Every artist seeks to keep things fresh when entering the studio. Simply recreating the same record isn’t an option, and unless you’re a band like AC/DC or Motörhead, who have perfected their sound, repeating what’s been done before won’t earn you respect. Dave Grohl has always thrived on switching up his style, but sometimes, profound musical experiences shift how he approaches music altogether.
In Nirvana, Grohl didn’t have to worry much about song construction. His role was to support Kurt Cobain’s melodies, often opting for minimal drum fills to complement the tracks. However, when Grohl transitioned to Foo Fighters, he found himself in an unfamiliar position—leading a band. As a drummer who had always been content in the background, this was an entirely new challenge for him. Grohl had written just one significant Nirvana song and hadn’t been the focal point in a band until then. Over time, though, Grohl picked up songwriting tricks from various musicians, including Norah Jones’ jazz chords and the expertise he gained working with Paul McCartney on the Sound City documentary.
Despite all this, no one expected Grohl’s drumming to take a hit. He was, after all, the 1990s equivalent of John Bonham, admired for his powerful drumming. However, working with Josh Homme in Queens of the Stone Age and later with John Paul Jones in Them Crooked Vultures would be a game-changer.
Grohl had always known Led Zeppelin records like the back of his hand, but working with Homme’s unconventional riff style introduced a new dynamic. Grohl’s drumming was pushed to new limits, often abandoning the typical beat for something more experimental. His love for bands like Rush also made this experience feel close to the progressive rock he adored. The task of finding the right drum part for “Reptiles” was no easy feat, but Grohl realized the challenge helped him rethink his role behind the kit. Reflecting on the experience, he said, “The Vultures record was really nice because the type of music we were making was different from anything else I had done before. The closest thing was probably the QOTSA record. I hadn’t played drums on an album in a long time, so I was totally starting from scratch.”
After stepping out of his comfort zone, Grohl found that the experience freed him to explore new sounds. While every Foo Fighters release had been stellar, the challenge of venturing beyond familiar territory on Sonic Highways may have been his way of pushing himself, similar to his experience with Them Crooked Vultures.
Not every Foo Fighters album needs complex time signatures or melodies to mark Grohl’s growth. By the time he worked with Them Crooked Vultures, he was already a seasoned pro. Even if not every song was mainstream, each project marked a new chapter, teaching Grohl valuable lessons about how to approach his role as the timekeeper in his bands.
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