Queens of the Stone Age performs during Aftershock Festival at Discovery Park in Sacramento on Oct. 8, 2023. Courtesy.

SAN FRANCISCO — As Bay Area temperatures soared, Queens of the Stone Age brought their own heat to Bill Graham Civic Auditorium on Friday night. Josh Homme, the band’s frontman, instructed the front of house to, “turn up the lights; let me look at you dirty, sweaty motherfuckers.” Indeed, the crowd’s leather and denim levels were at historic lows, cast off in favor of shorts, T-shirts and other skimpy outfits that would have resulted in hypothermia on most San Francisco evenings.

The sold-out show marked the penultimate date on the band’s The End is Nero tour. The quintet delivered a marathon set, featuring songs from every point of its two decade-long career. The crowd erupted in cheers when Queens of the Stone Age launched into their biggest hit, “No One Knows,” as just their second song. Attendees seemed to know every note of the iconic arrangement, going absolutely nuts for the bass fill that serves as one of the song’s many bridges. Homme swayed as he sang the song’s delicate harmonies with guitarist Troy Van Leeuwen and keyboardist Dean Fertita providing backing vocals.

The band’s sophisticated song arrangements often took center stage, combining disparate musical elements with incredible dynamic range. The layered guitars of “My God is the Sun” gave way to throbbing bass. Crazy guitar noise seamlessly transitioned into a jumpy, jerky guitar riff on “Emotion Sickness,” from the QOTSA’s latest album, In Times New Roman.

Other new tunes included “Carnavouyer,” “Negative Space” and “Time & Place.” In all, the band covered at least one song from eight albums.

“I’m a little stoned, so I’m not going to say too much,” Homme explained, as many in the audience threw up devil horns.

Dressed in dark colors, the band blended into the sleek stage design, flanked by an array of lights that pulsed and strobed. Homme asked the crowd to sing the chorus of “Make it Wit Chu” several times while the band laid out.

After the marathon set, the band returned and played three more for the encore and had another on its setlist (“Song for the Dead”) but ran up against the city’s 11 p.m. curfew.

Sunday, they perform once more at Aftershock Festival in Sacramento.

Swedish glam-punk band Viagra Boys preceded the headliners.

“Before I went to Sweden to become an amateur porn star, I was raised in the 415!” frontman Sebastian Murphy shouted, referring to his childhood in San Rafael. Shirtless and wearing track pants, Murphy stalked the stage as the sextet laid down thick grooves with just a hint of moral degeneracy.

Bassist Henrik Höckert provided a steady metric throb on songs like “Ain’t Nice” and “Ain’t No Thief,” with Tor Sjödén bashing away on his drum kit. On “Punk Rock Loser” and “Troglodyte,” saxophonist Oscar Carls strapped on a guitar and joined Linus Hillborg for a two-guitar attack.

“You ain’t no ape, you’re a troglodyte!” Murphy sang on the latter song.

The band’s enthusiastic set ended with an extended jam, with Murphy on guitar, keyboardist Elias Jungqvist in the crowd, and Carls delivering a scorching saxophone wail lying on his back.

French powerhouse Jehnny Beth opened the show with a spirited set that combined electronic dance music, industrial noise and rock and roll energy. Dressed in black, the Savages frontwoman prowled the stage before climbing into the audience and performing a song from the center of the huge crowd. Beth was flanked by two musicians positioned at stations with an array of electronic instruments.

“This song is called ‘More Adrenaline” and I want more adrenaline in this room,” Beth told the audience rapidly filling the hall. The vibe was stark and sweaty, part cyberpunk story, part Peloton exercise video. Her set included “U so Pretty” and “How Could You.” On songs like “I’m the Man,” Beth combined the caustic sexuality of PJ Harvey with the occult weirdness of Diamanda Galás in what was easily the evening’s most shocking performance.