Yet, while their stage show is currently sitting on ice, The Flaming Lips are still thinking up unique ways to shepherd American Head into the world. I don’t get up at parties and play music and sing.” But for us, we don’t ever really miss the idea of performing. And don’t get me wrong: I wish this wasn’t happening now I wish everybody in the world was able to do their job and be secure. That’s why we have unicorns and lights and all this crazy stuff because it’s like, ‘Oh, we’ve got this crazy stuff for you to watch!’ It’s not about us it’s about our music and about our unicorns. “That really appealed to us because we loved making records, but we never really felt that comfortable- and still don’t-in front of an audience. “There was a time in The Flaming Lips, especially in the mid-tolate ‘90s, where we considered just making records without really playing live,” he recalls. Yet, curiously enough-despite leading a band that’s hell-bent on offering the most immersive stage show in rock music- Coyne is quick to bring up the fact that he and Drozd are actually natural introverts. Since forming in 1983 and breaking through years later with hits like “She Don’t Use Jelly” and “Do You Realize?,” The Flaming Lips have long grown into cross-genre touring titans. “It’s the first summer, in probably almost 20 years, that we’re just eating barbecue on the patio and drinking with our families, as opposed to doing that same thing in hotels and airports all summer long,” Coyne observes. Indeed, if this were any other summer, Coyne and company- fellow songwriter Steven Drozd, Michael Ivins, Derek Brown, Jake Ingalls, Matt Duckworth and Nicholas Ley-would be on the road, taking their awe-inspiring psychedelic circus from city to city, festival to festival. “All this stuff gathering dust should be in the back of a truck on the way to a festival in Atlanta or something,” the frontman says while scanning the room. Bedazzled unicorns and deflated robots rest lifelessly in the corners, waiting-like most of America-for the pandemic to be over. Wayne Coyne is standing alone in The Flaming Lips’ Oklahoma City warehouse, surrounded by the band’s long list of decommissioned stage props. The Flaming Lips face the nation’s uncertain future with a dose of revisionist history on their most soul-stirring release since The Soft Bulletin.
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