"I’m reminded of it all the time because it was such a significant event—everything else revolved around it. It was a moment when time seemed to halt for us."
— Michael Shuman
Carefully curated and magnificently crafted, the setlist is an enticing prospect for dedicated QOTSA fans. “There’s no electricity down there—we can’t take drums,” Michael explains regarding the early logistics. “We wanted to avoid sounding like a typical rock band. Have you ever seen Guns N’ Roses at the Bridge School Benefit? That’s a prime example of what not to do when playing rock songs acoustically. We experimented with a few others, but these were the best choices given our limitations. We embrace restrictions.”
With no power, no in-ear monitors, minimal light, and even less space, these challenges become opportunities. “How the hell are we going to harmonize when you’re all the way over there?” jokes Michael, who leans against the wall providing backing vocals during 'Kalopsia.' Watching Alive In The Catacombs, the anxiety and fragility of the entire scenario enhances the experience instead of detracting from it. Visually, Thomas deserves the accolades.
“All the effects you see in the film, the transparency, it’s not added in post-production,” he shares. “We used a reflective shiny blanket—the kind you might use to keep warm or to wrap yourself when lost in the mountains—to create reflections that move like light waves on the ceiling. We aimed to use as little light as possible. You really have to avoid touching anything in the catacombs.”
“It’s choreography,” Michael adds. “You’re only doing one or two takes, so you’re hoping everyone performs their role... You’re trying to internalize any uncertainty and remain present. It’s a delicate situation that must be treated with care.”
Unlike anything they’ve done previously, Alive In The Catacombs will undoubtedly be remembered as one of QOTSA’s most daring artistic endeavors. The magic captured that day in Paris could likely never be duplicated—or successfully achieved—by any other band, especially given the weight of Josh’s health situation. “I cried down there—multiple times,” Michael confesses.
“We spent considerable time in the catacombs, and time really flies,” Thomas notes. “It’s similar to being in a casino, with no sense of the darkness outside... [but] I didn’t want it to end. I thought, ‘We could go for another two days without eating or sleeping’ because it’s exhilarating to do this with a band you adore.”
A film for the dead, created alongside the dead, with the dead; ironically, this is their largest audience of the living to date. As they gear up to return to Europe this summer to finish that incomplete tour, Alive In The Catacombs signifies a critical turning point in this album cycle and QOTSA’s career, born from struggle and hardship. “I think about it all the time, yet not at all,” Michael concludes. “It was such a significant pivotal moment for the band. Will my friend be alright? Will our band continue? When can we reunite to perform? Can we? I’m constantly reminded about it, as it was such a monumental event—everything else stemmed from it. That’s when everything came to a halt for us.”
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Realizing a vision that has been in the works for twenty years, QOTSA bassist Michael Shuman and director Thomas Rames talk about simplifying elements in their unique concert film, Alive In The Catacombs, set alongside the haunting Parisian catacombs.