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.

"These Eyes" The Guess Who.

Burton Cummings of the Guess Who

"These Eyes" is a song by the Canadian rock band The Guess Who. The song was co-written by the group's lead guitarist Randy Bachman and lead singer Burton Cummings (who still sounds great) and originally included on the band's 1969 album Wheatfield Soul.

It was first released as a single (backed by "Lightfoot"), in their native Canada, where its chart success (#7), along with the influence of CKLW-AM Windsor's radio station music director Rosalie Trombley, helped land them a U.S. distribution deal with RCA Records.

It was then released in the U.S. In March 1969, and became a breakthrough success for the group, as it would be their first single to reach the top ten on the Billboard Pop Singles chart, peaking at number six,and would eventually be certified gold by the RIAA for sales of over one million copies.

While it was actually the 18th single released by the band, it was the first from the quartet of Cummings, Bachman, Jim Kale, and Garry Peterson as produced by Jack Richardson.