Pigeons Playing Ping Pong rolled into The Palladium in August 2024 with exactly the kind of loose-limbed confidence you want from a band that thrives on sweat, smiles, and spontaneous combustion. This was a summer show in every sense of the word—bright, bouncy, relentlessly upbeat—but it also carried a little extra weight. The Palladium, with its big-room energy and enthusiastic crowds, felt like a perfect match for a band that feeds off audience participation as much as tight grooves and surprise turns.
From the moment the lights went down, the room buzzed with anticipation. You could tell this wasn’t a crowd that needed convincing. People were already dancing before a note was played, packed shoulder to shoulder, grinning like they were about to step onto a roller coaster they’d been riding for years. Pigeons have built a reputation as a band that turns venues into playgrounds, and this show leaned hard into that identity while still showing flashes of growth and musical depth.
They kicked things off with “Offshoot,” a choice that immediately set the tone. The groove locked in fast, Jeremy Schon’s guitar lines snapping into place with crisp funk precision, while Ben Carrey’s bass bounced around the low end like it had springs attached. Alex “Gator” Petropulos was in full command behind the kit, keeping things punchy and playful, never rushing but always pushing forward. Frontman Greg Ormont was pure electricity, hyping the crowd without ever overdoing it, letting the music do most of the talking.
“Time to Ride” followed, and it felt like the band leaning into momentum rather than resetting. The Palladium floor turned into a moving mass of bodies, with people bouncing, spinning, and throwing their hands in the air on cue. Pigeons have always excelled at writing songs that feel tailor-made for live settings, and this one landed exactly where it needed to. The transition into “Kiwi,” complete with a “Time to Ride” outro, showed off the band’s knack for weaving themes together without killing the flow. It was smooth, confident, and just loose enough to feel spontaneous.
“Pop Off” kept the energy sky-high, and by this point, the crowd was fully dialed in. There’s something infectious about the way Pigeons commit to fun—they don’t wink at it or undercut it with irony. They just go all in, and that sincerity makes even the goofiest moments land. The Palladium responded in kind, with sing-alongs breaking out and people dancing like no one was watching, even though everyone very much was.
Things took a slightly more reflective turn with “Distant Times,” a song that has become a reliable emotional pivot point in their sets. Live, it breathes more than the studio version, giving the band room to stretch and explore. The jam opened up gradually, never forcing the issue, and when it melted into Pink Floyd’s “Shine On You Crazy Diamond,” the room collectively leaned in. It was a bold cover choice, but Pigeons handled it with respect and restraint, letting the iconic melodies shine while still filtering them through their own sonic palette.
The Floyd cover segued beautifully into Elton John’s “Rocket Man,” another left-field pick that somehow made perfect sense in context. The crowd erupted at the first recognizable notes, and the band leaned into the sing-along energy without letting it turn sloppy. The “Distant Times” outro tucked neatly into the end of the song, tying the whole segment together and giving it a sense of cohesion that went beyond novelty. It was one of those moments that reminded you why jam bands can get away with genre-hopping when it’s done thoughtfully.
After a brief “Drums” segment that showcased Petropulos’ feel and finesse, the band eased into “Julia,” letting things cool just enough to reset the room. It was a smart pacing move, allowing the crowd to catch its breath without losing engagement. From there, “The Liquid” brought the funk back in full force, with the band locking into a groove that felt both tight and elastic. Schon’s guitar work here was especially sharp, slicing through the mix without overpowering it.
“Feelin’ Fine” closed the main set on a high note, exactly as advertised. It felt celebratory, communal, and a little bit cathartic, the kind of song that sends everyone into set break smiling and sweaty. The band left the stage to a roar that made it clear an encore was inevitable.
They returned with “Roses Are Free,” the Ween cover that has become a fan-favorite encore choice for good reason. Pigeons put their own spin on it while honoring the song’s weird, wonderful spirit. The Palladium sang along, danced harder, and soaked up every last note. It was a perfect exclamation point on a night that balanced pure fun with musical intention.
By the end of the show, it was clear that this wasn’t just another stop on the tour. Pigeons Playing Ping Pong looked comfortable, confident, and connected—to each other and to the crowd. They didn’t reinvent themselves on this night, but they didn’t need to. Instead, they delivered exactly what they do best: a high-energy, joy-forward performance that left the room lighter than it found it.
Setlist:
Offshoot
Time to Ride
Kiwi (with “Time to Ride” outro)
Pop Off
Distant Times
Shine On You Crazy Diamond (Pink Floyd cover)
Rocket Man (I Think It’s Going to Be a Long, Long Time) (Elton John cover, with “Distant Times” outro)
Drums
Julia
The Liquid
Feelin’ Fine
Encore:
Roses Are Free (Ween cover)
If you walked into The Palladium that night looking for a reason to dance, Pigeons Playing Ping Pong gave you about a dozen of them. It was a reminder that sometimes the best shows aren’t about reinvention or surprise—they’re about connection, groove, and letting go for a couple of hours.