Some conspiracies about the alien agenda lean into Juicy Woo Woo! territory—and if John Sobol has any say, that’s exactly where he wants to lead us. As a storyteller and musician, he mixes UFO lore, pop culture, and cosmic musings into a 60-minute journey that moves from fear to acceptance. With his show, he wants audiences to feel they are in the experience. Here, they also get caught up in the latest reports too.
There are no cameos from the jazz greats I usually spin, but I swear Pharoah Sanders might have heard the call.Anything tied to cosmic consciousness or “The One” could appear, though that might overwhelm a casual Fringe crowd. As for the Lemurians of Mt. Shasta or why some people live in a shared bubble, that depends on which studies you trust.
Science calls it Unified Field Theory, while Theosophy uses other names. Some threads connect to the Emerald Tablets of Thoth, which I’ve been casually studying for decades. Sobol’s deep dive began just two years ago, yet he stays current with today’s musings. I could almost see Mulder from The X-Files nodding in the back row. Even with my background, he offered fresh directions to explore—and that’s saying something.
Psychedelics aren’t openly promoted, but the theme of heightened awareness (either because of disability or something else) and expanded consciousness runs throughout. That’s juicy. His discussion of quantum states adds just enough hard science to ground the show. It also nods to the theatrical traditions of Contact—capital C intentional.
Name-dropping anchors his points. From whistleblower David Grusch on UAPs to astronauts Gordon Cooper and Buzz Aldrin sharing their beliefs, Sobol’s references affirm rather than always enlighten. That matters for anyone curious about fringe theories and looking for signposts.
His musical choices feel deliberate. Sun Ra once claimed abduction, and Syd Barrett’s struggles isolated him from many, so their echoes here make sense. I won’t say which song he uses, but when the show leans on improvisation—a hallmark of jazz—the tunes can range from “Shine On You Crazy Diamond” to “Interstellar Overdrive,” keeping each performance slightly different. The selection from the early days is limited, and I just wish there had been one more song, like “Astronomy Domine” or “Let There Be More Light.”
Unless the pieces are sax-heavy, which John plays brilliantly, the choices remain constrained—but the variety still adds excitement. Since the second half leaned more into talk, another musical interlude would have helped. The cabaret-style numbers shine, and with more of that energy, I would have been cheering like I’d just stumbled into Mos Eisley.
Afterward, I asked Sobol if he plans have more shows. He’s game, but Fringe festivals are lottery-based and hard to get into, so the challenge isn’t artistic—it’s logistical. All the more reason to catch it now while it’s still here. Or, if you see it advertised at your local Fringe theatre festival, it’s worth the catch! Who knows—you might find enlightenment too. If the stars align, this work could easily reach an audience well beyond a single festival stage.
Juicy Woo Woo! also wants you to check out their claims on their official website too!
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