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From a press release:

It was announced this week that Baltimore funk jam band Pigeons Playing Ping Pong, who have performed at both the Peach Music Festival and Camp Bisco in Scranton over the years, will return to the area for a live drive-in concert at the Circle Drive-In Theatre in Dickson City on Friday, Oct. 16.

Presented locally by Stage West in Scranton and SLP Concerts, the show was just added to the band’s Time to Drive-In Fall Tour that already has several sold-out dates.

Gates at the Circle Drive-In (1911 Scranton/Carbondale Hwy., Dickson City) open at 6 p.m., and the all-ages show starts at 8 p.m. Tickets, which are $150 per vehicle for general admission (up to four guests max) and $210 per vehicle for Gold Circle parking close to the stage (up to four guests max), go on sale to the general public this Friday, Sept. 25 at 10 a.m. via Prekindle. Pre-sale tickets have already sold out.

No campers, RVs, party buses, or motorcycles are admitted. Sealed water bottles are allowed. Food and beverages (alcohol included) will be available for purchase. Sitting outside your vehicle is permitted, but all attendees must arrive together and remain near their car. For more details, visit the Facebook event page.

The Circle Drive-In is following Department of Health recommendations and “adhering to safety protocols, mandatory face covering requirements, social distancing, and strict disinfecting and cleaning procedures.” Restrooms will be open with attendants on-site.

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Anyone attending a drive-in movie or event must wear a face covering and practice social distancing. The concession stand will have limited selections and has put extra safety procedures in place.

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At a time when America seems to grow more divided by the day, Pigeons Playing Ping Pong still believes in the power of music to bring people together.

“We want to offer people an escape, a place where they can leave all their troubles and worries behind and embrace the joy of human connection,” guitarist/vocalist Greg Ormont said. “Our mission with our music is to create the most blissful, carefree experience possible.”

Judging by the band’s remarkable growth, it’s a mission well accomplished. In the past two years alone, the psych-funk trailblazers have co-billed at Red Rocks, played halftime at Madison Square Garden, performed on Adult Swim’s “FishCenter Live,” celebrated the 10th anniversary of their beloved music festival Domefest, and even earned their first headlining arena show. And on Jan. 24, they released “Presto,” their fifth studio album and most sophisticated collection to date.

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Recorded in the band’s hometown of Baltimore, Maryland, the record draws on everything from funk to rock to electronic music, building off the group’s unparalleled live energy and stretching their sonic boundaries further than ever before. Ormont breaks fresh ground with his lyrics here too, reflecting new heights of emotional and technical maturity as he carves out a space for fans to cut loose, forget their struggles, and celebrate the present together.

“Excitement is infectious,” he said. “There’s nothing more rewarding than radiating the kind of positivity you want to see in the world and then watching it ripple beyond you.”

Hailed as “musical explorers” by Rolling Stone, Pigeons Playing Ping Pong – Ormont, fellow guitarist Jeremy Schon, bassist Ben Carrey, and drummer Alex “Gator” Petropulos – first took flight roughly a decade ago at the University of Maryland, and the band has since gone on to play more than 1,000 shows across 44 states. Driven by a relentless work ethic and an ecstatic sound, the fun-loving four-piece built their reputation on epic, blissed-out concerts blending addictive funk grooves with psychedelic jams and intoxicating energy. Glide called them “a band that melts faces and pulls no punches,” while Relix praised the group as “joyous” and “dance-worthy,” and Jambase described them simply as a “powerhouse.”

Acting as their own independent label, the quartet released four studio albums prior to “Presto” (including their most recent record, 2017’s widely-acclaimed “Pizazz”) and racked up more than 20 million streams on Spotify alone. They quickly became festival favorites too, performing everywhere from Bonnaroo to Electric Forest to Jazz Fest and welcoming top-tier sit-ins along the way from Marcus King (at Peach Fest) and Karl Denson, along with members of Vulfpeck, The Revivalists, Umphrey’s McGee, and The String Cheese Incident, among others. Fueled by their rabid fan base, known colloquially as The Flock, the band closed out 2019 with some of their biggest headlining shows yet, topping it all off with a triumphant New Year’s Eve bash at North Carolina’s ExploreAsheville.com Arena.

PPPP’s annual holiday shows actually played an important role in shaping the sound of “Presto.” Every Halloween and New Year’s Eve, the band hosts intricately themed blowouts, usually with a clever pun for a title, that find them adopting the styles of various other artists. One year, for example, it was “Red Hot Sergeant Peppers” (combining the music of the Red Hot Chili Peppers and The Beatles); another year, it was “New Year’s stEve” (bringing together the music of Stevie Wonder, Steve Miller Band, Stevie Ray Vaughan, etc.).

“Those shows have been crash courses in learning new ways to play and arrange music,” Ormont noted. “We picked up different techniques from all these different genres that we were able to draw on when writing ‘Presto.'”

Writing is a never-ending process for the band, and their songs are constantly evolving organisms. Often, an extended improvisation in the group’s rehearsal space will lead to an unexpected melody or chord progression, which will go on to form the foundation of a track. Once the foursome fleshes out the song’s structure and Ormont adds lyrics, the band will take the song on the road and perform it live for their most trusted confidants: The Flock.

“The crowd is like an equal member of the band at this point,” Ormont said. “We really feed off their response and truly value their input, and we can tell right away what works and what doesn’t from their reaction.”

While those live shows are marathon, sprawling affairs, Pigeons Playing Ping Pong takes a more concise approach in the studio, boiling tracks down to their core essence in order to capture the most crisp, clean, and focused iterations possible. The result is a distilled dose of pure energy, the kind of pulse-pounding lightning in a bottle that absolutely explodes out of the speakers.

“We went from a lengthy tour straight into the studio to record ‘Presto,'” Ormont recalled, “and I think that had a big impact on the sound. We had just finished playing a lot of these songs on the road, and that experience made our performances on the album so much more confident, lively, and electric.”

That fiery confidence is immediately apparent on album opener “King Kong,” which features lightspeed guitar work and funky horns anchored by a rock-solid rhythm section and wry, playful lyrics. Why wont game pigeon work. It’s a big, bold sound that sets the stage perfectly for an album all about embracing our power to focus on the good in this world and to share it with the ones we love most. The effervescent “High as Five,” for instance, implores listeners to “lead the life you’ve always hoped for,” while the rousing “Overrun” insists “You gotta give it all, all for one / Let’s appreciate all of the times we’ve made,” and the swaggering “Snake Eyes” reminds us that “this fight is for people who want to stand up.” As carefree as the album can feel (the bilingual “Yo Soy Fiesta,” inspired by one of former NFL star Rob Gronkowski’s more iconic catchphrases, is a lighthearted highlight), it also recognizes that there can be no happiness without heartache, no joy without defeat. The psychedelic instrumental “Skipjack” descends into darkness before emerging into the light, while the jazz-tinged “Havana” wrestles with doubt and despair before a helping hand lifts it back into hope and optimism, and the breezy “Dawn a New Day” explores all the ways we can pick ourselves up when we’re feeling down and out.

“We’re fortunate to have met so many people on the road who’ve said that our songs helped them get through a tough time in their lives,” Ormont emphasized. “Our music has always been about looking on the sunny side of life, and it means a lot to know that we can help others do the same while having a blast and pursuing our dreams.”

Game pigeon ios. With an album as uplifting as “Presto,” the future’s looking very sunny indeed.

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See NEPA Scene’s photos of Pigeons Playing Ping Pong performing at the 2019 Peach Fest here.

Psychedelic jam band Pigeons Playing Ping Pong quite literally bounced onto the stage of the Regency Ballroom on Saturday, exuding contagious energy, high spirits and an overall feel-good vibe. Staying true to its whimsical name, the band fed the audience fun, improvised extensions of original songs, maintaining its drive for its second night in San Francisco.

Frontman Greg Ormont shouted the city’s name as the four members took their places onstage. Sounding like a boxing ring announcer, Ormont projected, “All the way from Baltimore, Maryland, we’re Pigeons Playing Ping Pong, and we’re here to rip your f—— face off.” The band played two full sets in one night to the same audience, each made up of completely different songs.

Pigeons Playing Ping Pong was formed in 2009 by lead singer Greg Ormont, guitarist Jeremy Schon, bassist Ben Carrey and former drummer, Dan Schwartz. In 2015, the group was joined by its current drummer, Alex Petropulos.

The band, which describes its music as high-energy psychedelic funk, prides itself on following in the footsteps of legendary jam bands such as Phish and the Grateful Dead. Something about the group’s sound harkens back to the 1967 Summer of Love, appealing to fans who hope to go back to the good ol’ days. This has led the band to amass a fanbase it admirably refers to as “the Flock,” and the group took its audience back in time with its packed performance on Saturday.

Pigeons Playing Ping Pong began its first set of two with the happy song, “High as Five.” Listeners couldn’t help but smile in response to the grin plastered on Ormont’s face and his genuinely joyous voice. The band, after jamming out for at least seven minutes, transitioned to the gloriously funky “Bad for You.” It seemed as though the minimum requirement for a song was nothing short of 15 minutes, the band transitioning seamlessly from one jam to the next and sometimes playing nonstop for upward of 30 minutes.

But apart from the band’s music, the visuals onstage were equally pleasing. Petropulos’ bass drum was painted with a glowing depiction of the band’s name, and amid the strobing lights of the venue, it appeared to sway to the beat. Ormont also wore flowy pants covered in black and yellow penguins, an appropriate look for the free-spirited frontman’s stage presence.

About halfway through the first set, Schon’s guitar rang out with a few familiar chords, but not from a Pigeons song. The band slowly began the intro to “While My Guitar Gently Weeps” by the Beatles, initially playing the song as it was originally written. But as a much-appreciated twist, Ormont and Schon began playing a jam version of the song, showcasing the band’s talent and versatility.

At the end of the first set, Ormont relayed back to the crowd after discussing with Schon that the band would play straight through the set break, not wanting to leave that much dead time with a clearly energized audience. Even though the band was visibly tired, it launched straight into the next jam without much hesitation and was still able to maintain its original level of intensity.

The second set proved to be similarly full of surprises, the band whipping out another cover tucked within the middle of “Whoopie,” this time playing “1999” by Prince. But the night’s highlight was when Ormont announced that two members of the opening band, Goose, would be joining Pigeons for a performance of the song “Lightning.” The six musicians onstage jammed away, enjoying themselves as much as the audience was enjoying them. “Two birds, one bill,” Ormont quipped.

And if playing for two hours straight wasn’t enough for the band, it came back to play a 30 minute encore of “Distant Time” and “Dawn a New Day.”

Pigeons Playing Ping Pong proved that it is part of a new generation of jam bands, cherishing the ability to improvise for long periods of time to a receptive, dedicated crowd. Delivering a show complete with bass solos, iconic riffs and insane drums, all complemented by high, peaking vocals, the band no doubt made its jam predecessors proud.

Highlights: “King Kong,” “While My Guitar Gently Weeps,” “Lightning”

Pooja Bale covers music. Contact her at [email protected].