Queens of the Stone Age rip apart Nashville with rowdy rock and roll

Hard rock band Queens of the Stone Age have not only been the beneficiaries of a major resurgence, but can also lay claim to one of the best stories of the year. After becoming one of the world's most esteemed rock bands following the release of Rated R and Songs for Deaf in the early 2000s, Queens began to lose members and lose steam in the middle part of the decade. After going on hiatus in 2009, it didn't seem they would ever reach their previous heights again. That all changed with the release of their latest album, ...Like Clockwork, in which they further redefined their sound and challenged the parameters they operate within. The latest chapter of that resurgence was penned Monday night at Nashville's Municipal Auditorium, where they turned the arena upside down with a raucous and rollicking rock and roll performance.

One of the most exciting aspects about the current Queens of the Stone Age show is the diversity of material they have to work with, which has grown by leaps and bounds since the band's heyday. Throughout the 2000s, Queens stuck solidly to their hard rock roots and were doing it better than almost anyone else, but they weren't doing much else besides that. The release of ...Like Clockwork and, to a lesser extent, its 2007 predecessor Era Vulgaris, changed that.

Queens of the Stone Age singer Josh Homme breaks out smooth moves.

They got most of their heavy songs and staples out of the way early, giving them plenty of time to focus on the new album. In total, they played nine out of 10 cuts from ...Like Clockwork. Established crowd pleasers "No One Knows" and "Burn the Witch" offered great sing along moments, while "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire" barreled the audience over with sheer intensity. As the set progressed the guys worked in some softer numbers, including a version of "...Like Clockwork," that was much crunchier and guitar driven than the album version, and "Make It Wit Chu," on which singer Josh Homme lit up a cigarette and puffed a few smoke clouds in between verses.

The main crux of what Queens of the Stone Age do is heavily dependent on their rhythm section. Creative, well thought out beats and bass work do a great deal to separate them from your average rock band. Bassist Michael Shuman is a great performer and showman in his own right, and his dexterous playing is a key part of Queen of the Stone Age's sound. The drum and guitar work isn't always the most complex or technical, but the playing possesses a great amount of character. Much of that has to do with super slick frontman Josh Homme, who is equally impressive with his voice and his guitar. His distinctive, upper register singing voice delivers melodic lines that are simple to sing along with but also magnetizing and infectious, and he helps his cause by laying down sweet guitar leads here and there that are every bit as slick. 

London post punk act Savages slayed Nashville's Municipal Auditorium with a steely determination and sharp resolve.

He introduced demented, funky groover Smooth Sailing by declaring, "I want to play you the funk song they play on the way to hell." The performance had the whole joint grooving, while Homme broke out some silly but fun stage moves. "Sick Sick Sick" was the prime headbanger of the night, while "Better Living Through Chemistry" introduced extended jam elements into the set.

But also awesome were opening act Savages, all female post punk revivalists and labelmates to Queens of the Stone Age. In most cases the opener does little more than warm the seat for the main act, but Savages' debut album, Silence Yourself, is legitimately among 2013's best and have done a pinch of headline touring themselves. Their 40 minute set was sharp and tightly focused, boldly seizing the crowd's attention and refusing to let go.

There is always a subtle undercurrent of tension running underneath the music that threatens to burst forth like a tidal wave. Their aesthetic is totally different from Queens of the Stone Age, but one important similarity is that both bands have killer bassists. Ayse Hassan was a fountain of propulsive bass playing on this night, while guitarist Gemma Thompson alternated between subtle melodic leads and jagged, hair raising rock riffs.. Bits of singer Jehnny Beth's act were reminiscent of performance art or even slam poetry, half speaking half singing lines that served as a segue from one song to the next. 

Josh Homme ran through a gamut of different styles, sounds and approaches, alongside bassist Michael Shuman.

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Trent Reznor struggles with his sense of restraint on Hesitation Marks

It's been four years since Nine Inch Nails vanished from the limelight, and the band that returns bears considerable differences to the one we saw before. Frontman Trent Reznor has gone through an undeniable maturation process since the initial disbanding of the band, which includes the birth of two sons. Has becoming a family man mellowed out the former rage filled industrial/goth rocker? Hard to say, but one thing's clear: Hesitation Mark, is a significant departure from the band's previous offerings.

Whereas 2005's With Teeth, and 2007's Year Zero, in particular, leaned heavily on familiar formula of contrasting downbeat verses with powerhouse choruses, Hesitation Marks is a much more all-around subdued affair, working its magic in much quieter and subtle ways. There are nods to the band's industrial influences here and there, and even some experimental tracks introducing elements never before heard in Nine Inch Nails's music. And of course, Trent still finds time for his trademark sense of angst and pessimism. He's just found new, more grown up ways to do it now.

"Disappointed" is the keynote example of this. Whereas in his youth Trent might have opened up with a volley of screaming guitars and a torrent of anguish, here the damage is done by fuzz covered vocals, coupled with an anxious tremolo riff to create a suffocating sense of despair. Nor does he offer any sliver lining from the lyrics, as Trent spells out how nothing ever seems to go right: "Do you ever want to just get outta here/ So disappointed; just disappear."

The two advance singles win the award for best in show. "Came Back Haunted" is the most obvious homage to The Downward Spiral glory days, complete with a lurching mechanical keyboard riff that sounds as threatening as it does infectious. "Copy of A," meanwhile, is a case study in how to slowly build over the course of a song, letting all the effects simmer in the background until reaching a big finish complete with overlapping vocals and plenty of buzzyworthy keyboard effects.

Also of note are a couple of experimentations Reznor has whipped up. Those weary of the dreary old Nine Inch Nails should be most interested to hear "Everything," a new wave tinged piece drawing inspiration from The Cure, with 80s-esque backing vocals and Adrian Belew's chugging guitar. This song is the biggest departure in the band's career, and easily one of the most upbeat songs in their catalog.

"All Time Low," on the other hand, takes its cues from Trent's buddy Josh Homme. Reznor made a guest appearance on Queens of the Stone Age's newest album ...Like Clockwork, in June. Perhaps not coincidentally, that album bore a song called "Smooth Sailing," a significant departure for that band which sounded much more like a Nine Inch Nails song than the sludge rock they had been known for. Perhaps also not coincidentally, "All Time Low" is the closest that any Nine Inch Nails tune has come to sounding like a Queens of the Stone Age song. The funky guitar licks that back the verses and chorus sound like it could have fit in seamlessly on ...Like Clockwork. However, it does morph into its own piece as it advances, finishing with a spaced out, starry eyed twinkling coda.

There's no question that Reznor deserves credit for changing up a formula that had been Nine Inch Nails's go to game plan throughout the 2000s. Yet in spite of all that, Hesitation Marks is an album that sorely misses that big punch and can't seem to recover from it. Everything is so restrained, mellow, and withdrawn that it all becomes monotonous well before the end of the album's one hour run time. There's a few songs here and there with somewhat big, punchy choruses (Various Methods of Escape, I Would For You) that also benefit from sleek, high tech production, but it still can't seem to shake the fact that Trent feels too afraid to let his hair down. It's reminiscent of what Bjork did with Vespertine -- releasing a downtempo, after hours record as a followup to a pair of albums on which kicking her heels up was never an issue.

Average pop rocker "Satellite" and wandering, dreary mope fest "Find My Way" presses that point and lets the album down as well as any song here. There is some variety to be found, and some musical ideas worth exploring, but Hesitation Marks can't seem to break past an inherent sense of self restraint that keeps these songs from developing into than they ultimately became. The return of Nine Inch Nails in any capacity is always a welcome development, but Hesitation Marks is merely an admirable effort rather than the home run many of us were hoping for.

Score: 77/100
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Queens of the Stone Age play by their own rules on ...Like Clockwork

Of the many bands returning from hiatus in 2013, Queens of the Stone Age seem to be one of the biggest beneficiaries from taking some time off. Before the break, the band found themselves in a creative spiral that saw them losing members and losing stature, and it sounded like they were losing their minds. Their previous album, 2007's Era Vulgaris, boasted some notable experiments, but it fell flat because they seemed to be more interested in tinkering with an exotic sound than they were with delivering solid craftsmanship. Six years later, singer/guitarist Josh Homme has retooled his approach and now delivers the most ambitious Queens record since their glory days.

It contains all of the necessary elements to make a successful record. The instrumentation is great -- there's fertile drumwork with lots of off time fills and complex passages. The guitar work is impressive. Some leads really jump out and demand your attention, while others are more subtle and affect you in ways you may not realize until you've spun the disc several times. For his part, Homme once again shows his value as a consummate everyman vocalist. His performances are always great, but the arrangements are simple enough that the average Joe can easily pick it up and sing along. That generally remains the case here, but Homme gets more of a workout than usual, which allows the band to explore some different directions.

To pigeonhole Queens of the Stone Age as a mere rock band would be a mistake. Unlike some of their earlier material, this album is not all rock all the time; Homme cleverly structures each song to include a vast array of sounds and styles. There are dark, moody ballads, up tempo tunes with soul and swagger, and plenty of high energy rockers as well.

"Keep Your Eyes Peeled" opens the album on an ominous and dissonant note; with its acidic guitar riff and sense of unease it bears similarity to "Turnin' on the Screw" from Era Vulgaris, but the complex drumming, appropriately fuzzy bass and Homme's haunting vocal quickly makes it clear this is a different beast.

The eerie downtempo ballad "Vampyre of Time and Memory" operates in a similar musical neighborhood, though this one starts out slow and minimalist while slowly but surely building up to a clear catharsis. It's a theme the album seems fond of exploring; in this case it manifests itself by concluding with some spacey and wigged out guitar work.

In terms of straight ahead rockers, "I Sat by the Ocean" is easily the catchiest, and is the track most likely to put a smile on your face. Homme shows off a wide range here as he weaves a tale of trying to forget about an old flame. His upper register vocals inject a swaggering sense of groove into the music, while the crunching guitars recall the glory of 70s rock and roll. It is guaranteed to get your foot tapping and your body moving.

And make no mistake -- when it comes to swagger, this record delivers in heavy doses. "Smooth Sailing" is very funk, groove and soul oriented, and it plays out like Homme asserting his claim to sex god status. It never lacks for braggadocio, as he asserts that he'll "make a mountain out of a molehill if the molehill is mine." If that's not enough, he also declares that he'll "blow his load over the status quo." Sexy or just eww? You be the judge.

Elsewhere, "Kalopsia" provides a stoned, drug induced haze of gentle serene relaxation which is broken up by a buzzy bedroom guitar riff during the main refrain. "Like a Tail," meanwhile, features some half scat/made up words from Homme during the lead in, and slowly grooves its way to a hard rocking conclusion.

As far as the much ballyhooed guest spots on the album go -- Trent Reznor, Mark Lanegan, Nick Oliveri, and Alex Turner of The Arctic Monkeys all make appearances -- the fact is you likely wouldn't notice any of them if you didn't know they were playing on the track beforehand. The band keeps their signature sound intact by donwplaying the role of guests on the album.

Of all of them, Elton's John's guest spot on "Fairweather Friends" is the most notable. Many songs on this album seem to start off slowly and then try to blow you away with a heavy riff, and this one is no exception. But this is perhaps one of the most fully formed songs on the album. Homme delivers his best performance on the album with his uplifting vocal. There are great rock riffs paired with plenty of winding and weaving guitar leads and solos pepper the song's landscape. Dave Grohl provides energetic drumming with lots of rolls and fills that open up possibilities for the rest of the band, and Elton John's piano work fits in so naturally with the rest of the mix that one would be hard pressed to imagine the track without it.

Yet in spite of the breakthroughs made on this album, some factors do hold it back. There is an over reliance on the method of opening a song with a quiet, downbeat intro only to build to a louder or more dramatic conclusion. There's nothing wrong with that approach, but the extent to which the band utilizes it here leads to a case of diminishing results as the album progresses. The penultimate track, "I Appear Missing," drifts back and forth between the whole quiet/loud dynamic as each verse gives way into the chorus. A handful of other songs, including "Kalopsia," "If I Had a Tail," and "Vampyre of Memory of Time" leans on this technique in some form or fashion.

This insistence on tempering the heavy rocking sections with those that are more subtle or quiet causes it to often feel like the band is trying to hold themselves back from rocking too hard. They tip toe around the rock on many of these songs, and it's hard to not wish for them to cut loose a little more often. It's fine to dabble in creative experiments but rock is one of the things Queens of the Stone do best, and sometimes it feels like they forget that. 

However, it's all for a good purpose. There are albums released this year which would hold more appeal for a fan of heavy rock, or someone looking for something intense. But Like Clockwork exercises more creativity than most of those records, along with a greater sense of variety. With this savory cornucopia they've delivered up, Queens of the Stone Age show their aim is to transcend the notion of being a mere rock band. It's a concept that bears a great deal of merit in its own right.

Score: 85/100