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Rating: They sold out, they’ve lost the sparkle of the past, without Oliveri they’re no longer the same... these are just some of the rumors that have circulated during the last "troubled" years of the queens. But Josh Homme pretended not to notice and continued to push forward on his path. Whether he has lost or gained something is still a bit difficult to say. Even if it’s undeniable that the "red giant’s" ideas and compositional vein have slightly waned recently (and after three excellent albums, one of which is without a doubt one of the best rock records since the '90s, this is understandable) it’s equally true that live they are still a phenomenal band. Despite all, beyond the years and through the woods. It must be acknowledged that the red-haired guitarist has always surrounded himself with truly remarkable and talented musicians. And the concert at the Alcatraz is just further confirmation of all this.
But let’s go in order... I leave Naples on Sunday evening with Alberto "the doctor" and Gianluca. We arrive in Milan in the morning and after a necessary breakfast we immediately go in search of the Alcatraz since none of the three of us had ever been there before. After about forty-five minutes on foot, we arrive at the venue around 11; naturally, there’s no one there yet. After about half an hour a group of girls aged around 17-18 arrives, part of the Italian fan club of Queens Of The Stone Age. Just seeing them, they shouldn’t even have been allowed in, but never mind. We stay nearby to grab something to eat, quite a bit of kebab each, a couple of beers and we return. As the afternoon progresses, the area in front of the venue starts to fill up. Even though it’s been known for a while that the concert is sold-out, there are more than a few people searching for tickets. From what I saw many will find them at obviously more than doubled prices (around 70-80 euros). Around 18:00 the car carrying the Queens arrives near the side entrance for the soundcheck. A quick greeting and they go straight inside. Shortly after, Castillo comes out and heads calmly towards the bus (he had forgotten the black Converse he usually wears to perform). A few seconds to realize what’s happening and the "friendly gorilla" is surrounded by about fifty people for autographs, photos, and footage. My friends and I manage to take some photos with him. Extremely accommodating and kind, after the usual business he heads back inside. Around 19:00, people start lining up to enter and, in the meantime, Josh Homme emerges unexpectedly accompanied by someone I don’t know, getting into a car that will probably take him to the hotel before the concert. At 19:45 we finally get inside and grab some excellent spots in the second row. In front of us are the hysterical girls who will soon be at risk of coming to a bad end. A few minutes and the venue starts filling up for real.
Then begins the set by a mysterious bald DJ who amazes (in a negative sense though) those present with a performance aimed at electronic music with dance intrusions worth shooting and trite trance inserts. Now I don’t understand a damn about electronics, but someone going to a Queens concert certainly doesn’t expect this kind of "preparation". The guy was busting his ass and swaying quite a bit, but the audience didn’t appreciate it at all, repeatedly addressing the unfortunate with insulting chants. After an hour the torment ends and the stage is invaded by technicians and sound engineers checking the final details. On each instrument are mounted some very peculiar "space chandeliers". Twenty feverish minutes pass, lights finally go out... and here enter the queens: Josh Homme with his lanky step and defiant face, Troy in his usual suit and tie (but how the hell could he? in the venue it was at least 30 degrees), the "bestial" and ultra-tattooed Castillo and the two new additions to the Queens’ camp: Daniel Schuman (Wires on fire) on bass and Dean Fertita (session of Raconteurs) on keyboards and synth (third guitar if needed). Time to grab and it promptly kicks off "Monsters in the parasol" (an unusual choice to open); the crush becomes immediately terrible and the mosh pit is wild. Halfway through the piece and the fan club girls immediately have to change places to avoid being crushed by the crowd. At first, Josh's voice seems a bit loud but it's a minor issue. The band is really in the groove and performs perfectly. Hardly the time to catch a breath and they hit "Burn the witch": we are at the second piece and the sounds are absolutely beyond perfect. The audience is going wild and it’s clear the five are super fired-up. Then it moves to pieces from the new "Era Vulgaris". Quite a few tracks: "Turning on the screw" (surfs start) and "3’s & 7’s" with their simple but effective riffs get everyone excited, the single "Sick, sick, sick" (and here I surfed grandly), the electronic atmospheres of "Misfit love", the drawn-out slowness of "I'm designer."
The first excellent impression is that the new pieces acquire a new speed and power live compared to the record. Speed and power ensured by a Castillo in simply extraordinary form: a real war machine. In the middle, there's even a "Tangled up in plaid" which with its memorable refrain further heats up the front rows. After the "promotional parenthesis," a nice dive into the past as our heroes unleash "Avon" greeted with an incredible roar, the quieter "The lost art of keeping a secret" (the pogo and crowd surfing showed no signs of stopping) and a devastating version of "Mexicola" where someone really risked getting hurt. Josh Homme thanks and the public does not stop doing the same for a moment. Still nothing from "Songs for the Deaf"?? How’s this possible? Said, done!!! "Go with the flow" starts and the Alcatraz becomes a hellish pandemonium. Everyone pogos, from the first to the last row. The security staff has a lot to handle, there is no moment of respite: countless people pass over our heads. A few seconds to recover, glances crossed of destroyed but satisfied people... a drumstick hits the cowbell: the riff of "Little sister" tells us it’s not over. The queens are playing and it’s orgasmic to watch them. Troy is an admirable guitarist, the perfect partner for Homme: the two don’t need to look at each other for a moment, they understand each other instantly. Schuman on bass goes at it with headbanging and moves like crazy (he seems like someone straight out of the grunge era to me); on keyboards and synth Fertita also doesn't hold back and handles himself more than well (slightly struggling when with the third guitar he has to keep up with those two monsters). A fantastic show, the ecstasy of rock 'n' roll!
The catacomb-like bass intro of "A song for the deaf" is a blow to everyone’s heart. The level is sky-high, Castillo is the driving force, Troy and Homme play the guitar superbly and create extraordinary effects: they intertwine, change harmonies and melodies only to get tangled up in the chorus... tears to the eyes. The song’s final part is simply indescribable enriched by Schuman’s mad second vocals-yells (for being newly arrived the guy shows charisma and personality) who in this context absolutely does not make one miss Oliveri. Surfing on this song is certainly one of the things I will carry with me for quite a while. They wave, thank, leave the stage, everyone applauds and yells as loud as their voices allow... it's over! Of course not! A couple of minutes and they return to the stage. Another piece from the new album. It’s "Run, pig, run" (after "Everybody knows that you’re insane" yet another jab at friend Nick Oliveri? Who can say? The lyrics seem to speak quite clearly but Homme has repeatedly stated that the bearded Nick will always be one of his best friends). "Which song do you wanna hear now?" asks Josh to the audience. Many shout "A song for the dead", others something very unlikely or incomprehensible. "Ok, we make "Regular John" says Josh with that contemptuous face for which it’s impossible not to love him. Another round, another perfect execution. This time our guys go beyond and place a chilling instrumental intermezzo right in the middle of the song before taking up the main riff again. The striking thing is the absolute naturalness with which the Queens do what they do. One song is still missing for closure: "No one Knows" (this time proposed in its original version and not in the approximately 7-minute one they had been offering lately.). As soon as the guitar starts, the audience jumps in unison. The frenzy, there are no other words.
This time it's really over, the audience is simply amazed, endless open-stage applause for these 5 gentlemen who once again have proven (if proof were needed) what it means to play rock! People begin to exit slowly, the venue was jam-packed and we take the opportunity to spend some money at the merchandise stand. After a while, we also leave, destroyed, tired but damn happy. Probably still not realizing what we have witnessed... it will take time to process it.
Qotsa: probably the best fucking rock band on the planet!
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