SPILL FILM REVIEW: QUEENS OF THE STONE AGE – ALIVE IN THE CATACOMBS (THEATRICAL SCREENING @ THE ROYAL CINEMA, TORONTO)

QUEENS OF THE STONE AGE – ALIVE IN THE CATACOMBS (THEATRICAL SCREENING @ THE ROYAL CINEMA, TORONTO)

MATADOR RECORDS

JUNE 3, 2025

Nearly two decades ago, upon first visiting The Paris Catacombs, Josh Homme had dreamed of performing within the tomb. In July 2024, this became a reality as Queens Of The Stone Age put on a once in a lifetime performance as you’ve never heard before with a carefully curated, career spanning setlist reconfigured for the aesthetic of the Catacombs. The performance was shot and recorded live and now, ahead of its official release on June 5, Queens Of The Stone Age have launched a limited theatrical premiere of the concert in select cinemas across 20 countries, including a showing at The Royal, one of Toronto’s oldest theatres, on June 3, as hosted by Indie88.

Drenched in dimly lit warm tones, set to a backdrop of stone casket and an immeasurable number of skulls, Queens Of The Stone Age, along with a string trio, would perform a series of five tracks in the hallowed halls. The setting was quintessential to the atmosphere of the film. Ultimately serving as the co-star to Homme’s lead role, there was an eerie air of calm to witnessing a live performance within The Paris Catacombs. The ensemble opened their set with an unrecognizable rendition of “Paper Machete”, a version that grew from an a cappella performance from Homme, slowly growing with the inclusion of additional instrumental voices, one after another; first keys from Dean Fertita, an acoustic guitar from Troy Van Leeuwen, acoustic bass and soft backing vocals from Michael Shuman, light percussion from Jon Theodore, and finally, the trio of strings. From here, the band would perform entirely rearranged versions of “Kalopsia” and “Villains Of Circumstance”, all equally chilling in their delivery and brilliant in their stripped-down, bare bones adaptations.

The final two songs would be performed in different locations of the Catacombs, giving a further cinematic flourish to the event. The audience at Toronto’s Royal was seemingly as riveted by every note, every moment of “Suture Up Your Future” and “I Never Came” as they were with the opening three songs. This was a truly gripping performance that could be compared to both Alice In Chains’ and Nirvana’s MTV Unplugged sets. Musically, this was nothing short of breathtaking, something which was further aided through cinematic elements of lighting and playing with opacity, something which gave the artists a haunting, spiritual appearance in key moments as the band literally blurred the lines between the living and the dead. As a cinematic experience, Alive In The Catacombs was made to be appreciated through a theatrical release. Through this, Queens Of The Stone Age have presented an engaging new means for artists to connect with their audience through unique live opportunities that they wouldn’t otherwise tour extensively with. As such, Alive In The Catacombs could open a whole new means of documenting the creative cycle while potentially breathing new life into the independent theatre scene.

Alive In The Catacombs is Queens Of The Stone Age at their most stunning, their most intimate, and their most vulnerable. Stripped all the way back, their performance is carried by just their presence and the purest essence of their songwriting – demonstrating the true power of the band and Homme’s voice as writers. Following the brief performance, the film included a series of behind-the-scenes footage that recounted the rehearsals, set-up and the days preceding the show. It is here that the context for Alive In The Catacombs lies as the performance was recorded just days after the band had to cancel the remainder of their 2024 tour dates due to a serious health concern that would require Homme to have emergency surgery shortly after. There was a somber tone among the band, all except Homme who performed with a joie de vivre that juxtaposed the setting and his diagnosis, almost as if he was expecting this to be the final artistic statement he would put out into the world. Thankfully, this did not come to pass, but perhaps there was a moment where Homme had to sit with his mortality surrounded by the countless remains of the names and faces lost to time itself; perhaps when we are confronted by and surrounded by such a sense of finality is when we truly become alive.

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Background Photo Credit: Andreas Neumann