Queens of the Stone Age isn't a normal band. It’s a revolving door of elite talent led by Josh Homme, a man who treats the drum throne like a high-stakes audition for the world’s hardest job. If you’re looking for the drummer from Queens of the Stone Age, you’re usually talking about Jon Theodore. He's the guy who finally brought stability to a seat that once belonged to legends like Dave Grohl and Joey Castillo.
He's been there since 2013. That’s a lifetime in QOTSA years.
Most people recognize him from his days in The Mars Volta, where he played patterns so complex they felt like a math equation set on fire. But in Queens, he had to change. He had to learn how to swing. He had to figure out how to play "heavy" without just hitting things hard. It’s a subtle art. Honestly, most drummers can't do it. They either have the finesse or the power, but rarely both at the same time.
Why Jon Theodore is Different
Before Theodore joined, the band went through a literal drum crisis. During the recording of ...Like Clockwork, things hit a wall. Joey Castillo left. Dave Grohl stepped in to save the record, but Dave has a day job with some band called Foo Fighters. They needed a permanent solution. They needed someone who could handle the "robot rock" precision of the early records and the dancey, dark-pop grooves of the newer stuff.
Theodore was the only logical choice. He’s got this weird, polyrhythmic background that makes the simple stuff sound massive. When you hear him play a track like "The Evil Has Landed," he isn't just keeping time. He’s pushing and pulling the beat. It’s elastic.
The Grohl Shadow
Living in Dave Grohl's shadow is tough. Dave’s drumming on Songs for the Deaf is basically the gold standard for modern rock. It's iconic. Every kid in a garage tries to play "No One Knows." Theodore didn't try to be Dave. That was his smartest move. Instead of just bashing the heads, he brought a sense of "pocket" that the band hadn't really explored since the early 2000s.
He treats the kit like a lead instrument.
The Transition from Mars Volta to Queens
The Mars Volta was chaos. Beautiful, frantic, 15-minute-long-prog-jam chaos. Theodore was the engine of that chaos. When he moved to Queens of the Stone Age, he had to strip everything back. Josh Homme is famous for telling drummers to "play less." He wants the groove to breathe.
Think about the drumming on Villains. It’s almost disco-influenced in parts. For a guy who grew up playing jazz and avant-garde rock, that’s a massive pivot. But he nailed it because he understands that the space between the notes matters as much as the notes themselves. It’s about the "skank." That weird, off-kilter desert rock swing that makes you want to nod your head even if the time signature is weird.
He’s a gear nerd, too. But not in the way you’d expect. He doesn't use a massive, 20-piece kit like some prog-rock dinosaur. He keeps it relatively lean. A couple of crashes, a ride, maybe a few cowbells—because you can't be in this band without a cowbell—and a snare that sounds like a gunshot.
The Current Era: In Times New Roman...
The most recent record, In Times New Roman..., shows Theodore at his most comfortable. He’s no longer the "new guy." He’s the foundation. On tracks like "Paper Machete," the drumming is tight, punchy, and incredibly disciplined. There’s a certain maturity there. He isn't overplaying. He’s serving the song, which is the hardest thing for a virtuoso to do.
The lineup of Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman, and Jon Theodore is now the longest-running iteration of the band. That says something. It says that the drummer from Queens of the Stone Age isn't just a hired gun anymore. He’s a partner.
What You Can Learn From His Style
If you're a musician or just a die-hard fan trying to understand why this band sounds the way it does, look at the dynamics. Theodore doesn't play at one volume. He’s a master of ghost notes. These are those tiny, almost silent hits on the snare that fill in the gaps. They create a "whirring" effect that makes the rhythm feel like a machine.
He also uses a lot of open hi-hat work. It gives the music a messy, aggressive edge that fits the "desert rock" aesthetic. It’s supposed to sound like it’s vibrating apart, even though it’s actually perfectly controlled.
Breaking Down the Kit
Theodore’s setup usually revolves around Ludwig drums. He’s been a long-time endorser.
- He uses big drums. We're talking a 24-inch or even a 26-inch bass drum. You need that air displacement to compete with Homme’s wall of guitars.
- The snare is usually high-tension. It needs to "crack" through the mix.
- Cymbals are usually Zildjian. Big, dark, and washier than what you'd find in a metal band.
The Impact on the Live Show
Seeing QOTSA live is a loud experience. Like, "wear earplugs or regret it for a week" loud. Theodore is the visual centerpiece of that. He plays with a lot of physical motion. It’s athletic. If you watch him during "Song for the Dead"—which they almost always use as a closer—he has to replicate the solo that Grohl made famous. He does it with his own flair, adding triplets and fills that Grohl never used, making it feel fresh every night.
He’s also notably calm. Between songs, he isn't panting or struggling. He just sits there, grabs a towel, and waits for the next count-in. Total professional.
A Legacy of Percussion
To understand where Theodore fits, you have to acknowledge the guys who came before.
✨ Don't miss: Why Love Will Turn You Around Lyrics Still Hit Different After All These Years
- Alfredo Hernández: The original. He brought the Kyuss "heavy blues" feel.
- Gene Trautmann: The precision guy for the Rated R era.
- Dave Grohl: The power. The superstar. The reason Songs for the Deaf went platinum.
- Joey Castillo: The "Stairmaster." He played faster and harder than anyone. He was a human wrecking ball.
Theodore is the synthesis of all of them. He has Hernández’s swing, Trautmann’s precision, Grohl’s power, and Castillo’s endurance.
Actionable Takeaways for Fans and Musicians
If you want to dive deeper into the world of the drummer from Queens of the Stone Age, don't just listen to the hits.
- Listen to "The Sky Is Fallin'": Check out how the drums sync with the guitar melody. It’s haunting.
- Watch the Glastonbury 2023 set: It’s perhaps the best recorded footage of Theodore’s current technique. The mix is clear, and you can see exactly how he handles the transitions.
- Study the "pocket": Try to tap along to "Smooth Sailing." It’s harder than it sounds. The beat is intentionally "behind" the click, creating a drunken, swaggering feel.
- Check out his work outside the band: If you haven't heard The Mars Volta’s De-Loused in the Comatorium, stop what you're doing and play it. It explains everything about his limb independence.
Jon Theodore has secured his place in rock history. He didn't just join a band; he helped a legendary act find its permanent heartbeat. Whether they’re playing a dive bar or headlining a massive festival, he’s the one holding the whole beautiful, distorted mess together. If you’re following the evolution of modern rock drumming, he is the primary case study. Stop looking for the "next" drummer. This is the guy.