Prehistoric Matriarchs: Multi-instrumentalist Troy Van Leeuwen and front man Josh Homme of the band Queens of the Stone age, perform at the Fillmore on Miami Beach on Feb. 5.
Josh Homme puffs a cigarette and takes a swig from his whiskey.
“We need to come here more often,” Homme says to the fervent crowd at the Fillmore on Feb. 5, upon acknowledging that it’s been 11 years since Queens of the Stone Age has performed in Miami.
With every searing riff, with every second of a sweet falsetto and with every pulsating beat, the band makes up for lost time, bolting through a 21-song set that consists of songs from their latest album, …Like Clockwork, and their quintessential hits, such as the stimulating “Go With the Flow” and the seductive “Make It Wit Chu.” A rare moment was “Turnin’ on the Screw,” the second time the band has played it live in 2014.
They perform with such raw virtuosity that’s only possible for a band that’s been around for 18 years to obtain. Guitarist Troy Van Leeuwen treats his Jazzmaster/Fender XII double-neck guitar as if it’s a sinew of his heart, his quiet mannerisms and humble nods of acceptance to the crowd’s cries is in stark contrast with his strident playing. In actuality, every member of Queens of the Stone Age—Homme, Van Leeuwen, bassist Michael Shuman, keyboardist Dean Fertita and drummer Jon Theodore—are vital components to undoubtedly one of the best live-rock acts right now.
Though the Queens are currently on tour for …Like Clockwork, the crowd reacts to every song as if it’s ten years old. It’s easy to see why the album—which included notable contributions from musicians such as Elton John and Dave Grohl—was the first of their albums to top the charts and was nominated for three Grammys.
The vivid, blaring red lights and the …Like Clockwork artwork flash across the screen of the stage, at times depicting a skull swimming in red water or a man being dragged across a desert with his hands bound and his eyes covered in cloth.
Homme has a few more cigarettes throughout the show, not finishing a single one. He tosses them onto the dark floor by his feet while channeling through each song as if they were currents at sea. “It’s all smooth sailing from here on out,” he sings. And you can’t help but believe him.
