In September 2026, legendary American folk singer, Dave Bixby, embarked on what would be his final tour of the United Kingdom and select European countries including Belgium, Spain, and Italy. The journey of Mr. Bixby from his seminal 1969 album, ‘Ode to Quetzalcoatl’, through his time spent serving as a leader in a Michigan-based Christian cult called ‘The Group’, his fallout and schism with ‘The Group’ and retreat from society, to the subsequent rediscovery and return to the spotlight over the last 15 years, due in large part to Guerssen Records out of Spain, has been covered extensively by It’s Psychedelic Baby Magazine – see PBM November 2011, June 2018, January 2023, & August 2026. This final UK/EU Tour, organized by Life is Beautiful Records (UK), was well received and yielded sold out shows with fans coming out en masse to witness this rare treat and to partake in this special event. Having known Dave for almost a decade and being in frequent correspondence and collaboration over that time, and yet having never met in real life, I made a point to make the 5,000-mile pilgrimage to what would be the last installment of his tour at St. Giles’ Church in London and meet the man and the icon himself.
The final performance was held on Sunday, September 20th, in the Camberwell district of South London. The nearly 200-year-old church, rebuilt into its current state in 1844 following a devastating fire, served as the perfect neo-gothic backdrop for this monumental event. The irony of the concert being held in a church was not lost on Bixby as he even jokingly posed behind the wrought-iron gate serving as the entrance to the church and alluding to the potential for organized religion to become a prison. A crowd of young fans, having travelled across the UK and from Ireland and other European Nations, waited patiently to be let in to the sacred space now bathed in the flickering light of hundreds of candles dancing across the stained-glass windows and an eerie purple light reflecting off of the Dorset limestone of the interior walls and columns. Over 400 ragtag audience members filled the pews of the church and spilled out into the aisles and central nave of the church sitting cross-legged in meditation or sprawled out in a state of bacchanal rumination. The communion flowed freely as participants imbibed on wine, cider, and tall cans of lager while vibing with the opening act, the experimental improvisation collective, orchestra379, and patiently waited for Mr. Bixby to take the stage.
At exactly 9pm, Dave Bixby entered St. Giles’ Church wearing a blue western-style pearl-snap button-up shirt and clutching his red Gibson hollow-body guitar. He was met with raucous applause followed by attentive silence as he immediately began playing “Transform Your Dreams” from ‘Lost Songs Found/ Return of Quetzalcoatl 2012’ before diving into the autobiographical downer-folk classic “Drug Song” from 1969’s ‘Ode to Quetzalcoatl’. Bixby’s hour-long set drew heavily from ‘Ode to Quetzalcoatl’ while also pulling from ‘Second Coming’ with songs such as “Cosmic Energy” and “Open Doors” and a few others from “Lost Songs Found”. Mr. Bixby spoke truly and candidly directly to the audience between each song, causing laughter from his jokes and quiet introspection from his more philosophical statements and musings, sharing more insight into this charismatic character looming above us from the church pulpit. From the newly distorted and doom-like rendition of “666 Apocalypse” to the closing chords of “Temples of Stone”, Bixby kept his audience captivated and maybe even entranced to some degree. Once it had ended, many people left the church quietly to drift into the darkened streets of London while others stayed behind to form a neat line and meet Dave Bixby who happily stayed behind to speak with anyone who wished to do so. When it had all died down and the final guests had left, Mr. Bixby and myself walked down the street to grab some scran at the last local establishment still open at 1 am and choke-down some mediocre fried chicken and the worst barbecue ribs, from some undetermined species, I’ve ever had in my life at Morley’s Fast Food. Among the inebriated patrons and homeless drifters and grifters trying to get a free meal, we discussed the closure of this chapter of his life and what may be ahead in the immediate future for Dave Bixby and his Harbinger Orchestra…
Your live audiences seem to consist overwhelmingly of young fans in their late teens and 20s. What is it about ‘Ode to Quetzalcoatl’ that it still speaks so strongly to this new generation of young people after more than 50 years?
Great Question, I ask myself the same thing. Looking out over the gathering of young faces connecting with my record they have listened to for 3 to 5 years. What I went through is what they’re going through. Rites of passage and soul searching. The story is the same, “thank you for your music and words. I was in a dark place and I discovered your album. It gave me hope.”
In 1969 I sat on the floor and opened several boxes of LPs. I wondered to myself, “what am I going to do with all of these albums?” It came to me – each record is a face in my future and here I am!
You put on an amazing performance in London, and I was so happy to be there for the experience! My absolute favorite part was hearing ‘666 Apocalypse’ which you have imbued with a new life. The song felt heavier and ‘dronier’ than on the LP. How did you achieve this new sound and what prompted the change?
My answer is foot pedal guitar effects. I use only three effects. After the concert many asked the same question. My guitar plugs in clean with no effects. The control board person adds echo to sound like the record. I discovered a foot pedal called “The Mellotron” and it found its’ way into the songs adding orchestra and choirs backing the guitar. Nice big sound with orchestra. I use it sparingly on songs that deserve it. Usually ballads. What it gives me is an on and off switch and the effect is when the guitar strum fades away, the orchestra continues to fade and stops when I mute the strings.
I really appreciate that you take the time after every performance to stay behind and meet every single fan that wants to meet you to chat, take photos together, and get your autograph. What effect has this practice had on you personally and the connection to your fans?
Back in the day, folk singers performed live in coffee shops. Introducing songs and talking about the meaning of each tune. Always a takeaway. The voice stood out over the music like a poet. That practice faded away but I did not! I get off stage and onto the floor shaking hands and hearing their stories. I mostly listen. Many people on this tour came forward holding back the tears and some just letting it out. Without sounding religious, its spiritual hunger satisfied. All music is a go-between from here to there – If you catch my drift!
What were the highlights for you of this final UK/EU tour? Are there any stories from the road that you would like to share with our readers?
Each concert brought out the best of me. Europeans have a longer attention span and listen intently. It was a powerful experience at this stage of my life. The road is rough, but it gets you there.
With your tour of the UK and Europe now at an end, what is next for Dave Bixby?
I have been working on three books over the years. I have teamed up with two writers I have known to help bring them into reality and become a literary author to move into public speaking and interviews.
Any final words for readers?
Last words. If you suffer depression stop running from it, turn and embrace the void.
You can’t get out but you can go through to the other side. Yes, the other side! You will feel better there when it becomes here and now.
Thank you, Dave! It was an honor to meet you in person and discuss these matters with you.
Written and illustrated by Justin Jackley
Originally posted on It’s Psychedelic Baby Magazine – November 2026
