Queens Of The Stone Age have hinted at plans for their 2027 live tour, teasing “something that’s beyond what we’ve ever done before”.
Josh Homme and co. have already announced headline shows in North America and across Europe for next year, with news of a UK leg expected shortly. They’ll be showcasing their ninth and latest studio album, ‘Perfecth’, which was released last Friday (October 30).
During an interview with NME about the record, QOTSA were asked what they had in mind for the gigs, and whether fans could expect a different vibe from their stripped-back and more theatrical ‘Catacombs’ tour.
“Well, there’s a lot to cover. I think the Catacombs have changed us forever, and so there is no going back – there’s only forward,” Homme responded.
“I think we’re going to do something that’s beyond what we’ve ever done before. We learned something about the theatrics of all that, almost Vaudeville and magic. We’re going to do something I really don’t want to talk about.”
The frontman described Queens’ current era as their “third act”, with the group being keen to remain outside their comfort zone.
“I want chaos and uncertainty. Those are moments to experiment and almost feel underwater with those emotions,” Homme told NME. “It’s the right place for that. The ‘Catacombs’ shows were terrifying to do because there was nowhere to hide. That’s exactly the sort of thing we’re looking for.”
Speaking about what the “third act” means to him, and how he’ll approach the music goinf forward, he added: “Well, I just felt that if the ‘Catacombs’ should ever happen, then it would signal a moment to pivot. I don’t know if it’s right or wrong, but I’ve always felt that every artist has three phases that you go through. It’s important not to rush through them.
“When you’re starting out and you think you’re doing things that the world has never seen before, which is a thought that only someone in their twenties could have. Then the second phase of this, you understand where you’re at and you start to understand what’s possible and start to push boundaries.”
Homme went on: “For me, that second phase was war and attack, to push buttons and look for chaos and thrive in that.
“That third act is about searching for peace somehow, and taking part in being a part of not just your own peace but others as well; allowing things that were maybe terrifying previously to just be terrifying and accept them, but what do I know?”
In a four-star review, NME hailed ‘Perfecth’ as QOTSA’s “most intimate and adventurous work yet” that finds them in a “fittingly theatrical mood”. It noted that the band had broken out of their “usual rock mould” to harness “the same freewheelin’ spirit of collab albums ‘The Desert Sessions’ while plunging further into the emotional depths of ‘…Like Clockwork’“.
Homme explained previously: “[We’re] trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that.”
‘Perfecth’ – the follow-up to 2023’s ‘In Times New Roman’ – contains the singles ‘Where The Goth Girls At?’, ‘Insignificant Other’ and ‘Easy Street’.
Tickets for Queens’ 2027 European tour go on general sale at 10am local time this Friday (November 6) – buy yours here. Find any remaining tickets for their North American leg here.
QOTSA’s ‘Catacombs’ trek followed their landmark Paris performance in 2024, which was captured for an accompanying live film and documentary.
The band have been touring extensively throughout 2026, including a run of North American stadium shows supporting Foo Fighters on their ‘Take Cover’ tour.
Their remaining shows this year include performances in Japan, Singapore, Hong Kong, Australia and New Zealand, before they return to Mexico City in March 2027 for a huge co-headline concert with Interpol.
Elsewhere in the recent interview with NME, Homme discussed his reworking of the Iggy Pop collaboration ‘Sunday’ on ‘Perfecth’, and opened up about whether they would ever work together again.
You can watch the full video interview as part of our In Conversation series above.
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