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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