Here is a track-by-track review of the band’s latest album:

Making a Fire:

Some might say it is a typical Foo Foos track, but not quite. Although you have the usual elements that make that up, I would also classify it as “cheesy pop”, including its hand-clapping and “Na na na” refrain. Despite the element of cheese infused with regular Foo Fighters, it is a very upbeat track.

Shame Shame:

The band recently played some of the material for some lockdown sessions, with this included, so the listener should be familiar with it. We go from a pop chart-friendly song into a full-on rock that will make the setlist when the record is toured, I’m sure of it. The track in question was also used to promote the album and has had an astronomical amount of airplay, which saw it rise to no.1 in the Rock chart in America in record speed.

Cloudspotter:

This one is not a track I associate with the band; I am struggling to think of a song where they have gone into something the likes of the Jimi Hendrix Experience or Led Zeppelin would have made. Yes, this song is inspired by the psychedelic rock of the 1970s. Greta van Fleet would put this on an album rather than the Foo Fighters. It is brilliant that the band has decided to experiment on the record and made a song ready for the floor. Now, I mention him quite a bit in every review, but has the band drawn inspiration from the likes of Noel Gallagher to step back into the 70s and make music with an upbeat vibe?

Waiting on a War:

You think this track is purely acoustic, but as it swells, it turns into a full-on rock track that will shake the foundations of the arenas, especially with Dave Grohl’s in-your-face vocals.

Medicine at Midnight:

The title track is undoubtedly experimental, where the band dips into funk, acoustic, raw sound, and just like “Cloudspotter”, another song ready for the disco. I’m curious if the fans who know them for the natural rock sound will be impressed, but the band has shown how versatile they can be.

No Son of Mine:

They take it back to what the people have come to love them for with this punk-fuelled track sprinkled with Motorhead, whom they are highly inspired by. Indeed, the late Lemmy had joined them on stage as a guest. The message is also one that we can all relate to. I mean, who the fuck wants war?

Holding Poison:

Dave opts to use reverb for his vocals over choppy riffs and rhythms. It is not a great song on the record, but that’s purely academic when you consider even the shit ones on their strong albums are probably much better than what some of the other artists/bands churn out for most of their records.

Chasing Birds:

This is likely to be the second single and will probably fare better than “Shame Shame” because it is, in effect, the second instalment of their classic and my favourite song, “Everlong”. 

Love Dies Young:

The final song off the album, which so far is unbelievably short. All the songs have yet to be near the five-minute mark, which is the norm nowadays for tracks. The record clocked in at just over 36 minutes, a relatively short listen. Also, there are only nine tracks, which is unusual, especially for the Foos. Now, this track might be a typical FF track. Still, I could hear a bassline inspired by New Order or Peter Hook and the Light. It also reminded me of their acoustic ballad that builds into their usual rock style, “One of These Days”, so if you do feel underwhelmed by the shortness and tempo of the tracks, you can be won over at the end of the album, just as you were at the offset. If you buy the deluxe edition of the record, there is a listening party complete with commentary from the band after each track. Usually, this type of thing is saved for DVDs, but you have to admit, it is quite an interesting approach from the Foo Foos.

Song recommendations: “Love Dies Young”, “Making a Fire”, “Cloudspotter”

7/10