Josh Man, chief of Queens of the Stone Age, tells us behind the scenes of his live performance within the catacombs of Paris | EUROtoday

It was one of the strongest moments in my life. Because to gain the right to be there with these people in this environment, I had to leave something of myself.

What were the chances that this opportunity arose when I was in such a state? It was difficult for me not to believe that it was intended to happen like that and that I had to go through such a difficulty. If we had just played there and I was going well, I could tell you something like, “it was so cool to be there”, “I used to be so excited”, “it was nice”. This is not what I say.

It was one of the strongest moments in my life. Because to gain the right to be there with these people in this environment, I had to leave something of myself. In life, there are not many sequences where you can show who you really are and what you really have. Not only does I appreciate that, but I almost want sometimes, because I know that at that moment, it’s real. For a moment, I feel normal, and I am grateful.

Beyond the issue of authorizations, the list of challenges imposed by such a performance is immense. What was the biggest of everyone?

It was extremely difficult physically. Two days before filming, we were supposed to play in Venice and I had to go to the emergency room. They wanted to keep me … I left, I fled. I got into a walking car, I removed my blouse and left. I said to myself, “I can definitely maintain my tooth and maintain two extra days. »»Read too “The more it is dirty, the more I love”: Mark Daumail reinvents CocoonThe remainder of the difficulties all appear very small subsequent to it, as a result of as soon as down, it was a whole lot of improvisation with the director, Thomas. You can not do massive initiatives right here. Once you enter the catacombs, they take management.

That’s to say ?

You should settle for this area. I imagined in visions that it will sound like in a cathedral, however in actuality, it’s alive in there. So natural. The dropples drops. The flooring is moist. He cracks below his ft, there may be gravel. The air may be very thick and humid. One has the impression of being in a residing being, and also you would not have any grip on him. We have been going right into a room and improvision. “We could turn here, we could do this, maybe we are going to go around here. You do what the catacombs command, roughly.

To go to the catacombs and play in front of this audience, we had to show who we were really.

From the second we entered, I knew we were there to serve this place. We are there to kneel, lower our heads and ask permission to play in front of this audience. I like to feel little, at the service of music or art and not feel at the center of attention.

And from a more technical point of view?

We knew that if we could play, nothing could be connected, there are no sockets. And that I didn’t want to play “robust” there, because it wouldn’t have made sense. From a technical point of view, we did not really have a lot of preparation time. It was voluntary, we thought it was better to let go. We repeated twice, maybe three or four hours. To go to the catacombs and play in front of this audience, we had to show who we were really. Sometimes you need courage to be very vulnerable and reveal yourself. It does not require rehearsal.

How did you select the songs interpreted in the catacombs?

For a reason that I do not know, it was clear, intuitively, that we had to play songs not according to their popularity, but of their content. It has become a question of message. When everything is reduced to the essentials, that people are in a state of bones, that leads us to ask us: what would I like to say to the people present? And what would they want to hear? For me, this refers to the family, to acceptance, to the will to overcome the trials and to advance, to the difficulties of life, to recognize them. The choice of song was based more on these expressions. It seemed respectful and appropriate.

I was also looking for an opportunity to take some of our music and say: “This version exists. But what happens if we reimagine or completely rewrite something and we can no longer use the old version? »»

By becoming the first group in history to perform in such a special place, you have forever a special link with Paris … What were your connections with this city before?

I have always had a special link with Paris for many years. Be part of the Eagles of Death Metal [Josh Homme est également le cocréateur du groupe mené par Jesse Hugues, qui jouait sur scène au Bataclan le soir des attentats du 13 Novembre]it is a very strange and singular link, very beautiful and very tragic of course.

I also find the French very interesting because they are very demanding, and rightly so.

My brother married her husband in Paris. I myself celebrated this marriage. Several things have happened, again and again for me in Paris. I have lots of moments of complicity with this city, some volunteers, others not.

I also find the French very interesting because they are very demanding, and rightly so.

You fought cancer in 2022, you had to cancel concerts last year because of the health problems you just mentioned. Today, how are you?

I feel incredibly good and I am really grateful. In the past ten years, I have lived a lot of really intense situations … I was warned that I would have a lot of difficulties for about two years and I was mentally prepared for that. Seven or eight months later, I feel in great shape.

To uncover



The kangaroo of the day

I perceive so many issues that I didn’t perceive earlier than. I spent a big a part of my life being an fool, an fool in quest of one thing. Sometimes I must study the onerous means. But I’m actually grateful for this lesson.

*Alive within the catacombs is on the market for buy or rental on Qotsa.com. Fans who command the movie earlier than June 7 can have unique entry to a making-of. An audio model have to be introduced later.