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#jon theodore
carnavoyeur · 5 months
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QUEENS COLOSSEUM: TORONTO EDITION
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serpentineandblack · 1 year
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Queens of the Stone Age
by Andreas Neumann
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holochromatic · 10 months
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qotsa // diy
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veronicabacardi · 5 months
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instagram
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QOTSA 🔥
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nuagederose · 4 months
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”in times new roman” 🐍
ig: badmotorartist
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fuckyeahviagraboys · 6 months
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laueana · 5 months
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Stuart Williams: Finally, you’ve been in the band for as long — or longer — than any other drummer. Does QOTSA feel like home? Jon Theodore: I'm definitely the best one, ok? Let's just be clear. I'm definitely the best. Just playing! I don't think I've ever been in a band for 10 years. Come to think of it, I don't know if I've done anything for 10 years. Yeah, it feels like home, man. These guys are my brothers and my best friends, they’re the people that I always want to see and hang out with. Being part of this, and watching it grow, as we’ve evolved and being more and more involved in the creation of things, I feel very invested. I feel like it's mine. I mean, I feel like it's mine as much as everybody else's. [Laughing] It’s my band, ok?
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thebowerypresents · 8 months
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Queens of the Stone Age Keep Rock Alive on Saturday Night at Forest Hills Stadium
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Queens of the Stone Age – Forest Hills Stadium – August 12, 2023
It was a fitting match for the old tennis grounds of Forest Hills, the Queens of the Stone Age in the heart of Queens. Saturday night brought along its summer best calm-before-the-storm weather, frontman (and rock elder statesman) Josh Homme giving the gathering crowd a queen-like wave, with a new gray beard that comes to a fine point. The greeting followed a welcoming kickoff run-through of the now classic “No One Knows,” the buoyancy of its impish guitar riffs setting the stage for the performance to come. 
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It's hard to position Homme’s charisma without pointing out how lacking it is from other rock bands, especially of late. The man is equal parts performer and musician, as apparent as ever on “Smooth Sailing,” Homme channeling the song’s lurching drive and launching an angular guitar solo as if he were wrestling a snake. The stop-and-start drive of “My God Is the Sun” felt like someone driving a car with one foot on the gas and the other on the brake. With wind gusts picking up around the same time, the thick smoke coming from machines was pulled into a tight breeze running across the stage. “Sometimes you love and sometimes you lose, and that’s OK,” said Homme, introducing “Emotion Sickness,” off their latest, In Times New Roman…. The tune put all three guitarists to work with dueling guitar riffs and three-part harmonies. 
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The best Queens of Stone Age songs come with heel-turn shifts in momentum. “If I Had a Tail” began pop-flavored before getting sucked into a noise-rock black hole. On “I Sat by the Ocean” Homme pulled out a glass slide, making it sound syrupy. The band’s current iteration is thick with guitar heavy hitters — and put to good use: A breakdown at the end of “The Way You Used to Do” sounded Allman Brothers-eque with guitars doubling up on each other and harmonizing. Homme polled the audience to see which new song, “Made to Parade” or “Time & Place,” they preferred, with the former eking out the win. It featured some of his best soloing of the night, hard to believe it was left to audience democracy on whether it would be played. The slow-burning QOTSA classic “Better Living Through Chemistry” followed, pausing before dropping and plowing through a final path of destruction. Next, the hard-hitting new single “Paper Machete” served as something of a resurrection.
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Homme conducted a sensual sing-along for “Make It wit Chu,” having groups of the audience trade off the chorus before blues-riffing the song to a climax. “We’re not doing a fake encore where we make you clap for us, we want to stay out here with you,” he said. Forgoing the traditional encore, Queens of the Stone Age remained for three more: After “Little Sister” and “Go with the Flow,” the frontman offered, “Wait ’til you see what we have for you” as an introduction to “A Song for the Dead.” It brings such a relentless take-no-prisoners momentum, one would think the band would have welcomed a break to catch a sip of water before launching into the finale. One would also hope this song is exactly what dying feels like, with the brain spilling out every feel-good chemical it has as it sends the soul through an all-encompassing tunnel of sound and light. With the stage lights barraging the venue with flashes of white, the track deteriorating into noisy guitar feedback, it was a perfect end to the show. Rock ain’t dead — and even if it’s dying, being near death happens to sound fucking awesome. —Dan Rickershauser | @D4nRicks
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Photos courtesy of Silvia Saponaro | @Silvia_Saponaro
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3099 · 1 year
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haluceongenic · 2 years
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EXO SKELETAL JUNCTION AT THE RAILROAD DELAYED
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carnavoyeur · 5 months
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THE END IS NERO TOUR LIVE IN PARIS
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serpentineandblack · 6 months
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Carnavoyeur
11.08.23
Frankfurt,Germany
video via danielpetz on instagram
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pinealeye · 2 months
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This beast starts drumming and the whole stadium is instantly pregnant
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veronicabacardi · 3 months
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youtube
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decodium · 1 year
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all of my alvin and the chipmunks-garfield crossover art thus far! from late 2019 to early 2020.
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laueana · 5 months
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"When I listen to it, it sounds like you're standing in the room next to us. There's a very limited number of overdubs, there's only a few songs that took more than two or three takes, so it feels like a real return to the roots of what got me interested in making music in the first place. It’s like the way that we used to make music back in the day, when there was just tape machines. You had to be good enough to just cut the song, and then if it wasn't great, you had to do it again until you got it right. I feel like, especially in this era of computerized everything, where you can fix everything, it was a real sort of personal triumph to be able to get to the place where I felt confident enough to be able to be loose in the moment. There's a lot of things that happened on those takes for the first time, while the tape was rolling. We were so all over each other synergistically that it really sounds special to me." - Jon Theodore, on In Times New Roman...
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