The roots of A Crock of Daisies stretch back to the vibrant, crackling energy of the 1970s—a time of musical revolution, cultural experimentation, and artistic cross-pollination. The band’s story—spanning six decades in spirit if not in chronology—is one of tangled connections, unexpected reunions, and the mysterious alchemy of musical chemistry.

Like all great origin tales, theirs begins with a chain of “someones”—a friend who knew a friend who played with someone else—leading inevitably, almost cosmically, to a freezing Saturday afternoon in January 2023. In a modest rehearsal space thick with the scent of old amps and new ambition, four musicians—Andy Demetriou, Adam Gill, Greg Kaye, and Bob Newman—plugged in, looked around, and, without ceremony, launched into a cover of the Small Faces’ All or Nothing. From the first riff Bob struck on his guitar to Adam’s raw, commanding vocal delivery, something electric took hold. It was unspoken, undeniable. A spark. A reckoning. A beginning.

Their influences read like a cross-section of the most daring and diverse corners of modern music: the symphonic complexity of King Crimson, the theatrical vision of David Bowie, the raw punk defiance of The Sex Pistols, and the galloping metal anthems of Iron Maiden. All of these currents collided within each member, creating a sonic palette that refused to conform to a single genre or style. What emerged was a shared ambition: to create original music—music that wasn’t tethered to expectation, that lived and breathed on its own terms.

Out of these early sessions rose ‘Jacuzzi Queen’, a swaggering, genre-bending declaration of purpose. It didn’t merely introduce the band—it announced them. From there, momentum snowballed. Songs flowed. Videos followed. Their sound—a kaleidoscopic blend of rock ‘n’ roll, grunge-pop, country-inflected storytelling, and even shades of melodic rap—became not a contradiction, but a calling card. A reflection of lives steeped in music, and of a band that had nothing to prove except to themselves.

As drummer Andy Demetriou puts it, with the kind of clarity that cuts through every distortion pedal and delay effect:

“At the end of the day, it all comes down to the music.”