition helped refine the band’s sound, allowing them to explore more intricate grooves and improvisations while maintaining their signature high-energy feel.

Pizazz (2017) – Their Breakout Album

In 2017, Pigeons Playing Ping Pong released Pizazz, their most polished and ambitious album yet. Featuring fan-favorite tracks like “Live It Up” and “Doc,” the album showcased a more refined and cohesive sound while still maintaining the unhinged funkiness that made their live shows legendary.

This album marked their true breakthrough into national recognition. It received praise from the jam and funk communities, and more importantly, it helped expand their reach beyond the traditional jam band scene. Their mix of funk, psychedelia, and high-energy rock earned them comparisons to Phish, The Disco Biscuits, and even funk legends like Parliament-Funkadelic.

2018: Headlining Status & National Recognition

By 2018, Pigeons Playing Ping Pong had moved from opening slots and small venues to headlining theaters and larger clubs. They embarked on sold-out tours across the U.S., cementing their reputation as one of the most electrifying live acts in the jam-funk circuit.

They also expanded their own festival, Domefest, which had started as a small gathering but was now attracting thousands of fans. The band’s ability to build a dedicated community of fans made them stand out—The Flock wasn’t just a fanbase, it was a movement.

The Turning Point: Pigeons Playing Ping Pong Becomes a Household Name in the Jam Scene

By the end of 2018, Pigeons Playing Ping Pong had gone from a quirky college jam band to a full-fledged touring powerhouse. They were now regulars on major festival bills, playing alongside titans of the scene like Umphrey’s McGee, The String Cheese Incident, and Twiddle.

Their blend of funk, psychedelic rock, and unfiltered fun was unlike anything else in the jam world. They weren’t trying to be the next Phish or the next Dead—they were carving out their own lane.

With Pizazz earning them new fans and their live show being one of the most talked-about experiences in the jam circuit, Pigeons Playing Ping Pong had officially arrived.

And from there, the only way was up.

Pigeons Playing Ping Pong (2018–2020):

The Road to Bigger Stages & The Pandemic Pause

By 2018, Pigeons Playing Ping Pong had ascended to the top tier of the jam and festival circuit.

They had moved beyond being a rising act and were now a headlining force, known for their explosive live shows, playful energy, and a dedicated fanbase known as The Flock.

With their 2017 album Pizazz still fresh and their live performances reaching new heights, the band entered the next phase of their career—larger venues, massive festival slots, and national recognition beyond the jam scene.

2018–2019: Their Biggest Touring Years Yet

The momentum from Pizazz led Pigeons to their biggest touring years in 2018 and 2019. They continued selling out mid-sized theaters, increasing their Domefest festival attendance, and appearing at major festivals like:

• LOCKN’ Festival

• Bonnaroo

• Electric Forest

• High Sierra Music Festival

• The Peach Festival

• Jam Cruise

These years saw longer sets, extended jams, and more theatrical elements being added to their live shows. The band experimented with psychedelic light shows, themed performances, and elaborate setlists, further establishing their reputation as one of the most fun and unpredictable live acts in the jam scene.

They also started to bridge the gap between the jam and funk worlds, gaining new fans from acts like Lettuce, Galactic, and Vulfpeck.

2019: Presto and a New Sonic Direction

Heading into 2019, Pigeons Playing Ping Pong had their sights set on their next studio project. While Pizazz had been a breakthrough album, the band wanted to push themselves further.

In October 2019, they announced their fifth studio album, Presto, which would be released in January 2020. Unlike previous albums, Presto showcased a tighter, more groove-focused sound while still maintaining the wild, improvisational spirit of their live shows.

Singles like "Dawn A New Day" and "King Kong" became instant fan favorites, and Presto was shaping up to be their most ambitious project yet.

2020: The Pandemic Brings Everything to a Halt

The band kicked off 2020 with a massive tour supporting Presto, playing some of the biggest venues of their career. However, by March, the entire music world came to a screeching halt due to the COVID-19 pandemic.

Just as Pigeons were preparing for a festival-heavy summer, the world went into lockdown. Like many bands, they were forced to cancel tours, postpone Domefest, and put their momentum on pause.

Rather than sit idle, the band quickly adapted.

They embraced the digital shift and started livestreaming performances to keep The Flock engaged. They participated in virtual festivals, played socially distanced shows when possible, and focused on writing new material.

Despite the setbacks, Pigeons remained connected with their fanbase, keeping their unique brand of high-energy funk alive through screens and drive-in shows.

While 2020 was a tough year for live music, Pigeons Playing Ping Pong survived the storm, emerging as one of the jam scene’s most resilient and innovative bands.

Little did they know, the post-pandemic era would only push them further into the spotlight.

Pigeons Playing Ping Pong (2021–2025): Evolution, Resilience, and Musical Milestones

Post-Pandemic Resurgence (2021–2023)

After the global pandemic disrupted live music in 2020, Pigeons Playing Ping Pong (PPPP) made a triumphant return to the stage in 2021.

Embracing the resurgence of live events, they embarked on extensive tours, reconnecting with their dedicated fanbase, affectionately known as "The Flock." Their performances during this period were marked by renewed energy and a profound appreciation for the communal concert experience.

Lineup Changes: Ben Carrey's Hiatus and Zdenek Gubb's Arrival (2024)

In July 2024, bassist Ben Carrey announced a hiatus from touring due to personal reasons.

The band expressed full support for Carrey's decision and temporarily welcomed Zdenek Gubb, formerly of Twiddle, to fill the bassist role. This transition was seamless, with Gubb's style complementing PPPP's dynamic sound.

Live at The Capitol Theatre Album Release (2025)

On April 18, 2025, PPPP released "Live at The Capitol Theatre," a live album capturing their electrifying sold-out performance at the historic venue on February 3, 2024.

The album features a comprehensive setlist, including fan favorites and a unique rendition of The Beatles' "While My Guitar Gently Weeps." The release showcases the band's live prowess and their ability to connect with audiences.

Domefest 2025: A Celebratory Return

After a one-year hiatus, Domefest is set to return from August 7–9, 2025, at ACE Adventure Resort in New River Gorge, West Virginia.

The festival's lineup includes PPPP headlining all three nights, alongside acts like Papadosio and Spafford. This event underscores PPPP's commitment to fostering community and celebrating live music.

Continued Touring and Musical Evolution

Throughout 2025, PPPP continues to tour extensively, bringing their signature high-energy performances to audiences nationwide. Their resilience and adaptability have solidified their status as a mainstay in the jam and funk scenes, with fans eagerly anticipating future projects and live shows.

Ping Ponging

From navigating lineup changes to releasing acclaimed live recordings, Pigeons Playing Ping Pong has demonstrated growth and resilience in the years following the pandemic. Their dedication to their craft and community ensures their continued influence and success in the evolving musical landscape.

Why Pigeons Playing Ping Pong Are So Unique & What the Future Holds

What Makes PPPP Stand Out?

Pigeons Playing Ping Pong (PPPP) aren’t just another jam band—they’re a high-energy fusion of funk, rock, psychedelia, and relentless positivity that sets them apart from the rest of the scene. Here’s what makes them truly unique:

Infectious Energy & Party Atmosphere

Unlike some jam bands that lean into mellow, extended soundscapes, PPPP brings an unmatched party vibe to their shows. Their performances are high-octane, dance-driven, and wildly unpredictable, fueled by frontman Greg Ormont’s boundless enthusiasm and animated stage presence.

Tight, Funk-Infused Jamming

While improvisation is a core part of their music, PPPP’s jams are structured, rhythmic, and groove-heavy rather than meandering. They channel influences from P-Funk, Red Hot Chili Peppers, and Umphrey’s McGee, making their sound both jammy and incredibly danceable.

The Flock: A Passionate, Cult-Like Fanbase

Their fans, known as "The Flock," are as much a part of the PPPP experience as the band itself. This community is devoted, colorful, and always up for a good time—similar to Phish’s Phans or the Deadheads, but with an extra dose of fun-loving silliness.

Domefest: Their Own Personal Music Festival

Unlike most jam bands, PPPP has its own dedicated music festival, Domefest, which they have curated for years. The festival is a celebration of the band’s unique culture and features both up-and-coming acts and jam scene veterans.

Constant Evolution Without Losing Their Identity

Despite lineup changes (such as Ben Carrey’s hiatus and Zdenek Gubb stepping in on bass), PPPP has kept their signature sound while continuing to evolve. Their music has become tighter, their production more refined, and their songwriting more adventurous.

What Does the Future Hold for PPPP?

More Experimental & Ambitious Studio Work

While they are known for their live performances, PPPP has gradually been pushing their studio work forward.

With the success of Presto and Live at The Capitol Theatre, future albums could see them experimenting with more intricate compositions, new sonic textures, and even deeper explorations of funk and psychedelia.

Expanding Their Festival Dominance

Already a staple at jam festivals like LOCKN’, Peach Fest, and Electric Forest, PPPP is poised to become a headlining act at even bigger festivals. They’ve proven they can command large crowds, and their growing reputation could lead to top billing at major events.

Potential Collaborations & Genre Crossovers

As the jam scene embraces more cross-genre collaborations (with EDM, hip-hop, and world music influences), PPPP could step into new territories by working with artists outside their core genre—similar to how bands like The String Cheese Incident have expanded their sound.

Domefest’s Growth & Legacy

With Domefest’s return in 2025, there’s potential for it to become one of the premier jam festivals in the country. PPPP’s role as curators gives them a unique platform to showcase emerging talent while maintaining a deep connection with their fans.

Cementing Their Place as a Jam Scene Mainstay

After years of relentless touring, PPPP has already made an impact on the modern jam band landscape. As they enter their next phase, they could become one of the definitive jam-funk bands of their generation, much like Phish or The Disco Biscuits before them.

Why Seeing Them Live is a Must

If you haven’t seen Pigeons Playing Ping Pong live yet, you’re missing out on one of the most joyous, high-energy, and unpredictable live experiences in the jam world today.

Their blend of tight grooves, insane musicianship, and wild stage presence makes every show an unforgettable dance-fueled spectacle.

With an ever-growing fanbase, a return to full-scale touring, and their continued innovation, PPPP’s future looks brighter than ever.

Whether they’re headlining festivals, dropping new albums, or bringing The Flock together for unforgettable moments, one thing is certain—the party isn’t slowing down anytime soon.

How The Devil Makes Three Revives Old-Time Music with a Modern Edge

The Devil Makes Three: From Humble Beginnings to Their First Album

The Devil Makes Three (TDM3) is a band that emerged from the underground folk-punk scene with a sound that fuses old-time

blues, ragtime, country, bluegrass, and punk energy. Their stripped-down, rhythm-driven approach and dark, whiskey-soaked storytelling have made them a unique force in American roots music.

Humble Beginnings: Busking, Punk Roots & DIY Spirit

The band was formed in Santa Cruz, California in the early 2000s, but its origins trace back to Vermont, where childhood friends Pete Bernhard (guitar/vocals) and Cooper McBean (guitar/banjo/vocals) grew up. They played in punk and rock bands during their teenage years but developed a love for folk, blues, and early American music along the way.

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After high school, Bernhard moved to California, where he met Lucia Turino (upright bass/vocals). With McBean eventually joining them on the West Coast, the trio began busking, playing coffee shops, bars, and small venues, crafting their raw, high-energy acoustic sound with no drummer—just guitar, banjo, upright bass, and foot-stomping rhythms.

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They quickly built a DIY following, relying on word-of-mouth, relentless touring, and grassroots support rather than mainstream industry backing. Their music stood out because it felt like punk rock played on acoustic instruments, delivering fast-paced, darkly humorous storytelling reminiscent of outlaw country and delta blues legends.

Debut Album: The Devil Makes Three (2002)

In 2002, they independently released their self-titled debut album, which captured the raw essence of their live performances and storytelling magic.

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The album was recorded simply and authentically, with no excessive production—just the band’s raw energy, tight harmonies, and rhythmic drive.

Fans of Johnny Cash, Woody Guthrie, and early blues musicians could hear their influence, but there was also something modern, rebellious, and uniquely The Devil Makes Three in their sound.

The debut album gained a cult following, especially in Santa Cruz and other underground folk scenes, laying the foundation for their future success. Their ability to blend old-time music with punk spirit would only grow stronger in their later albums.

The Devil Makes Three: The Beginning (2003)

The year 2003 was a defining moment for The Devil Makes Three—a band that would go on to carve its own gritty, foot-stomping path in the world of Americana, folk, and punk-infused bluegrass.

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But at the start of that year, they were still three musicians hungry to be heard, playing anywhere that would have them, fueled by the restless energy of a band that knew they had something special.

The Road to the Debut Album

At the core of the group were Pete Bernhard, Cooper McBean, and Lucia Turino—a trio bound by their shared love of old-time music, folk storytelling, and a rebellious punk spirit.

They weren’t trying to fit into the polished, radio-friendly folk revival that was starting to bubble up in the early 2000s. Instead, their sound was raw, percussive, and soaked in the same whiskey-stained traditions that once fueled outlaws, ramblers, and drifters.

The three musicians had first met in Vermont, where Pete and Cooper had grown up. The two had been friends since high school, swapping music and ideas before deciding to take their passion on the road. They eventually landed in Santa Cruz, California, where they found a thriving underground music scene—one that embraced the band's genre-defying style.

Lucia Turino, a skilled upright bassist, joined them, adding a deep rhythmic pulse that set their sound apart. With no drummer, their instrumentation relied on the thump of the bass, the chugging energy of acoustic guitars, and Pete’s raspy, storyteller vocals.

They were just as much at home playing in dive bars as they were on the streets, where they busked to earn enough money to keep going.

Recording the Self-Titled Album

By 2003, The Devil Makes Three had built a cult following in Santa Cruz. They had a reputation for electrifying live performances—audiences stomped and clapped along as if they were at an old-time barn dance infused with punk attitude.

That year, the band self-released their debut album, The Devil Makes Three, a record that perfectly captured their raw, unfiltered energy.

The album featured songs that would become staples of their career:

• "Old Number Seven" – A whiskey-soaked anthem that would become one of their most recognizable songs.

• "Graveyard" – A song that perfectly blended folk storytelling with the band’s dark, mischievous lyricism.

• "The Plank" – A track that showcased their punk-meets-old-timey energy, with lyrics that felt like they were ripped from the pages of a dusty outlaw novel.

  
  

The recording process was simple, unpretentious, and true to their roots—they didn’t have a major label backing them, no big-budget studio, just a band that wanted to capture the fire of their live shows in a way that felt authentic.

The Underground Rise

After releasing their self-titled album, The Devil Makes Three hit the road hard. They toured relentlessly, playing DIY venues, bars, house shows, and any stage that would take them. Their music started spreading beyond Santa Cruz—word-of-mouth, burnt CDs, and underground music forums helped introduce their sound to new audiences who were craving something raw and real.

2003 was the year they went from local heroes to underground legends, setting the foundation for the following decades of independent success, festival slots, and a dedicated fanbase that would grow with them over time.

The Devil Makes Three: On the Road (2004-2005)

By 2004, The Devil Makes Three was no longer just a scrappy local band playing Santa Cruz dive bars—they were a force on the road, carving out a reputation for delivering electrifying performances in basements, smoky bars, and anywhere with a wooden floor sturdy enough to handle a stomping crowd.

Their self-released 2002 debut album had begun spreading like wildfire, passed from fan to fan through burned CDs, word-of-mouth, and the emerging underground folk-punk scene. The band—Pete Bernhard (guitar, vocals), Cooper McBean (guitar, banjo, vocals), and Lucia Turino (upright bass, vocals)—was hungry to keep pushing forward.

2004: Living on the Road

With no record label and no industry machine behind them, The Devil Makes Three did what they did best: they hit the road and stayed there.

They lived the classic DIY musician’s life—cramming themselves and their gear into whatever vehicle they could afford to keep running, sleeping on couches, and playing show after show to grow their fanbase the old-fashioned way.

Their sound—a gritty fusion of old-time folk, blues, ragtime, and punk energy—was unlike anything most people had heard before. Their audiences weren’t just bluegrass or Americana fans; they were drawing in punk kids, metalheads, folk purists, and everyone in between.

They crisscrossed the West Coast, playing in cities like San Francisco, Portland, Seattle, and Los Angeles, as well as smaller towns where their music resonated with anyone who loved raw, unfiltered storytelling set to driving rhythms.

Fans started showing up to multiple gigs, following the band from city to city.

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But touring wasn’t easy—venues weren’t always welcoming to a band that didn’t fit neatly into a single genre. Some places didn’t know whether to book them on punk nights, folk nights, or country nights. But that was their magic—they belonged everywhere and nowhere, and they thrived in the in-between.

2005: A New Album & a Growing Fanbase

By 2005, the non-stop touring was paying off. The Devil Makes Three had built a cult following across the West Coast and beyond, with devoted fans who loved their live shows just as much as their debut album.

That year, they released "Longjohns, Boots and a Belt", their second independent album. It was a live recording, capturing the raw, stomping energy that had made their concerts legendary.

They didn’t have the luxury of big recording studios or polished production, but they didn’t need it. This record was pure Devil Makes Three—no-frills, no gimmicks, just pure, infectious, foot-stomping music.

The album included:

• "Beneath the Piano" – A fan-favorite, showcasing Pete’s signature dark storytelling and gritty vocal delivery.

• "Ocean" – A haunting, stripped-down song that highlighted the band’s deep connection to traditional folk and blues storytelling.

• "Nobody’s Dirty Business" – A rollicking, old-timey tune with a mischievous edge that fit perfectly into their growing catalog.

With the success of the new album, The Devil Makes Three expanded their touring territory, pushing further into the Midwest and East Coast.

They started picking up steam in places like Colorado, Texas, and Tennessee, where their unique sound caught the attention of bluegrass lovers, punk rockers, and alternative music fans alike.

At this point, their shows were no longer just small bar gigs—they were packing rooms, and their fans were showing up knowing every word to their songs.

The DIY Spirit & Legacy of 2004-2005

Through 2004 and 2005, The Devil Makes Three proved that a band could build something real without major label backing or industry gatekeepers. They were a touring powerhouse, relying on sheer determination, incredible live performances, and a dedicated fanbase to keep them going.

These years set the foundation for their eventual breakthrough—while they were still very much an underground band, the seeds they planted during this relentless era of touring and self-releasing albums would eventually grow into something much bigger.

The Devil Makes Three: The Road to Cult Status (2006-2011)

By 2006, The Devil Makes Three had become a name whispered in the underground, passed along by die-hard fans who swore by their fiery, boot-stomping live shows.

Their relentless DIY touring, word-of-mouth fanbase, and raw energy had turned them into something more than just another folk trio. They were becoming a movement—a bridge between old-time Americana and the unbreakable spirit of punk.

But they were still outsiders.

The music industry didn’t quite know what to do with them. They weren’t bluegrass enough for the traditionalists, not country enough for Nashville, and too rootsy for the indie-rock scene. But they didn’t need permission to carve out their place. They just kept playing.

2006-2008:

"A Little Bit Faster and a Little Bit Worse"

By 2006, the trio—Pete Bernhard (guitar, vocals), Cooper McBean (guitar, banjo, vocals), and Lucia Turino (upright bass, vocals)—were road warriors. They had spent the last few years touring almost non-stop, playing sweaty, sold-out shows in bars, clubs, and festivals across the U.S. Fans followed them from city to city, and their audience was no longer just West Coast punks and folk lovers—they were picking up steam nationwide.

That year, they released "A Little Bit Faster and a Little Bit Worse", another live album that perfectly captured their signature sound: dark, gritty, and full of whiskey-soaked storytelling.

This wasn’t polished, studio-perfected bluegrass. It was rough, unfiltered, and pulsing with energy—exactly how their fans loved them.

Songs like "Tow" and "For Good Again" became underground anthems. The band wasn’t just playing music; they were telling the stories of outlaws, drifters, and the beautifully broken.

Their fanbase kept growing. They weren’t getting radio play, and they weren’t signed to a major label—but they didn’t need it. Their music spread through live shows, bootleg recordings, and the internet, where fans in distant cities were discovering them for the first time.

2009-2010:

Do Wrong Right – The Breakthrough Album

Everything changed in 2009 when The Devil Makes Three released their first true studio album in years:➡ "Do Wrong Right"

It was their biggest album yet, packed with some of their most beloved songs:

• "Do Wrong Right" – A title track that became their mission statement, embracing the idea that life isn’t always about following the rules.

• "All Hail" – A fast, driving song that felt like a rallying cry for outsiders.

• "Gracefully Facedown" – A drinking song with swagger and wit, embodying the rowdy spirit of their live shows.

This album was a turning point. More people were paying attention. They started landing bigger festivals, from bluegrass gatherings to punk-adjacent festivals where fans weren’t afraid to stomp along. New audiences were finding them, and longtime fans were feeling vindicated—The Devil Makes Three was finally getting the recognition they deserved.

By 2010, the band’s live shows were at another level. The crowds were bigger, rowdier, and more devoted than ever. They weren’t just an underground favorite anymore—they were headlining their own tours, and their album hit #1 on the Billboard Bluegrass charts.

2011: Cementing Their Legacy

By the time 2011 rolled around, The Devil Makes Three was no longer just a band you stumbled across—they were a must-see act. Their reputation as a live powerhouse had cemented them as one of the most exciting bands in the folk and Americana scene.

They weren’t a household name yet, but they had something more powerful than mainstream success:➡ A fiercely loyal fanbase that had been with them since the early days.

Their shows had evolved into something almost spiritual, a gathering of outsiders, misfits, and lovers of raw, unpolished music. They had built their own world, one where punk rockers and bluegrass purists stood side by side, stomping their boots to the same rhythm.

2006-2011: The Legacy of These Years

• From an underground band to a headlining act

• DIY to #1 on the Bluegrass charts

• A growing cult following that would last for decades

This was the era that made The Devil Makes Three who they are today.

The Devil Makes Three: From Cult Heroes to Americana Icons (2012-2019)

By 2012, The Devil Makes Three was no longer a secret whispered between folk-punk purists and underground music lovers. They were becoming something bigger—a band that transcended genres, playing to audiences that felt more like family than fans.

The years of relentless touring had paid off. They had gone from playing small bars and DIY spaces to headlining major festivals and selling out iconic venues. Their sound—gritty, unpolished, soaked in old-time blues, ragtime, and outlaw country—was connecting with people in a way that felt both timeless and urgent.

But they weren’t done yet.

2013-2014: I’m a Stranger Here – A New Era

The Devil Makes Three had built their reputation on their raw, stripped-down acoustic energy, but for their next album, they wanted to take things to the next level.

In 2013, they released "I’m a Stranger Here", their first studio album with a full producer-led recording session, helmed by the legendary Buddy Miller (who had worked with luminaries like Emmylou Harris and Robert Plant).

This album was different. Darker. Fuller. It still had the Devil Makes Three DNA—storytelling that felt like whiskey-soaked folklore—but now it was backed by a rich, textured sound that expanded their sonic world.

Tracks like:

• "Stranger" – A brooding, haunting song that captured the loneliness of wandering.

• "Spinning Like a Top" – A rolling, hypnotic tune that felt like a dizzying trip through the band's own history.

• "Hallelu" – A fan favorite that pulsed with bluesy, gospel-infused energy.

The album debuted at #1 on the Billboard Bluegrass Chart and solidified their place as one of the most exciting bands in Americana. They weren’t just an underground sensation anymore—they were charting, playing bigger festivals, and reaching a whole new audience.

And, of course, they kept touring like mad.

2015-2016:

Redemption & Ruin – A Tribute to Their Roots

After years of writing their own stories, The Devil Makes Three decided to pay tribute to the music that shaped them.

In 2016, they released "Redemption & Ruin", an album made entirely of covers—songs that had influenced their sound from the beginning. It was a love letter to American roots music, divided into two halves: songs of sin and songs of salvation.

With covers of legends like Tom Waits, Willie Nelson, and Muddy Waters, this album felt both personal and universal. They were tipping their hats to the past while showing just how much their own music had become part of that lineage.

This album resonated deeply with fans and critics alike. It hit #1

on the Bluegrass charts, and the band played some of their biggest shows yet.

2017-2018: Chains Are Broken – A Full Evolution

By 2018, The Devil Makes Three had spent nearly two decades on the road. Their fans had followed them from dingy bars to massive festivals, and their music had evolved with them.

They had always been an acoustic powerhouse, but now they were ready to bring in something they had resisted for years:

➡ Electric guitars.

Their 2018 album "Chains Are Broken" was a turning point. It was their first fully plugged-in studio record, adding drums and electric instrumentation for the first time in their career.

It wasn’t a departure—it was an evolution. The songs still carried their signature outlaw spirit, but the sound was bigger, bolder, and more expansive than ever before.

Tracks like:

• "Paint My Face" – A haunting, introspective song that felt like a ghost story set to music.

• "Bad Idea" – A rowdy, rebellious anthem that captured their punk-meets-Americana spirit.

• "Pray for Rain" – A slow-burning, bluesy track that showcased their storytelling at its finest.

The album took them to a whole new level, earning critical acclaim and expanding their audience beyond anything they had imagined.

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2019: A Legacy Cemented

By the time 2019 rolled around, The Devil Makes Three was no longer just a cult favorite. They were a defining act in modern Americana, headlining major festivals and touring with some of the biggest names in the scene.

They had built their career their way—without major label backing, without chasing trends, and without compromising their sound.

Now, they had:✅ Multiple #1 albums on the Billboard Bluegrass charts✅ A dedicated, die-hard fanbase across the world✅ A reputation as one of the best live bands in the business

And the road wasn’t over yet.

The Devil Makes Three: A Crossroads in the Storm (2020 – The Pandemic & Lucia’s Departure)

By early 2020, The Devil Makes Three had cemented their place as one of the most respected bands in the Americana and roots music world.

They had spent nearly two decades carving out their sound—gritty, rebellious, and deeply rooted in the traditions of folk, blues, and old-time music. Their latest album, Chains Are Broken (2018), had brought them into new sonic territory, introducing electric guitars and fuller production, yet they remained as raw and unfiltered as ever.

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They were touring relentlessly, as they always had, playing to packed houses and devoted fans who sang along to every word. The live shows were their heart and soul. But just as another year of touring loomed ahead, the world changed overnight.

The Road Comes to a Halt (Early 2020)

By March 2020, COVID-19 shut down the music industry. Venues closed. Tours were canceled. The festival circuit—the lifeblood of bands like The Devil Makes Three—was wiped out in an instant.

For a band that thrived on the energy of the crowd, the stomp of boots on barroom floors, the sweat and chaos of a live set, this was an existential crisis. The road had been their home for nearly two decades. Now, suddenly, it was gone.

Like many musicians, they had to adjust. They played a few live-streamed shows, but it wasn’t the same. The Devil Makes Three was built for the road, and without it, something felt lost.

And then, in the midst of it all, came another blow.

Lucia Turino Says Goodbye

In late 2020, longtime bassist Lucia Turino announced she was leaving the band.

Lucia had been there since the very beginning. Her upright bass playing was a defining piece of the band’s sound—that deep, percussive thump that held everything together. But more than that, she was part of the family, a cornerstone of the trio’s chemistry.

After years of relentless touring, the pandemic gave her time to reflect, and she made the tough decision to step away from the road. She was ready for a different chapter in her life.

Fans were heartbroken, but there was nothing but love between Lucia and the band. She had been there for the entire journey—from the scrappy DIY tours to festival stages, from dive bars to sold-out crowds. Now, it was time for a new path.

With Lucia’s departure, the very foundation of The Devil Makes Three had shifted.

An Uncertain Future (Late 2020 - 2021)

For the first time in their career, Pete Bernhard and Cooper McBean faced the uncertainty of what came next.

Would they continue as The Devil Makes Three?Would they find a new bassist?

Would they even be able to tour again with the world still in chaos?

Everything was up in the air.

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But if there was one thing that had defined The Devil Makes Three from the beginning, it was their ability to adapt, to keep going against the odds.

The Devil Makes Three: Resurgence and Renewal (2022–2025)

In the wake of bassist Lucia Turino's departure in late 2020, The Devil Makes Three faced an uncertain future.

The pandemic had already halted their relentless touring schedule, and losing a foundational member added to the uncertainty. However, the band's resilience and commitment to their craft set the stage for a period of transformation and revival.

2022: Embracing Change with MorganEve Swain

Determined to continue their musical journey, founding members Pete Bernhard and Cooper McBean sought a bassist who could seamlessly integrate into their unique blend of Americana, folk, and blues.

Their search led them to MorganEve Swain, a seasoned musician known for her work with bands like Brown Bird. Swain's proficiency with the upright bass and her rich musical background made her an ideal fit for the trio.

With Swain on board, The Devil Makes Three embarked on a series of intimate performances, reintroducing themselves to audiences and testing new material. These shows not only solidified the new lineup but also rekindled the band's passion for live performance.

2023–2024: Crafting 'Spirits'

Inspired by their renewed synergy, the trio retreated to Dreamland Recording Studios in Hurley, NY, to work on new material.

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Collaborating with producer Ted Hutt—renowned for his work with Dropkick Murphys and Old Crow Medicine Show—they aimed to capture the raw energy of their live shows while exploring new sonic territories.

The result was 'Spirits', a 13-track album that delved into themes of resilience, transformation, and the human experience. Scheduled for release on February 28, 2025, 'Spirits' marked their first studio album in seven years, following 2018's 'Chains Are Broken'.

2025: A Triumphant Return to the Stage

To coincide with the album release, The Devil Makes Three announced a world tour, signaling their return to the global stage. Partnering with the Bridge City Sinners as support, the tour was set to traverse multiple continents, bringing their revitalized sound to both longtime fans and new audiences.

The tour's announcement was met with enthusiasm, with pre-sales starting on October 23, 2024. Fans eagerly anticipated the opportunity to experience the band's new dynamics and the fresh tracks from 'Spirits' performed live.

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Legacy and Evolution

The period from 2022 to 2025 showcased The Devil Makes Three's ability to adapt and evolve. Embracing change with the addition of MorganEve Swain, they not only honored their roots but also ventured into new artistic realms. 'Spirits' stands as a testament to their enduring spirit and commitment to authentic storytelling through music.

As they embark on their 2025 world tour, The Devil Makes Three continues to solidify their legacy as innovators in the Americana scene, demonstrating that growth often arises from embracing change and facing challenges head-on.

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The Legacy of The Devil Makes Three: Why They Stand Apart

For over two decades, The Devil Makes Three has carved out a space in the Americana and folk-punk scene that no one else quite occupies.

Their sound is deeply rooted in old-time blues, ragtime, and folk, yet infused with a punk ethos that makes their music feel raw, immediate, and unfiltered. While many contemporary Americana bands lean into polished production, The Devil Makes Three thrives in a gritty, boot-stomping, barroom storytelling tradition that feels both timeless and rebellious.

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Why They’re Unique

A Punk Soul in an Old-Time BodyWhile their instrumentation (guitar, banjo, upright bass) suggests traditional folk, their energy is pure punk attitude. They play with frenetic urgency, stripping away excess production and instead relying on the sheer force of rhythm, storytelling, and dynamic interplay.

Dark Storytelling & Gritty ThemesThe Devil Makes Three’s lyrics explore outlaws, sinners, lost souls, and broken dreams. Their songs often feel like dusty tales from a wandering bard,

blending dark humor, cautionary tales, and poetic tragedy—a style that resonates deeply with their devoted fanbase.

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No Drummer? No Problem.One of their most defining traits for years was their ability to drive intense rhythms without percussion—a rarity in high-energy music. Instead, their upright bass and tight string work provided all the percussive force needed, making their sound more organic and unique.

DIY Ethics & Live Performance MagicFrom the beginning, The Devil Makes Three built their reputation on relentless touring, grassroots promotion, and an underground cult following rather than relying on mainstream radio play. Their live performances have always been the heartbeat of their success.

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What to Expect Seeing Them Live Today (2025)

If you’ve never seen The Devil Makes Three live, be ready for a high-energy, immersive experience—even in their latest incarnation with MorganEve Swain on bass. Here’s what makes their live shows unforgettable:

A Raucous, Rowdy CrowdTheir fans don’t just watch the show—they become part of it. Expect to see boots stomping, people howling along to every lyric, and a room full of energy that turns any venue into an old-time barn-dance-meets-punk-rock-show.

The Groove-Heavy, Driving RhythmEven with their stripped-down setup, their ability to create infectious, relentless rhythms is unmatched. Pete Bernhard’s rhythmic guitar playing, Cooper McBean’s banjo flourishes, and Swain’s steady bass work make for a sound that feels bigger than the sum of its parts.

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Setlist Balancing the Old and the NewFans can expect a mix of classics like “Old Number Seven,” “Graveyard,” and “Do Wrong Right,” alongside new material from their upcoming album Spirits (2025). The newer songs are expected to incorporate a slight evolution in sound while maintaining that signature DM3 grit.

No Flash, All SubstanceThere’s no over-the-top production, no fancy light shows—just three musicians, a few instruments, and raw musical power. Every show feels intimate, even in larger venues.

The Legacy They’re Building

With the release of Spirits and their 2025 world tour, The Devil Makes Three is proving that they’re far from done.

Their commitment to storytelling, their punk-meets-Americana ethos, and their ability to evolve without losing their core identity makes them one of the most authentic and respected acts in the folk/Americana world.

If you’re lucky enough to see them live this year, expect a gritty, foot-stomping, soul-shaking experience—one that reminds you why live music still holds its magic.