Foo Fighters + The Breeders at Talking Stick Resort Amphitheatre

With alt-rock anthems heavy on melody and personality, Foo Fighters have grown from Dave Grohl‘s humble solo project into one of the biggest — and most enduring — acts in modern rock. Once his self-recorded debut became a hit in 1995, the former Nirvana drummer turned Foo Fighters into a full-fledged band whose lineup coalesced after the 1997 release of The Colour and the Shape. With 1999’s There Is Nothing Left to Lose, the group’s sound gelled into a recognizable signature built upon the hooky loud-quiet-loud dynamics of Pixies and Nirvana, a modern rock sound anchored by Grohl‘s love of classic guitar rock. Alone among their peers, Foo Fighters displayed a rigorous work ethic, recording and touring relentlessly into the 2020s, racking up hit albums, multiple Grammy wins and, eventually, a 2021 induction into the Rock & Roll Hall of Fame. All this activity allowed the Foos to experiment, whether it was on 2005’s double-album In Your Honor, the travelogue of 2014’s Sonic Highways, or the danceable, feel-good anthems on 2021’s Medicine at Midnight. The dedication to work also carried Foo Fighters through tragedy when their drummer Taylor Hawkins unexpectedly died in 2022. Grohl rallied the group to deliver But Here We Are, a cathartic tribute to their colleague, the following year.

All of this industriousness stems from Dave Grohl, who had been playing guitar and writing songs long before he began drumming. Throughout his early teens he performed in a variety of hardcore punk bands and in the late ’80s he joined the Washington, D.C.-area hardcore band Scream as their drummer. During Scream‘s final days, Grohl began recording his own material in the basement studio of his friend Barrett Jones. Some of Grohl‘s songs appeared on Scream‘s final album, Fumble. After the band’s 1990 summer tour, Grohl joined Nirvana and moved cross-country to Seattle.

After Nirvana recorded Nevermind, Grohl went back to the D.C. area and recorded a handful of tracks that would appear on Pocketwatch, a cassette released by Simple Machines. For most of 1992, he was busy with Nirvana, but when the band was off the road, he recorded solo material with Jones, who had also moved to Seattle. The pair kept recording throughout early 1993, when Grohl returned to Nirvana to record In Utero. He had toyed with the idea of releasing another independent cassette in the summer of 1993, but the plans never reached fruition. Following Kurt Cobain‘s suicide in 1994, the drummer kept quiet for several months. In the fall of 1994, Grohl and Jones decamped to a professional studio, where in the space of a week, they recorded the songs that comprised Foo Fighters’ debut album. Boiling down his backlog of songs to about 15 tracks, Grohl played all the instruments on the album. He made 100 copies of the tape, passing it out to friends and associates. In no time, Grohl‘s solo project became the object of a fierce record company bidding war.

Instead of embarking on a full-fledged solo career, Grohl decided to form a band. Through his wife he met Nate Mendel, the bassist for Sunny Day Real Estate. Shortly before the pair met, Jeremy Enigk, the leader of Sunny Day Real Estate, had converted to Christianity and quit the band, effectively ending the group’s career. Not only did Mendel join Grohl‘s band, but so did Sunny Day‘s drummer, William Goldsmith. Former Germs and Nirvana guitarist Pat Smear rounded out the lineup. The band, named Foo Fighters after a World War II secret force that allegedly researched UFOs, signed a contract with Capitol Records. The band’s self-titled debut, consisting solely of Dave Grohl‘s solo recordings, was released in July of 1995. It became an instant success in America, as “This Is a Call” garnered heavy alternative and album rock airplay. By early 1996, the album was certified platinum in the U.S.

Throughout 1996, Foo Fighters supported the album with an extensive tour, enjoying a crossover hit with “Big Me.” Late in the year, the group began recording its second album with producer Gil Norton. During the sessions, William Goldsmith left the band due to creative tensions, leaving Grohl to drum on the majority of the album. Before the record’s release, Goldsmith was replaced by Taylor Hawkins, who had previously drummed with Alanis Morissette. The Colour and the Shape, Foo Fighters’ second album and the first they recorded as a band, was issued in May of 1997. Smear left the group in the wake of the album’s completion and was replaced by guitarist Franz Stahl, whose stay proved short-lived; 1999’s There Is Nothing Left to Lose was recorded as a three-piece, with ex-No Use for a Name guitarist Chris Shiflett signing on soon after.

One by One, the group’s most polished production, appeared in late 2002, followed by 2005’s In Your Honor, which narrowly missed the top of Billboard’s album chart. After releasing a live album titled Skin and Bones in 2006, the band returned to Norton’s studio and started constructing a dozen fractured, eclectic rock songs to be released in 2007 under the name Echoes, Silence, Patience, and Grace. Two years later, the group released its first compilation, Greatest Hits, as Grohl launched his new supergroup Them Crooked Vultures, which also featured Josh Homme of Queens of the Stone Age and Led Zeppelin‘s John Paul Jones. Foo Fighters reconvened for 2011’s Wasting Light, a Butch Vig production that doubled as the official return of Pat Smear, who hadn’t played on any of the band’s albums since 1997. Wasting Light wound up as a smash success for the Foos, debuting at number one on the Billboard charts, going gold in the U.S. and garnering the band another four Grammy Awards. In the wake of Wasting Light, several other Foo projects emerged — a limited-edition compilation of covers called Medium Rare released for Record Store Day 2011; a documentary of the band called Back and Forth — and the group toured the album into 2012.

In 2012, Foo Fighters announced they were taking a hiatus and Dave Grohl immediately returned to the confines of Queens of the Stone Age, drumming on their 2013 album, …Like Clockwork. He also threw himself into directing a documentary about the legendary Los Angeles recording studio Sound City. The film appeared early in 2013 to positive reviews, and it was accompanied by a soundtrack called Sound City: Reel to Real, which featured Grohl-directed jams including a variety of Sound City veterans, plus Paul McCartney. Not long after its release, Foo Fighters announced that their hiatus had ended and they were working on a new album. Sonic Highways, released late in 2014, was their most ambitious project yet; each track was recorded in a different city, some with special featured guests, a process documented on an eight-episode documentary series for HBO. Sonic Highways saw international release in early November 2014. During the Sonic Highways world tour, the Foos had the honor of being the final band to perform on The Late Show with David Letterman on May 24, 2015. Soon after, as touring resumed, Grohl fell from the stage during a stop in Sweden, breaking his leg. He performed from a throne for the remainder of the tour, which was rechristened the “Broken Leg Tour.”

In late 2015, both as a gesture of appreciation to fans and a tribute to the victims of the Paris terror attacks, Foo Fighters released the Saint Cecilia EP, a five-song blast that featured Gary Clark, Jr. and Ben Kweller. It returned the band to the Billboard charts, peaking in the Top 20 on the Hard Rock, Alternative, Tastemaker, and Vinyl charts. Soon after, the band announced an indefinite hiatus and would not release new music until two years later, when they returned with the single “Run.” This was the first taste of their ninth album, Concrete and Gold, which appeared in September 2017. Produced by Greg Kurstin, the album found Grohl incorporating some prog rock influences into the group’s sound. It also featured a handful of unexpected guest performers, including Paul McCartney, who played drums on a track, saxophonist Dave Koz, Boyz II Men‘s Shawn Stockman, and the Kills‘ Alison Mosshart; the latter two both added backing vocals. Along with topping the rock charts, the album was also the group’s second to debut at number one on the Billboard 200.

Foo Fighters toured extensively throughout 2017 and 2018, including making an appearance at the Glastonbury Festival. By 2019, they were back at work in the studio, recording in an historic house in Encino, California, and again working with producer Kurstin. Initially scheduled for release in 2020, Medicine at Midnight was delayed due to the COVID-19 pandemic. However, a lead single, “Shame Shame,” did appear in November 2020, topping the mainstream rock chart. Two more songs followed, “No Son of Mine” and “Waiting on a War,” paving the way for the album, which ultimately arrived in February 2021. In March 2022, the Foo Fighters traveled to South America to play a handful of concerts, headlining the Lollapalooza festival in Argentina on March 20. On the morning of March 25, 2022, drummer Taylor Hawkins was found dead in his hotel room in Bogotá, Colombia, where the group was scheduled to perform that evening; he was 50 years old.

At the end of 2022, Foo Fighters announced they planned to continue as a band following the death of Hawkins. Grohl and his bandmates processed the loss of their colleague on But Here We Are, an album that occasionally echoed the spirit of the first Foo Fighters album while also featuring the assured, precise execution of Greg Kurstin, who returned for his third record with the Foos. ~ Stephen Thomas Erlewine, Rovi

The Breeders started as a way for Pixies bassist Kim Deal and Throwing Muses guitarist Tanya Donelly to let out some suppressed creative energy, but thanks to the success of their second album Last Splash and its smash hit single “Cannonball,” the band became one of the biggest — and quirkiest — acts of the early-’90s alternative rock revolution. Though the large gaps of time between their later albums made their career trajectory less than predictable, the Breeders’ appeal, not to mention influence on later bands, lasted for decades.

Taking their name from the group Deal led with her twin sister, Kelley, in their teens, the Breeders combined the spareness of Throwing Muses with the shifting dynamics and warped pop sensibilities of the Pixies. Deal and Donelly both played guitar, leaving bass to Josephine Wiggs of Perfect Disaster and drums to Slint‘s Britt Walford. Pod, their critically acclaimed debut album, was released in 1990. Two years later, the group delivered the muscular, melodic EP Safari. Soon after its recording, Donelly left the Breeders to form her own group, Belly. Kim Deal brought in her sister Kelley as her replacement. Safari was also the last release to feature Walford, who was billed as “Shannon Doughton” and “Mike Hunt” on the respective recordings. He was later replaced by Dayton drummer Jim MacPherson. The group also played its first high-profile gigs in 1992, opening for Nirvana on their European tour.

As the band worked on its second album in the beginning of 1993, the Pixies split, leaving Kim Deal able to pursue the Breeders full-time. Released in August 1993, Last Splash was a hazier, more disjointed continuation of the hard pop of Safari. With the sonic collage of “Cannonball,” the Breeders had a crossover hit that catapulted the group into stardom: within a year, the album went platinum and the band had a prime spot on 1994’s Lollapalooza tour. That year, the group also released the limited-edition 7″ Head to Toe and Divine Hammer singles, both of which confirmed the Breeders as an artistically willful group that was nevertheless in tune with the commercial pop tastes of the early ’90s.

Just as quickly as success hit the band, the Breeders went on a sudden hiatus, partly due to exhaustion from the rapid nature of their fame and from their extensive touring. Late in 1994, Kelley was arrested for drug possession and was sent to a rehab clinic in Minnesota; the rest of the bandmembers went their separate ways while she recuperated. Wiggs played with musicians around New York, ultimately forming the Josephine Wiggs Experience with them; Kim returned to Dayton with MacPherson, learned how to play the drums, and continued writing songs. By early 1995, Kim had an album’s worth of new material ready to record. Though she considered recording them on her own, Deal decided to assemble a backing band of MacPherson and other Dayton-area musicians, including Nathan Farley and Luis Lerma of the Tasties. Not surprisingly, the Amps — originally called Tammy & the Amps — sounded like a rougher, lo-fi version of the Breeders; their gigs and their 1995 album Pacer emphasized the loose, charming spontaneity of Deal’s style.

Though the Breeders’ break was supposed to be temporary, it lasted several years. Along with her time in the Josephine Wiggs Experience, Wiggs later formed Dusty Trails with Luscious Jackson‘s Vivian Trimble. After Kelley completed her rehab, she formed her own solo project, the Kelley Deal 6000. She toured and released an album with this group, 1996’s Go to the Sugar Altar.

That year, Kim reclaimed the Breeders name and played some California dates with the band, which featured members of the Amps and Pod violinist Carrie Bradley. In 1997, the Breeders played the Tim Taylor Memorial Benefit Concert — in honor of Brainiac‘s singer/keyboardist, who was killed in a car accident earlier that year — with that group’s drummer Tyler Trent replacing MacPherson, who later joined Guided by Voices. Later that year, Kim went into the studio in one of many frustrated attempts to make the third Breeders album. However, the group’s low profile didn’t mean that it didn’t have any hits; a sample from “Cannonball” used in the Prodigy‘s worldwide smash “Firestarter” earned Kim songwriting credits and royalties. By early 1998, Kelley had rejoined the band and the duo continued to write and record songs, though the only song to surface from their sessions was a cover of the Three Degrees‘ “Collage,” which appeared on the soundtrack to 1999’s big-screen adaptation of The Mod Squad.

In 2000, Kim and Kelley spent time in the studio with Steve Albini; late that year, the Breeders played their first gig in over three years (and Kim’s first show with Kelley in over six) at a free, secret show in Los Angeles. Once again, the Breeders’ lineup had changed, with bassist Mando Lopez, guitarist Richard Presley (both formerly of Fear), and drummer Jose Medeles backing the Deal sisters. The group reconvened in the studio with Albini in 2001, completing an album’s worth of songs. The Breeders began a flurry of activity in 2002, including the release of the Off You and Huffer singles and their long-awaited third album, Title TK, that May. After a quiet 2003, Deal was once again in the news in 2004 when the Pixies reunited for tours of North America and Europe.

In late 2007, rumors that another Breeders album was on the way were confirmed, and Mountain Battles arrived in April 2008. The Fate to Fatal EP, which featured a cover of Bob Marley‘s “Chances Are” and guest vocals from Mark Lanegan, appeared in 2009, the same year the Breeders curated the All Tomorrow’s Parties festival in Minehead, England. The following September, they played the ATP festival in Monticello, New York. In 2013, the band celebrated the 20th anniversary of Last Splash with a deluxe reissue of the album and a tour that reunited Kim and Kelley Deal with Wiggs and MacPherson.

Following the tour’s success, the band began work on its fifth album. The Breeders recorded with longtime producer Albini at his Electrical Audio studio in Chicago, as well as with Mike Montgomery at Kentucky’s Candyland Recording Studio and with Tom Rastikis at Ohio’s Fernwood Studios. In October 2017, the band delivered its first new music in eight years with “Wait in the Car,” the lead single from All Nerve. Featuring backing vocals by Courtney Barnett, the album was released in March 2018, nearly 25 years after Last Splash. All Nerve peaked at 79 on the Billboard 200 Albums chart in the U.S., cracked the Top Ten in the U.K., and charted throughout Europe.

The members of the Breeders began the 2020s by spending time with their individual projects. Kim wrote a solo album; Kelly worked with R. Ring and Protomartyr; MacPherson played with the surf band the Mulchmen; and Wiggs collaborated with drummer Jon Mattock. In 2021, they reconvened to contribute a version of His Name is Alive‘s “The Dirt Eaters” to the 4AD compilation Bills and Aches and Blues. Two years later, the Breeders hit the road to commemorate Last Splash’s 30th anniversary with dates at Coachella and Riot Fest as well as with the Foo Fighters, Belly, and Horsegirl. September 2023 saw the release of a Last Splash reissue that was remastered from the original analog tapes and included two previously unreleased songs from the album’s sessions: “Go Man Go,” which was co-written by Pixies‘ Black Francis, and “Divine Mascis,” a version of “Divine Hammer” with Dinosaur Jr.‘s J Mascis on lead vocals. ~ Stephen Thomas Erlewine & Heather Phares, Rovi