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The Lemonheads — Love Song

The Lemonheads — Love Song

      Evan Dando finds himself again...

      30 · 10 · 2025

      There seems to be little you can tell Evan Dando about his own life that he hasn't already encountered. In ‘Love Chant’, The Lemonheads’ first studio release in almost twenty years, Dando expresses the heartache and dissatisfaction he has experienced throughout a life filled with excess and music, a journey often speculated upon but never entirely grasped. Instead of a collection of reflections on his past, this album captures Dando’s poignant return to his true self. “I been hung on a cross / I been nailed to a sounding board… I don’t know any more than I did / All those years before,” he contemplates in the album's closing track, ‘Roky’. The essence of The Lemonheads’ comeback lies in not claiming to have all the solutions, but in using music as a means to explore them.

      Dando's distinctive blend of a playful drawl and recognizable, layered riffs combines with a rotation of musicians, featuring Dinosaur Jr.’s J. Mascis on compelling guitar solos and Juliana Hatfield’s captivating backing vocals. Based in Brazil, ‘Love Chant’ was shaped in Dando's new surroundings and produced by Brazilian multi-instrumentalist Apollo Nove, with bassist Farley Glavin and drummer John Kent contributing their talents to the continuously evolving sound of The Lemonheads.

      ‘Love Chant’ requires time to appreciate, but it gradually captivates the listener with each play. ‘58 Second Song’ is a pop-rock track expressing shared longing and pain, delivering lines like, “An eye for an eye, a tooth for a tooth / And nobody knows the truth from the truth.” In ‘Deep End’, co-written with longtime collaborator Tom Morgan, Dando confronts his past addictions as he metaphorically ‘coughs up’ ghosts. ‘In The Margins’ showcases some of Dando’s finest lyrics, presenting a defiant breakup anthem that includes poignant lines such as, “Loneliness is the solidarity you chose for me.” The upbeat rhythm conceals the underlying sorrow. ‘Wild Thing’ features a country vibe, narrating a story of manipulation disguised as love, while ‘Be In’ reveals Dando's reflection on leaving one life behind for a new chapter.

      A recurring motif in ‘Love Chant’ can be found in the title track’s repeating refrain, “Tell ‘em the way.” Starting softly, the song explodes into life during the chorus with an eruption of cymbals and layered backing vocals that gradually engage the listener. ‘Togetherness Is All I’m After’ serves as a reflective ballad on the ephemeral nature of life, contrasting wistfully with ‘Marauders’ existential joy. “I’m alive, I’m alive, I said it twice, did you hear me?”, Dando inquires on the latter. Undoubtedly, ‘Love Chant’ is an album that resonates with vitality.

      7/10

      Words: Paulina Subia

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When you think of a Queens Of The Stone Age live performance, you might picture loud volume, powerful riffs, and high-energy rock music. However, what you might not anticipate are candles, orchestral arrangements, and an incredible guest appearance from Matt Berry. Fans were informed from the beginning that tonight’s concert at the iconic Royal Albert Hall in London would differ from their usual shows – indeed, with the Hallowe’en theme, it took on an eerie quality.

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It certainly helps that Josh Homme remains one of rock’s standout frontmen, captivating in any scenario. Roaming the stage with a lamp – and at one point, a butcher’s cleaver – he embodies both mesmerizing theatre and real danger. A captivating presence, his frequent interactions with the audience incite excitement among female fans and jealous glances from their partners. There are also a few risqué jokes sprinkled throughout – nothing was left unsaid.

Ultimately, the music is where Queens Of The Stone Age truly excels. Diminishing volume and embracing acoustic sounds – it’s not exactly an ‘unplugged’ show, but it's close – we are treated to a remarkable three-part sequence that transitions from fan favorites to lesser-known tracks, including something completely new.

‘Running Joke / Paper Machete’ serves as a fantastic opener, with the band visibly warming up on stage. The Them Crooked Vultures classic ‘Spinning In Daffodils’ makes a rare appearance in the second act, while the finale features a stunning, near-orchestral rendition of ‘The Vampyre Of Time And Memory’ and a vocal performance of ‘Auto Pilot’ by Michael Shuman.

The new song ‘Easy Street’ has a lively salsa feel, with the audience invited to join in clapping – there's also a dual guitar solo that exudes both LA sleaze and a Fripp-inspired improvisation.

Josh Homme is clearly in his element, both teasing and entertaining the audience. There are no barriers here; at one point he reflects on his previous physical performances, nearly apologizing. It’s all about personal growth, balanced with a playful sense of humor. Waving off security, he jokes: “I don’t need protection… I need affection!” Closing the show with ‘Long Slow Goodbye’, Queens Of The Stone Age took advantage of the historic organ at the venue, unleashing thunderous chords from the massive instrument. Josh Homme and Michael Shuman delivered the vocals a cappella, before the organist dramatically revealed his identity – it was Matt Berry! A truly unforgettable finale, it encapsulates the meticulous detail and extravagant entertainment that Queens Of The Stone Age has provided during this catacombs era – let’s hope it doesn’t remain hidden forever.

SET LIST:

Act I  
Running Joke / Paper Machete  
Kalopsia  
Villains of Circumstance  
Suture Up Your Future  
I Never Came  

Act II  
Someone’s in the Wolf / A Song for the Deaf / Straight Jacket Fitting  
Mosquito Song  
Keep Your Eyes Peeled  
Spinning in Daffodils (Them Crooked Vultures cover)  

Act III  
“You Got a Killer Scene There, Man…”  
Hideaway  
The Vampyre of Time and Memory  
Auto Pilot (Michael Shuman on vocals)  
Easy Street (new song)  
Fortress…Like Clockwork  

Encore:  
Long Slow Goodbye (Joshua Homme and Michael Shuman a cappella, with Matt Berry on the Royal Albert Hall Organ)

When you think of a Queens Of The Stone Age live performance, you might picture loud volume, powerful riffs, and high-energy rock music. However, what you might not anticipate are candles, orchestral arrangements, and an incredible guest appearance from Matt Berry. Fans were informed from the beginning that tonight’s concert at the iconic Royal Albert Hall in London would differ from their usual shows – indeed, with the Hallowe’en theme, it took on an eerie quality. Concluding their Catacombs tour in a remarkable fashion, Queens Of The Stone Age tapped into supernatural energies, keeping their signature intensity but showcasing it in an altered manner. By incorporating strings, horns, diverse percussion, and keyboards, they drew comparisons to the Violent Femmes or Nick Cave and the Bad Seeds, yet maintained a unique, rebellious charm. It certainly helps that Josh Homme remains one of rock’s standout frontmen, captivating in any scenario. Roaming the stage with a lamp – and at one point, a butcher’s cleaver – he embodies both mesmerizing theatre and real danger. A captivating presence, his frequent interactions with the audience incite excitement among female fans and jealous glances from their partners. There are also a few risqué jokes sprinkled throughout – nothing was left unsaid. Ultimately, the music is where Queens Of The Stone Age truly excels. Diminishing volume and embracing acoustic sounds – it’s not exactly an ‘unplugged’ show, but it's close – we are treated to a remarkable three-part sequence that transitions from fan favorites to lesser-known tracks, including something completely new. ‘Running Joke / Paper Machete’ serves as a fantastic opener, with the band visibly warming up on stage. The Them Crooked Vultures classic ‘Spinning In Daffodils’ makes a rare appearance in the second act, while the finale features a stunning, near-orchestral rendition of ‘The Vampyre Of Time And Memory’ and a vocal performance of ‘Auto Pilot’ by Michael Shuman. The new song ‘Easy Street’ has a lively salsa feel, with the audience invited to join in clapping – there's also a dual guitar solo that exudes both LA sleaze and a Fripp-inspired improvisation. Josh Homme is clearly in his element, both teasing and entertaining the audience. There are no barriers here; at one point he reflects on his previous physical performances, nearly apologizing. It’s all about personal growth, balanced with a playful sense of humor. Waving off security, he jokes: “I don’t need protection… I need affection!” Closing the show with ‘Long Slow Goodbye’, Queens Of The Stone Age took advantage of the historic organ at the venue, unleashing thunderous chords from the massive instrument. Josh Homme and Michael Shuman delivered the vocals a cappella, before the organist dramatically revealed his identity – it was Matt Berry! A truly unforgettable finale, it encapsulates the meticulous detail and extravagant entertainment that Queens Of The Stone Age has provided during this catacombs era – let’s hope it doesn’t remain hidden forever. SET LIST: Act I Running Joke / Paper Machete Kalopsia Villains of Circumstance Suture Up Your Future I Never Came Act II Someone’s in the Wolf / A Song for the Deaf / Straight Jacket Fitting Mosquito Song Keep Your Eyes Peeled Spinning in Daffodils (Them Crooked Vultures cover) Act III “You Got a Killer Scene There, Man…” Hideaway The Vampyre of Time and Memory Auto Pilot (Michael Shuman on vocals) Easy Street (new song) Fortress…Like Clockwork Encore: Long Slow Goodbye (Joshua Homme and Michael Shuman a cappella, with Matt Berry on the Royal Albert Hall Organ)

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The Lemonheads — Love Song

It seems that there’s nothing you could share with Evan Dando about himself that he hasn’t already encountered before. On ‘Love Chant’, The Lemonheads’ initial studio album in