Luke Combs’ Fourth EP Is Fun but Underwhelming

The Prequel is a fun listen that, while it doesn’t quite live up to its potential, does leave me excited to see where Combs will go next.

Luke Combs is a country singer/songwriter from Charlotte, North Carolina. He debuted in 2014 with a pair of self-released EPs which found some underground success and landed him a signing with Columbia Records in Nashville. His powerhouse voice and outlaw sensibilities made him a perfect fit for the rising tide of alt-country which has overtaken much of the industry and he road that wave to a very well received third EP, This One’s for You which was later expanded to become his first full length album. The expanded version went double platinum, topped the US Country chart, and Combs was named one of Sounds Like Nashville’s “Artists to Watch,” and won the CMA award for “New Artist of the Year.” To date, he’s one of the biggest artists in country music and he’s once again returning to the EP format for The Prequel.

The project opens with the raucous, twangy lead single, “Beer Never Broke My Heart.” The track is simply drenched in country twang but Combs’ strong vocal sells it with every word and the explosive instrumental helps quite a bit as well. There are a few production decisions which hold the song back from being truly fantastic, but it’s still an impressive, unapologetic opener that sets the tone extremely well.

This is followed by “Refrigerator Door,” which is a bit of a mixed back. Yet again, the twanging vocal and crashing instrumentals are pure country and the guitar solo is far more impressive than that of the opener. Additionally, the concept of using the refrigerator door as a window to larger reflection on life is quite an interesting idea, but unfortunately, most of the writing and rhyme scheme feels lazy. What’s worse, the photos that are described are fairly run of the mill and universal. It’s still a strong track, but it would’ve been much stronger if filled with well written lines and more personal details.

“Even Though I’m Leaving,” falls in the middle of the EP and once again, Luke brings a very classic country sound. Unlike the last cut, however, this track tells an interesting and heartfelt story of a father and son which feels much more personal. The more organic instruments are a welcome touch, especially with the inclusion of brighter tones like mandolins and acoustic guitars which offset the blues heavy sound thus far. All in all, it’s still a bit cheesy, but Luke sells it with a lead vocal that runs the gamut of emotions and has a genuinely vulnerable moment on the third verse.

“Lovin’ On You,” comes next and this track crosses the line just a bit for me. Combs’ accent is exaggerated to the point of being difficult to understand and the lyrics are entirely thoughtless. It’s not without its bright points as the saloon piano is a great touch and a handful of rhymes are somewhat impressive, but it just tries way too hard to lean into the country sound while lacking the storytelling and melodic writing that any great country song should have. 

“Moon Over Mexico,” closes out the project quite well. It’s a bit nondescript and doesn’t stand out amid the tracklist in any noticeable way, but it is quite well written and tells something of an interesting story. Once again, the song is plagued by a handful of strange and unnecessary production choices, mostly in terms of vocal effects, but a strong performance shines through those issues and makes for a much appreciated final track.

All in all, the EP certainly isn’t bad. For most listeners, I’d imagine the enjoyment of this project will come down to how much they enjoy country music on the whole. This is fairly well written and performed country music of the very twangy variety, but it fails to be anything more than that. Combs has the potential to be a crossover success on the level of Stapleton or Isbell later in his career, but to do that, his storytelling and lyrical chops will need to improve.

The Prequel is a fun listen that, while it doesn’t quite live up to its potential, does leave me excited to see where Combs will go next.

3/5

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The Jonas Brothers’ Comeback is a Decade in the Making

Happiness Begins is simply frustrating because of a strong start and a heap of potential, but lazy writing and terrible production and instrumentation drag the album down every step of the way.

The Jonas Brothers are a power pop trio from Wyckoff, New Jersey. While their debut was fairly nondescript and unimpressive, their self-titled sophomore release in 2007 went double platinum and netted them a Grammy nomination for best new artist. They landed roles in the 2008 Disney Channel smash hit Camp Rock, becoming Disney Royalty. They dropped another double platinum record that year and another platinum album in 2009. Their last two records peaked at number one on Billboard charts and they’d had a multitude of massively successful EPs, tours, movies, and music videos. In 2012, however, after several delays plagued work on a new project, the brothers announced that they were leaving Hollywood Records, their tie to Disney, and began a messy, drawn out process of splitting up. Nick Jonas found considerable success as a solo act with a handful of platinum singles while Joe Jonas fronted the group DNCE, honing his power pop chops and dropping a few hits himself. Now, a decade after their last release, the brothers have returned with Happiness Begins which is, unfortunately, disappointing.

The opener and lead single, “Sucker,” raised my hopes quite a bit even before the record has released. Unfortunately, aside from a handful moments on songs like “Trust,” these hooks just don’t appear as much as they need to. While a few choruses here and there are strong, singable earworms, just as many are poorly written and half baked. This is, to be sure, the strongest quality of the album and could make it sound better than it really is when played as wallpaper music. However, the singable sections of these tracks often don’t hold up to closer listening.

Beyond this, the Brothers do show some fairly impressive chops in the harmony department. Songs like “Used to Be,” and “Strangers,” feature tight, three part harmonies which, though they aren’t nearly as prevalent as they should be, are very welcome additions to the sound. Sadly, this is pretty well the end of the line in terms of positive comments on the album.

One bizarrely poor choice comes early in the record with nearly unlistenable, “Only Human,” and reappears only a few tracks later with “Every Single Time.” Here, the Jonas Brothers take their best swing at a reggae style and whiff entirely. Virtually every aspect of these tracks-the poorly mixed horns, the strange inclusion of synthesized steel drums, the awkward vocal performances-is hamfisted and irredeemable.

Lyrically speaking, the entire LP is essentially filler. Songs like “Love Her,” and the closer, “Comeback,” are especially egregious, but I don’t know that I heard one single memorable lyric in the more than 40 minute runtime. Nothing is noticeably bad, but it all feels somewhat lazy and cliche’d.

The instrumentals also leave quite a bit to be desired. The main reasoning for this stems from terrible choices of tone for the synths that drench every track. There’s certainly nothing wrong with using synths for the majority of the record, and in fact I was expecting this in keeping with their more power pop roots, but the tones range from abrasive and odd to just thoughtless and ignorable on a song like “I Believe. On the other hand, later songs like “Rollercoaster,” use terribly outdated acoustic guitars that seem ripped from a Philip Philips album.

Perhaps the first hint that I was headed for a disappointment came with the very poorly mixed drums on the second single, “Cool,” as well as later cuts like “Happy When I’m Sad.” The percussion generally uses boring, nondescript trap drums which simply don’t fit with the tracks what soever, though when a more organic kit is present, it’s devoid of any body or thickness.

This brings me to the most overarching and inescapable critique of this project which comes down to simply awful production. “Don’t Throw It Away,” is unbearably mixed while “Hesitate,” uses a multitude of irritating effects and poorly tuned vocals. I save this issue for last because it is certainly the cause of the majority of the album’s weakness. There does seem to be at least a passable album hidden in here somewhere, but it’s just buried by one awful decision after another and what’s left is unlistenable. I genuinely wanted to enjoy this record, but there just isn’t much there to enjoy.

Happiness Begins is simply frustrating because of a strong start and a heap of potential, but lazy writing and terrible production and instrumentation drag the album down every step of the way.

3/10

AMAZON LINK: https://amzn.to/2UbiiiB

Carly Rae Jepson’s Fourth LP Is a Blast!!

Dedicated oozes passion and creativity from every note, and makes up for any missteps with thick, indulgent pop sensibilities.

Carly Rae Jepsen is a pop singer/songwriter from Mission, British Columbia. She debuted in 2008 with Tug of War, released on local, Canadian labels and selling just over 10,000 copies in her home country. She went on to build a respectable local following before signing to Interscope and releasing the mega-hit “Call Me Maybe,” in 2011, which reached diamond certification. From here, her next album, Kiss found strong success in 2012 and Jepsen was set on a path for teen pop stardom. However, with a simple life of one-hit-wonder success laid out, she instead made the admirable decision to challenge herself and her listeners with 2015’s Emotion. The record was a tour de force, jam packed with some of the most danceable pop music in years. This was aided by Jepsen’s decision to make a hard turn toward the indulgent, synth-pop of the 1980’s which had been an obvious inspiration on her earlier work. Dedicated largely picks up where Emotion left off.

From the opening moments, its clear that Carly continues to wear her influences on her sleeve in the classiest way. One of my favorite tracks, “I Want You In My Room,” captures the fearless style of the 80’s pop scene while a later cut like “The Sound,” seems to draw from 90’s artists like Alanis Morissette, particularly in her vocal melodies. Throughout the album, she manages to perfectly toe the line between heavy influence and intentional tribute, never quite settling on either.

Additionally, the production is heavily lifted from the same era, especially in its shimmering synths and start drums. The opener, “Julien,” uses this to fantastic effect and will have even the most heartless listener dancing by the half way point, while “Everything He Needs,” dabbles in spacey, psychedelic elements which I hope to see further explored on a later LP. The mix is so bright and the decisions so daring that every song is a treat.

That being said, the record does fall down a bit when it comes to instrumentation. Simply put, the entirety of this album’s instrumental pallet is made up of synths and drums. While I can generally forgive a narrow pallet on a pop album, Dedicated takes it a bit far. It can often be ignored, but on tracks like “Happy Not Knowing,” and “Right Words Wrong Time,” when the hooks are a bit less impressive or no vocal lines are jumping out, it becomes clear that the instrumentals are actually quite uniform.

On the other hand, the percussion is excellent on this album. The slicing snare on “Automatically In Love,” and the quiet but intricate and heavily effected drums on “For Sure,” are just a few of my favorites, but nearly ever cut on the record carries a strong rhythm section which is both well mixed and lively, despite being obviously recorded on a drum machine of some kind.

Like many pop albums, Dedicated lives and dies by its hooks. This is one of the most singable albums I’ve heard all year, driven by songs like “No Drug Like Me,” “Feels Right,” and “Real Love,” which are genuinely impossible to stop humming throughout the day. This is one element which Carly has had in spades from the beginning of her career and its only gotten better with time.

When all else fails, the album can simply fall back on Jepsen herself and one strong, energetic performance after another. The way she lays it all out on a “Now That I Found You,” or “Too Much,” is just infectiously fun. She’s truly a talent in the world of pop songwriting and performance, evidenced by her ability to elevate every track she touches to an entirely new level.

All this aside, there are a few weak points. As I mentioned, much of the instrumentation is repetitive. Additionally, the lyrics leave quite a bit to be desired and the pacing drags now and then on tracks like “I’ll Be Your Girl,” leaving just a few minutes to feel like rehashed elements from earlier in the album.

Nevertheless, Dedicated is a blast to listen to. Carly Rae Jepsen takes the 80’s-esque style from Emotion and develops it fully on this follow up. While it isn’t perfect, any weak moments are quite effectively painted over by shimmering production, powerful vocals, and screaming synthesizers.

Dedicated oozes passion and creativity from every note, and makes up for any missteps with thick, indulgent pop sensibilities.

7/10

AMAZON LINK: https://amzn.to/2UbiiiB

Miley Cyrus Drops Yet Another Directionless, Hot Mess

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

Miley Cyrus is country/pop singer from Nashville, Tennessee. She rose to massive fame as the most prominent figure in Disney’s mid-2000’s class of musical stars. Under the Hannah Montana moniker, she released five LPs full of relatively inoffensive pop music alongside three fairly similar releases under the Miley Cyrus name. Having released five albums by the age of 18, Miley seemed to feel a bit boxed in as the character she’d played on Disney Channel. She quite admirably broke this box with her 2013, triple platinum album, Bangerz, which was vulgar and daring, if a bit meandering. This was followed by the horrendously bloated Miley Cyrus and Her Dead Petz which received a limited release and her much tamer, full scale follow up, Younger Now in 2017. While Miley’s recent work has been commendable in its effort to push boundaries and change her public image, it’s largely felt aimless and thoughtless and virtually never takes advantage of her genuinely impressive vocal abilities. SHE IS COMING is no exception.

The EP opens with “Mother’s Daughter,” which is perhaps the only listenable cut on the tracklist. The trap drums play quite well against the spacey, piano-driven instrumental and Miley’s vocal performance is actually quite strong. The vocal tuning is entirely over the top and the lyrics are atrocious, but the hook is somewhat singable and Miley seems closer to a middle ground between her pop sensibilities and edgy desires than she has in the past.

“Unholy,” follows and a few of the issues with this project start to become apparent fairly quickly. The change in producers from track to track robs it of any possible coherence and Miley’s breathy, hissing vocal is extremely overproduced. The trap drums entirely overpower every melodic element, though none of them are interesting enough to warrant being pushed to the front of the mix. Worst of all, the lyrics on this cut are just awful, and the entire song sounds completely half baked, as does much of the EP.

“D.R.E.A.M.,” falls in the middle of the project and is one of the most disjointed messes of a song I’ve ever heard. While the chorus is admittedly catchy, Miley’s voice is once again breathy and overproduced as she sings over a hokey piano line which could fit comfortably on a High School Musical soundtrack. The only possible saving grace for the track would seem to be the feature from Wu-Tang alum, Ghostface Killah, but instead he phones in a short, unrelated verse on a completely different instrumental which only takes up that 20 or so seconds.

“Cattitude,” is the forth track on the EP and an absolute dumpster fire in musical form. Every single element, from the bizarre and endless RuPaul feature, to Miley’s embarrassing attempt at rapping on the verses, to the horribly vulgar lyrics is simply unlistenable. I can’t fathom how anyone let this song leave the studio’s doors but luckily for the listeners, it seams to be the rock bottom for the record.

“Party Up The Street,” sees Mike Will Made-It taking over production duties for the only well produced song on the tracklist. Swae Lee’s feature is flat throughout the entire track and the instrumentation is boring and uninventive, but a few of the melodies are genuinely well-written and it seems to be the only cut that anyone actually cared about. It serves as a welcome switch up from the aggressively terrible tracks that precede it.

The project closes with “The Most,” which is fairly inoffensive, though it offers little by way of intriguing ideas. The chorus is fairly well-written and features some of the only passible lyrics on the EP and Miley finally gives an impressive vocal performance, which has been lacking from every song thus far. That being said, its still quite overproduced and uninventive and features an irritatingly nondescript synth lead covering the majority of the melody.

Ultimately, this EP is a mess. It somehow finds a way to feel lazy and half-baked yet overproduced and soulless at the same time. Miley’s recent career has been full of spinning wheels without a track, but SHE IS COMING is the worst in this regard. I don’t see any audience for this or even a reason for it to exist.

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

1/5

Denzel Curry Brings Short and Bombastic New Album

ZUU sees Denzel return to his raw roots for a love letter to his home and one of his most listenable LP’s to date.

Denzel Curry is a Florida based rapper who rose to popularity with his 2015 single “Ultimate.” It was loud, hard-hitting, and extremely lyrical and, although the song stood well on its own merits, it got most of its exposure by becoming a part of popular meme. Regardless, Denzel found his way on to the much maligned 2016 XXL Freshman Class and gave the only impressive performance in a terrible freshman cypher. Later that year, he released his major label debut, Imperial, which was violent, vulgar, and filled its 40 minute runtime with a breakneck pace. It’s jazz influences balanced well against Curry’s rapping style, which can best be described as “lyrical trap.” Curry followed the album’s impressive success with 2018’s TA13OO, finding even more critical acclaim and commercial success by drastically changing his song. Now, less than a year later, we once again find a very raw form of Denzel on this third LP, ZUU.

The albums is quite impressive thanks to a handful of elements, not the least of which being the unique instrumental approach which Curry takes. Tracks like “BIRDZ,” or the very short “BUSHY B INTERLUDE,” showcase this quite well as they bring the melody to the forefront with abrasive yet listenable tones. While the record focuses very heavily on percussion, it still makes more than a few impressive efforts to bring a melody forward.

On top of this, the bass lines are simply fantastic. The opener and title track may be the most obvious example of this but it plays quite a role in middling songs like “SPEEDBOAT.” The bass brings so much power and controls so much real estate within the mix that it refuses to be ignored, instead carrying a handful of tracks to even more impressive final products.

Additionally, we’re given quite an impressive cast of guest star lyricists on the features list. Tay Keith’s work on “AUTOMATIC,” brings a excellent energy which very nearly matches that of Curry himself. Similarly, Sam Sneak brings a commanding level of bombast to every second of his verse on “SHAKE 88.” While the features list is populated with a handful of relative unknowns, each of them bring their best efforts and prove their place on the album.

Thanks to the short style of writing, the pacing is also quite strong. While ZUU does seem to drag just a bit near the end, it’s quickly saved by the unstoppable, manic energy of a song like “CAROLMART” or the closer, “P.A.T.” Denzel seems to care so much about these tracks that he can give an impressive performance throughout every second, improving great cuts and saving bad ones.

That brings us to the top reason why ZUU is such a strong album, namely Denzel Curry’s explosive flow on nearly every track. Tracks like “RICKY,” and “WISH,” feature some of the best flows I’ve heard all year. Curry’s ability to write one brutal flow after another just doesn’t exist elsewhere in mainstream rap, and yet it’s the very thing that has brought him to such a spotlight so early. His flow clearly draws from elements of drill, bling, Florida rap, which is very refreshing, but he brings along his own spin which makes Denzel Curry one of the best artists on the market today.

I do, admittedly, have a few complaints. Worst of all, the album features three interludes, two of which, “YOO,” and “BLACKLAND 66.6” are fairly meaningless and unnecessary. In addition, I imagine the record could feel a bit draining for a listener who is unfamiliar with Denzel’s relentless flow and lyrical style.

However, the good far outweighs the bad. ZUU certainly isn’t the expansive concept piece its predecessor claimed to be, but instead, it feels like a purging of unused ideas from previous sessions. Despite this, the record feels entirely cohesive and makes for a fantastic listening experience.

ZUU sees Denzel return to his raw roots for a love letter to his home and one of his most listenable LP’s to date.

6/10

Tyler, The Creator Drops Daring Sixth LP

IGOR is a bold and well executed entry into one of the most excited discographies in modern hip-hop.

Tyler, The Creator is a rapper and producer from Ladera Heights, California. He debuted in 2009 with the Bastard mixtape which found impressive success, followed by 2011’s Goblin, which made Tyler a household name and landed in the top five on Billboard. During this early portion of his career, Tyler founded the Odd Future rap collective which spawned the careers of multiple stars in today’s alternative hip-hop scene. He went on to drop Wolf and Cherry Bomb, both of which sold quite well. However, after four successful LP’s, his brash, bass-heavy style was beginning to fatigue many listeners. This changed with 2017’s Flower Boy which brought an entirely new sound to Tyler’s discography along with genuinely heartfelt lyrics which dealt with lover, maturity, and coming to terms with his sexuality. Now, two years later, his much anticipated sixth album, IGOR has arrived.

From the first moments of the opener, “IGOR’S THEME,” the daring and unique production style of this record is immediately apparent. Throughout the song, virtually every mixing decision is surprising and unpredictable, particularly the contrast between the organic drums and the very industrial melodies. This is even more noticeable on a cut like “NEW MAGIC WAND,” which boosts a rattling bass and distorted sound effects to all but bury the soft, genuine vocals which cary the lead from behind. Consistently, Tyler chooses to bury excellent melodies as gems to be found on repeat listens while blasting some of the most commanding elements to the forefront.

In addition to the production, the instrumental pallet itself is shockingly broad and creative. “I THINK,” and the closer, “ARE WE STILL FRIENDS?” uses a wide range of interesting synths and percussion instruments to bring an almost mind-bending sound to life. On the other hand, a later cut like “GONE, GONE/THANK YOU,” utilizes everything from wispy acoustic guitars and guttural basses to bizarre vocal effects and oddly bright shakers and snares. Nearly every track is an adventure as we’re never quite given the boundaries for where Tyler is willing to go. Instead, each song feels like a perpetual experiment.

Beyond this, the album’s strongest quality is its tendency to drop into some of the most danceable grooves of the year. Tracks like the massive hit, “EARFQUAKE,” or the equally fantastic, “A BOY IS A GUN,” feature excellent, ear worm choruses which blend perfectly between the modern sensibilities of hip-hop music and a sort of synthetic, industrial Motown style which seems entirely unique to this album.

While this is certainly not the measured, balanced, and well-developed style one would generally associate with good pacing, IGOR instead aims to incapsulate Tyler’s manic energy and does so perfectly. Songs like “RUNNING OUT OF TIME,” and “I DON’T LOVE YOU ANYMORE” are perhaps the best examples of this, though it’s apparent throughout. Each track seems to bounce endlessly from one creative idea to another, expecting the listener to fill in the blanks to connect them. Through this, the project keeps you inthralled for its full runtime.

Another trick which helps the pacing as well as the songwriting to punch above its weight is Tyler’s tendency to write in parts instead of traditional choruses and verses. Take tracks like “PUPPET,” and “WHAT’S GOOD,” for example, where the entire makeup of the song seems to come unglued and reform every few moments, shifting wildly from heavy hitting bars to flowing grooves and everything in between. Again, the manic energy of the album’s writer bleeds through every note, making every cut a loosely tethered amalgamation of contrary ideas.

Ultimately, I’m left with very few complaints. The album’s loose concept is a bit difficult to follow, but its largely irrelevant and overshadowed by more than a few incredible songs. Mostly, I feel admiration for Tyler, himself. With his early work facing quite a bit of criticism for its abrasive and at times sparse tone, he could easily have retreated into a safer form of mainstream hip-hop. Instead, he stuck to his guns and now comes out the other side having crafted a truly unique sound which is a clear advancement of the sound on the earlier records.

IGOR is a bold and well executed entry into one of the most excited discographies in modern hip-hop.

8/10

My Top 5 Shows From Sonic Temple 2019!!

Here’s the highlights from a fantastic week of rock n’ roll!!

5. Badflower

After a tiring drive to Ohio and a long wait in line on day one, we found our seats just in time to kick off our weekend with Badflower. The group was one of many up and coming artists on the lineup and easily one of the best. Josh Katz is a fantastic frontman, bringing an infectious energy and powerful vocals to every track. The setlist was predictably packed with cuts from their latest LP, OK, I’M SICK, and when they closed with their recent mega-hit, “Heroin,” after announcing that it had just reached number one on the US rock charts, they felt like a headliner in the making. This was an excellent way to kick off the weekend and a strong showing for a promising young band.

4. Ghost

Leading up to Ghost’s performance, I was admittedly uninformed on the group’s discography, but I was quite familiar with their reputation for theatrical performances. After an extended intermission during which an elaborate stage was assembled, the band of nameless, masked instrumentalists appeared to roaring applause followed by front man, Tobias Forge clad in his newest character, Cardinal Copia. Though I didn’t know the songs nearly as well as other acts from the festival, the energy was simply undeniable. Their music is heavily inspired by golden age acts like Alice Cooper and Black Sabbath and by combining that sound with a dramatic flair and fantastically talented musicians, Ghost has crafted a truly unique experience.

3. Halestorm

Kicking off the top-billed lineup for day one was Halestorm, perhaps best known for their near constant touring over their very long career. That experience pays dividends in massive shows like this as they absolutely brought the house down. The set kicked off with a long drum solo from Arejay Hale and continued at a breakneck pace for its entirety. The setlist was nicely mixed between older classics like “I Miss the Misery,” and newer hits like “Uncomfortable,” which sounded much better in their live settings than on the record. Lizzy Hale’s show-stopping vocals were captivating and, combined with excellent performances from the rest of the band, allowed Halestorm to stand comfortably, toe to toe with the other legends on the bill with them.

2. System of a Down

Heading into this festival, no band had me quite as excited as did System of a Down and they certainly did not disappoint. While the show was somewhat held back by noticeable technical issues, I found myself in awe of the talent before me. One simply cannot overstate the vocal abilities of Serj Tankian who brought a manic energy and breathtaking vocal range which stretched from thunderous growls to screeching highs and was razor sharp everywhere in between. Song selection leaned heavily into Toxicity but touched on hits from every record including their debut. The true star of the set was lead guitarist Daron Malakian who brought intensity and style to every track. It was an excellent performance from a legendary band.

******** HONORABLE MENTIONS ********

  • Movements
  • Amigo the Devil
  • Parkway Drive
  • Killswitch Engage
  • The Struts
  • Joan Jett and the Blackhearts
  • Gojira
  • Lamb of God

******** HONORABLE MENTIONS ********

1. Foo Fighters

There is perhaps no band in modern rock music quite as renowned for their live performances as the Foo Fighters, and this was further solidified with their set which closed the festival. After extensive rain delays which closed down the stadium for a few hours, Dave Grohl took the stage shouting “You didn’t think we were gonna play, did you?” Which set off a deafening roar from the crowd. The set lasted for two hours, twice as long as any other band on the lineup, and every bit of it was fantastic. From powerful performances of the group’s endless collection of hits to Grohl taking over on drums so that drummer Taylor Hawkins and Luke Spiller of The Struts could cover Queen’s “Under Pressure,” this show was a blast from start to finish. In many ways, a Foo Fighters show feels like a celebration of rock and roll itself, and so naturally, they were the perfect closers for a star-studded weekend which brought some of the best rock music has to offer.

AMAZON LINK: https://amzn.to/2UbiiiB