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)

      An intense pursuit of emotion...

      30 · 10 · 2025

      “I wear this crown / I didn’t ask for it,” Amy Walpole, the singer, reflects on the title track of ‘FEVEREATEN’, the second album by Witch Fever. The Manchester band's 2022 debut, ‘Congregation’, was heavily influenced by Walpole confronting her traumatic history in the Charismatic Church. This past still follows her, yet she now explores its themes with a matured perspective, though a simmering resentment remains. In ‘FEVEREATEN’, she sings, “God put my weight under his thumb / Told me I’d soon become undone / Suffocated by my worth.” The doom-punk essence of Witch Fever transforms the singer’s experiences into narratives of devastation, both nostalgic and ominous. This is one of the most remarkable aspects of heavy music: the empowerment that arises from the release of anger, intricately tied to power chords and piercing screams.

      ‘FEVEREATEN’ is ambitious in its intent, pouring every bit of disdain into its composition. Witch Fever excels when prioritizing melodies. The album opens with ‘DEAD TO ME!’, which promises intensity through its energetic drums and opening riff. Walpole’s screams convey a sense of bitterness, carrying a haunting weight. All instruments converge in the chorus, though they can drown each other out in the tumult. A similar effect can be noted in ‘SEE YOU NEXT TUESDAY,’ which has the potential to cause chaos, but its lyrics get lost in the overwhelming sound. Perhaps the tracks are designed for a live environment—each piece in ‘FEVEREATEN’ seems to yearn for amplification among a crowd, as they appear to be on the verge of achieving their full impact in a recorded format.

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      ‘The Garden’ offers a more emotive equilibrium. “Slice my hands / I’m my own blood brother,” Walpole sings, her voice slightly trembling. Guided by drummer Annabelle Joyce, the song channels a stoner-like doom reminiscent of The Sword, with its guitar and bass lines creating a hazy atmosphere that lingers in the mind. ‘REPRISE’ is a similarly haunting track. Born from sorrow and grief, it showcases some of Witch Fever’s heaviest moments as a unit.

      Witch Fever reaches their peak in the middle of ‘FEVEREATEN’, discovering a controlled chaos within their melodies. ‘DRANK THE SAP’ draws listeners in with elongated vocals and Alex Thompson's creeping bassline before it erupts into a fierce clash with Alisha Yarwood's guitar during the chorus, reminiscent of a hardcore medley. “And the willow offered me its branch,” Walpole shrieks, “I drank the sap / and drowned in its sweetness.” Conversely, ‘SAFE’ presents a less aggressive, more darkwave riff. When Walpole sings, “I was safe from rosaries around my neck,” her sadness punctuates the sound, with Thompson’s cello concluding the track on a melancholic note. ‘BURN TO HIT’ emerges from the depths of nu metal with its bass-heavy tone, threading danger throughout. The phrase “My body isn’t mine” hangs in the air.

      Witch Fever is a band with immense potential. Even in the less cohesive parts of ‘FEVEREATEN’, they demonstrate their capacity to evolve their sound and embrace every vestige of emotion.

      7/10

      Words: Paulina Subia

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When your world falls apart, the only option left is to reflect – a reality that Salt Lake City’s The Moss understands deeply, navigating through their poignant lyrics in their touching single “Oasis.” Follow our Today's Song(s) playlist Listen: “Oasis” – The Moss Oahu marked the beginning of something remarkable for teenage friends Tyke James and Willie Fowler. They formed a band called The Moss, and the rest is history. They have recently added a third member, Tyler Harris, on guitar. Influenced by artists like Pinegrove and Kevin Morby, The Moss infuses their roots and intricate lyrics into vibrant indie rock songs. Lead singer and songwriter Tyke James draws from his personal experiences to inspire the band’s lyrics – and “Oasis,” from their latest EP, Free Ride, reflects this. Devoting yourself entirely to someone leads to a feeling of being lost in their absence. When that connection is severed, it becomes evident how much you depended on them, often at the cost of your own identity. Free Ride – The Moss An oasis symbolizes an escape from the chaos of reality – a moment where turmoil is paused and life can flourish. It serves as a retreat from the world, highlighting life's invaluable treasures. One's inner thoughts quiet down, and instinctively, a person finds freedom. Everyone has their own sanctuary, and for James, it’s the bond he shared with a specific person. “‘Oasis’ is about discovering someone at a certain moment who makes you feel acknowledged,” shares The Moss’ frontman. “It’s about how essential yet short-lived it is to have someone to confide in.” You became my oasis And I lay my arms down for good Because of all the places My peace was right here next to you Oh, you The line, “My peace was right here next to you,” conveys the sentiment that without his oasis, James was left unsettled. His sense of peace relied on this individual, and with their departure, he feels adrift. I don’t wanna be sad for myself I just wanna be real And it takes time to process everything I feel With that being said I don’t have much to say Turns out my thoughts haven’t been much but in the way The Moss © S-Curve Records Oases can be misleading – they reveal a life that exists only in dreams. When someone catches a glimpse of this, they begin to envision what their life could resemble in this new existence. The heart takes precedence, while logic recedes. An oasis can distract a person from their troubles, but it ultimately offers merely a temporary reprieve. Despite the emotional uplift it brings, every oasis must eventually fade. The trio recently announced plans for a six-week headlining tour in 2026. Check out the dates below: 4/2 – Seattle, WA – The Crocodile 4/3 – Portland, OR – Hawthorne Theater 4/4 – Eugene, OR – WOW Hall 4/6 – San Francisco, CA – The Independent 4/9 – Los Angeles, CA – The Troubadour 4/10 – San Diego, CA – The Quartyard 4/11 – Phoenix, AZ – Crescent Ballroom 4/14 – Austin, TX – Mohawk 4/15 – Dallas, TX – Club Dada Outdoors 4/18 – Nashville, TN – Basement East 4/20 – Carrboro, NC – Cat’s Cradle 4/22 – Washington, DC – Union Stage 4/23 – Philadelphia, PA – Brooklyn Bowl Philadelphia 4/24 – New York, NY – Music Hall of Williamsburg 4/25 – Boston, MA – Paradise Rock Club 4/27 – Pittsburgh, PA – Thunderbird Cafe 4/29 – Ann Arbor, MI – Blind Pig 4/30 – Columbus, OH – Skully’s 5/1 – Indianapolis, IN – Hi-Fi 5/2 – Chicago, IL – Thalia Hall 5/6 – Minneapolis, MN – Fine Line 5/7 – Madison, WI – Majestic Theater 5/8 – St. Louis, MO – Off Broadway 5/9 – Kansas City, MO – Madrid Theater 5/11 – Omaha, NE – Slowdown 5/13 – Fort Collins, CO – Aggie Theater 5/14 – Englewood, CO – Gothic Theater — — :: Stream or purchase Free Ride here :: :: Connect with The Moss here :: — — Listen: “Oasis” – The Moss — — — — Connect with The Moss on Facebook, X, TikTok, Instagram Discover new music on Atwood Magazine © S-Curve Records Follow our daily playlist on Spotify :: Stream The Moss ::

Anna Lynch’s debut single “Wake Up” is more than just an initial release; it's a complete release of breath. Blending jazz-infused instrumentation with a pop-infused warmth and introspective lyrics, the Manchester-based artist creates an auditory reminder that it's okay to fall apart, grow, and start anew.

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