Queens of the Stone Age Go With The Flow Tab: How to Master This Desert Rock Anthem

Josh Homme has a thing for down-tuning. If you've ever tried to play along with the record and wondered why your guitar sounds thin, tinny, and just plain wrong, it’s probably because you’re in the wrong tuning. Most people searching for a go with the flow tab realize pretty quickly that standard tuning is the enemy here. To get that thick, fuzzy, monolithic wall of sound that defines Songs for the Deaf, you have to drop down to C Standard. That means every single string goes down two whole steps. It’s low. It’s floppy. It’s heavy.

C-F-Bb-Eb-G-C.

Getting that right is half the battle. This track, released back in 2002, is arguably one of the most relentless driving songs in modern rock history. It doesn't breathe. It just hammers. But while it sounds like a simple three-chord punk song on the surface, the nuance in the strumming and the specific "drone" quality of the chords is what makes or breaks a cover. You aren't just playing chords; you're creating a mechanical pulse.

Decoding the Main Riff: Why Your Strumming Hand Will Hate You

The core of the go with the flow tab is built on three main positions. It starts with an A minor shape, moves to a C, and then lands on an E. But wait—remember we are in C Standard. So while your fingers are making those shapes, the actual pitches coming out are different.

You’re basically playing:

1. An E minor shape (which sounds like C minor)
2. A G shape (which sounds like Eb major)
3. A B shape (which sounds like G major)

Actually, scratch that. Most players prefer to use power chords or specific octave-heavy shapes to mimic the piano track that doubles the guitar in the studio version. The rhythm is a straight 16th-note assault. There is zero rest. If you aren't feeling a burn in your forearm by the second chorus, you're probably playing it too loosely.

The main progression follows a repetitive cycle: C, Eb, and G (relative to the tuning). The beauty of this song lies in its lack of dynamic shifts. Usually, songs get louder in the chorus. Not this one. It starts at an eleven and stays there until the final feedback ring-out. When you look at a high-quality go with the flow tab, pay attention to the muted strums between the chord changes. Those percussive hits are what give the song its "locomotive" feel.

The Gear Factor: More Than Just a Tab

You can have the best tab in the world, but if you’re playing a Stratocaster through a clean Fender Twin, you’re going to sound like you're covering a lullaby. Josh Homme’s "secret sauce" is notoriously guarded, but we know enough about the Songs for the Deaf sessions to point you in the right direction.

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He famously used Ampeg VT-22 combos and various Matamp or Orange heads. He likes mid-range. A lot of it. Most guitarists think "heavy" means "scoop the mids," but that is the exact opposite of what you want here. To make the go with the flow tab sound authentic, you need to crank your mid-range and use a bridge humbucker.

A heavy fuzz pedal helps, but don't overdo the gain. If the gain is too high, the individual notes in those big barre chords get lost in a mushy mess. You want "saturated" rather than "distorted." Think of it as a thick, creamy wall.

The Nuance of the Octave Parts

During the bridge and certain verse sections, there's a higher-pitched lead line that cuts through the sludge. Many tabs miss this or misidentify it as a synthesizer. It’s actually a guitar playing octaves.

• Slide from the 7th fret to the 10th on the A and G strings.
• Keep the D string muted with the underside of your index finger.
• Keep the strumming constant—don't stop the 16th note rhythm even when you’re sliding.

This creates a shimmering effect that sits on top of the low-end rumble. It’s what gives the song its "space rock" or "desert rock" atmosphere.

Common Mistakes People Make with the Go With The Flow Tab

Honestly, the biggest mistake is overcomplicating it. People try to add little fills or blues licks because they get bored of the three-chord structure. Don't. The song is a mantra. It's meant to be hypnotic.

Another huge error is the tuning stability. Because C Standard puts so little tension on the strings, it is incredibly easy to accidentally pull the strings out of tune while fretting a chord. If you press too hard, the note goes sharp. You need a light touch on the frets but a heavy hand on the strings.

• Use heavy gauge strings (at least .12s or .13s).
• Check your intonation.
• Don't play the high E and B strings unless you want that dissonant, ringy sound (which Homme sometimes uses, but it's risky).

The bass player, Nick Oliveri, essentially mirrors the guitar but adds a lot of the "grunt." If you’re playing this in a band setting, the guitar doesn't need to provide all the low end. Let the bass do the heavy lifting so the guitar can focus on that mid-range punch.

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Why the Piano Version Changes Everything

If you've ever watched the music video—the iconic black, white, and red one with the truck—you’ll notice a guy banging away on a piano. That piano isn't just for show. It’s the backbone of the recording.

When you're looking at a go with the flow tab, try to visualize those piano hits. Each quarter note is a hammer blow. On the guitar, you can replicate this by accenting the first beat of every measure. Hit that first downstroke slightly harder than the rest of the 16th notes. It creates a "pumping" sensation that mimics the mechanical nature of the piano track.

Step-by-Step Execution

First, get your tuner out. Seriously. Do not try to "ear" C Standard if you aren't used to it. Your guitar's neck might even need a slight truss rod adjustment if you plan on keeping it in this tuning, as the tension drop is significant.

Once you're tuned, start slow. The tempo is roughly 158 BPM. That’s fast. Start at 100 BPM. Focus on the transition between the A minor shape and the C shape. It should be seamless. There shouldn't be a gap in the sound.

The song's structure is pretty straightforward:

1. Intro (just the drums and then the wall hits)
2. Verse 1
3. Chorus
4. Verse 2
5. Chorus
6. Bridge (the octave slides)
7. Chorus / Outro

The outro is where you can have some fun. The "go with the flow" vocal refrain repeats while the guitars start to break up and get a bit more chaotic. You can introduce some slight feedback or start hitting the chords with more aggression.

Actionable Insights for Mastery

To truly nail this track, you need to move beyond just reading the numbers on a page.

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Watch your tension. If your forearm starts to seize up, you're holding the pick too tight. Use a thick pick—at least 1.0mm—so the string doesn't "flop" against it.

Record yourself. Play along with the original track from Songs for the Deaf. If you can't hear your guitar, that’s actually a good sign—it means you're perfectly in time and in tune with Josh Homme. If you hear a "double" sound, your timing is off.

Embrace the drone. Let the open strings occasionally ring out if they're in the key. It adds to the desert atmosphere.

Focus on the "and." The upstrokes are just as important as the downstrokes in this song. It’s a constant 1-e-and-a 2-e-and-a motion. If your upstrokes are quieter than your downstrokes, the riff will sound "lopsided."

The final step is the most important: stop thinking. This isn't a technical prog-metal song. It’s a feeling. Once you have the muscle memory down for the go with the flow tab, close your eyes and just drive the rhythm. The song is about momentum. As long as you keep that 16th-note engine running, you’re doing it right.

If you're looking for the most accurate digital version, check out the verified tabs on Ultimate Guitar or Songsterr, but always use your ears to verify. Many tabs get the fret positions right but ignore the fact that the song is played primarily on the top four strings to maintain that beefy, thick tone. Stick to the lower register and don't be afraid to get a little messy with the distortion. That’s the Queens of the Stone Age way.