All Them Witches grew out of Nashville, folding desert blues, doom weight, and trancey psych into slow-build songs.

From Basement Riffs to Cosmic Drift

A recent return to a quartet with Allan Van Cleave back on keys and violin, after a long run as a trio, reshapes the sound with warmer harmonies and eerie swells. Expect a patient opener that swells from hush to roar, and a set that might feature The Death of Coyote Woman, When God Comes Back, Fishbelly 86 Onions, and Open Passageways. Crowds skew mixed-age and gear-curious, with worn denim and dark prints up front, couples and solo listeners near the board, and easy nodding more than phones-in-the-air.

Setlist Hints in the Smoke

They like to re-sequence older material beside newer drones, often stretching a riff until the room seems to breathe with it. They tracked Nothing as the Ideal at Abbey Road's Studio 2 to tape, and drummer Robby Staebler also handles much of the visual art and live projections. Parks often dirty-ups the bass by splitting it into a guitar amp, giving the riffs more bite without losing the low rumble. These notes on songs and staging are informed by recent runs, but the band is known to pivot night by night.

The All Them Witches Crowd, Up Close

The scene around All Them Witches is relaxed and observant, more head-nod than push, with people giving each other space.

Denim, Prints, and Pedals Talk

You will notice faded band tees, worn boots, and earth-toned shirts, plus a few folks comparing pedal boards or swapping notes about old pressings at the bar. When the kick lands on a big riff, the room answers with a unified roar rather than a chant, and quiet parts get real silence out of respect.

Rituals Without the Fuss

Merch leans to stark posters and occult-tinged art, and the limited prints tend to vanish first into the hands of collectors. Between songs, short cheers pop for the drummer's tom patterns or a violin swell, little tells that this crowd listens for texture. Post-show, you hear trade-offs about favorite versions and how tonight's pacing compared to past tours, a sign of fans who track the arc as much as the hits.

How All Them Witches Build the Storm

All Them Witches lean on a calm, weathered baritone up front, with lines delivered like stories more than shouts.

Slow Burn, Big Payoff

Guitar favors wide reverb and gritty fuzz, answering the vocal phrases and then spinning off into short, melodic figures. Bass holds the room with thick, rounded notes, sometimes split to a second amp for snarl, while drums ride toms and cymbals to shape the rise and fall. Keys and violin color the edges, adding minor-key drones or a single sustained note that makes everything feel a bit haunted.

Little Choices, Big Impact

They like slow tempos that ramp and break, and they will stretch a chorus or downshift a bridge to let a riff breathe. A lesser-known habit: the band often tunes down to drop C for heavier songs, which fattens the chord shapes and lets the drums and bass hit like one engine. Live, they may recast Open Passageways as a quieter interlude or insert a dubby delay pocket mid-song before snapping back to the riff. Lights usually pulse in long fades and deep colors, serving the dynamics rather than stealing focus.

Kindred Spirits for All Them Witches Fans

Fans of King Buffalo often land here, since both favor hypnotic grooves, low-slung riffs, and unhurried builds.

Tones That Travel Similar Roads

Earthless fits too, trading in extended, instrumental journeys that prize tone and dynamics over chatter. The Black Angels bring the same droning psychedelia and moody light palette that mirrors the band's shadowy side.

Why These Bands Click Live

If you like the tight desert swing and dry punch of Queens of the Stone Age, the bluesy stomp and fuzz here will feel familiar. All four acts draw people who value long-form songs, textured lighting, and sets that ebb and surge rather than sprint. The overlap is less about genre tags and more about patience, tone, and a stage arc that rewards listening.