Eagles Of Death Metal Death By Sexy 20th Anniversary Tour presale codes

Formed by Jesse Hughes and Josh Homme, Eagles Of Death Metal push a desert-boogie mix of garage riffs, glam humor, and tight swing.

Anniversary grit, desert roots

This run spotlights Death by Sexy, the 2006 record tracked largely at Rancho De La Luna with friends dropping in and the amps set to thick, fuzzy crunch. Onstage, Josh Homme usually stays home while the touring band leans on lifer guitarist Dave Catching and a rhythm section built for pocket and snap. Expect a crowd of rock lifers, younger guitar kids, and local scene heads mixing easily at the rail and in the bar lines.

Songs to expect

Likely picks include I Want You So Hard (Boy's Bad News), I Like to Move in the Night, Cherry Cola, and a wink to later era with Wannabe in LA. Watch for simple call-and-response parts that turn the room into a choir without much coaching. Trivia heads will note that Homme sometimes used the alias Carlo Von Sexron on EODM credits, and the video for I Want You So Hard famously cameoed Jack Black and Dave Grohl. Fair warning: I'm extrapolating from recent club dates and the anniversary theme, so songs and production touches may shift on the night.

The Eagles Of Death Metal Scene Up Close

You will see a lot of sun-faded denim, leather jackets with a single pin or two, animal-print accents, and mirrored aviators that nod to Jesse Hughes.

Leather, leopard, and thrift-store shine

Up front, a loose pocket of dancers forms early, with friendly shoulders and quick apologies when elbows cross. Between songs, the room often snaps into an E O D M chant or simple claps on the twos, which the band leans into with grins.

Rituals that feel communal

Singalongs bloom on the first nah nahs of I Want You So Hard and the sugar-sweet hook of Cherry Cola, and strangers trade harmonies without fuss. Merch skews toward bold fonts, retro pin-up art, and a 20th anniversary nod to Death by Sexy, with a few limited posters that look hand-pulled. After the last chord, fans swap favorite deep cuts, compare pedal guesses, and talk about desert rock lore on the way out into the night.

How Eagles Of Death Metal Make The Room Swing

Jesse Hughes jumps between a sly croon and a bright yelp, cutting through the fuzz so the hooks land clean. Guitars favor short, choppy strums over endless sustain, which lets the drums push a danceable backbeat instead of a straight bash.

Fuzz, swing, and sly melody

Live, Eagles Of Death Metal often bump tempos a notch, turning mid-tempo album cuts into brisk shuffles that keep feet moving. The bassist doubles the main riffs to thicken the low end, while the drummer rides a tight hi-hat and four-on-the-floor kick to glue the groove.

Little tricks that make it pop

They like to drop the band out for handclap breaks, then slam back in on a snare flam so the chorus hits harder. Jesse Hughes cues simple guitar stabs between vocal lines, leaving space that makes the riffs feel bigger than the note count. A subtle hallmark is how the rhythm guitar rolls the amp volume back during verses, adding headroom so the fuzz blooms on choruses. Lights tend to stay warm and saturated, with red washes and quick blackout hits that accent the stop-start rhythms rather than overwrite the music.

If You Like Eagles Of Death Metal, You Might Dig These

Fans of desert crunch and sly hooks often cross over with Queens of the Stone Age, whose taut grooves and baritone fuzz share family DNA with Eagles Of Death Metal.

Kindred riffs, shared rooms

If you like high-energy garage shows that still feel tight, The Hives bring the same jumpy tempos and crisp shout-alongs. For lean, blues-streaked duos that hit hard on minimal gear, Royal Blood and The Black Keys scratch that itch with grinding bass tones and punchy choruses.

Swagger with a wink

Fans who want groove and grit with a deadpan smile often love The Kills, where stark beats and fuzzed guitars ride a similar slow-burn cool. All of these acts favor concise songs, gritty textures, and shows that treat the crowd like part of the band rather than a backdrop.