For the past two decades Foo Fighters have been gradually transforming from pop-grunge pioneers to stadium rock titans.
While their last album, the geographically conceptual Sonic Highways (that came with an accompanying series of documentary films about the cities where each track was recorded) had some interesting moments, its hard to argue that the band have slipped comfortably into fairly middle of the road territory of late, with their reputation relying on the big songs from their first four or five albums.
So, onto new release Concrete And Gold and, unfortunately, it doesn’t really buck this trend.
While its hard to find any major standout moments, even several listens in, there’s still a lot to like here as Dave Grohl and co seemingly go on a journey through their influences, all with their own flavour added in.
Across the record things switch from Led Zeppelin aping to Fleetwood Mac like passages through The Beatles, Queen, Pink Floyd and no doubt more.
While it still sounds like a Foo Fighters record, with various parts harking back to their post-grunge heyday, its hard to escape the fact that all those other bands do their thing better than the Foos do – though I’ve no doubt it will all sound immense in a live environment.
As well as the proud influence displaying, this is the first time I can remember Foo Fighters (and by definition, Grohl) being so obviously political.
La Dee Da is the most obvious example, but it does permeate the record as a whole, giving it a slightly odd place in the Foo’s cannon but fitting in perfectly with the current zeitgeist of American (and wider western) society that is hugely politically charged – though I want to make it clear this is nothing compared to the likes of the recent release from Prophets of Rage.
The album also sees Foo Fighters move away from producer Butch Vig who across their last couple of records had come across as almost an extra member of the band. Here though production duties go to Greg Kurstin and, whether its down to production or not I can’t entirely say, the final product sounds far more muddled than the band’s past output.
In the end then, Concrete And Gold sees Foo Fighters continuing on their path to span the gap between genuine credibility and out-and-out pop, and they once again do an admirable job and will no doubt sell out arenas and stadiums the world over.
However, I doubt that in 15 or 20 years anyone will be talking about any of these songs the way they do today about My Hero, Everlong, Breakout, All My Life or Times Like These.