Blowing minds, touching hearts, and mending spirits, Dave Grohl’s Foo Fighters cement their statuses as world-class performers and rock ‘n’ roll legends at Petco Park in San Diego.
Foo Fighters is a band that requires no introduction, but it’s more than safe to say that the past few years demand a brief reprise.
The 15-time Grammy award-winning group and its frontman have experienced their fair share of loss and tragedy. Forming in the aftermath of Kurt Cobain’s death in 1994, and now exiting the shadow of grief following the deaths of late drummer Taylor Hawkins and Dave Grohl’s mother in 2022, Foo Fighters return to the stages after reckoning with and reflecting on the events that have transpired since. August 7th marked the six-piece’s triumphant return to San Diego after a hectic five years, where they were set to play the locally beloved Petco Park. Turning the Padres’ ballpark into Foos territory for the night, the 40,000-capacity stadium drew a near-sold-out show, with fans at the barricade arriving as early as 5:00 AM.
5:30 PM marked the beginning of the show, in which Gen Z-renowned indie singer-songwriter/masterful storyteller Alex G opened with “Gretel,” an experimental, hypnotic lo-fi track to ease in the audience as seats slowly began to fill. His rather short set ended with “Forgive,” a folky, acoustic guitar-driven track that left hopes and hands held high. “Forgive yesterday / I choose today / No stories, no mirrors.”
Swedish alt-rockers The Hives were quick to make names for and leave lasting impressions of themselves, entering wearing matching tuxedos adorned with white lightning bolts and music notes, running across a matching backdrop and giant letters spelling “HIVES” placed onstage. Frontman Howlin’ Pelle Alqvist delivered a nothing short of electrifying performance, swinging his microphone, reaching into the crowd, and commanding the growing audience to clap in sync with him onstage.
The Foos hit the stage at 8 PM, and it was at the worst time that I realized I was wholly unprepared to take photos of the headliners.
Unlike the previous acts where media was given access to the photo pit, we were designated to shoot Foo Fighters from the soundboard, located behind the seated audience towards the middle-back of the floor. This wouldn’t have been a problem, had my SD card not run out of storage, I’d brought the proper lens, and I wasn’t struggling to see over the heads of thousands of people.
Anxiously fumbling with my camera through “All My Life,” “No Son of Mine,” and “Rescued,” I quickly realized that getting detailed shots of the band was hopeless, but inspiration had stricken elsewhere. Looking around the stadium, not a single person in their seat, cheers ringing in my ears after each song, and all eyes glued on the stage, the enthusiasm and energy were palpable.
It was then I noticed the age groups in attendance that night, from elementary to elderly, chanting lyrics in unison with Grohl onstage, making no place more ideal for capturing the pure excitement, joy, and momentum radiating off of all the different fans that night.
40,000 people filled the stadium from the very front of the floor to the highest row of the stands.
Rousing the crowd further with “The Pretender,” pouring cups of water over himself as he powered through “Walk,” Grohl remains an engaged showman, calling for the audience to chant along, “Forever, whenever / I never wanna die.” “Times Like These” and “Generator” followed, fading out to the bassline of the oldie-but-a-goodie, “La Dee Da.”
Continuing with the dedications to those endearingly dubbed “old-schoolers,” Foo Fighters gave an explosive performance of “Breakout,” interspersed with Grohl’s witty comments and some seconds of silence for the audience to sing in. The energy remains high as the frontman takes a moment to introduce the band, starting with lead guitarist Chris Shiflett, to bassist Nate Mendel, keyboardist Rami Jaffee, rhythm guitarist Pat Smear, and new drummer/fellow rockstar icon Josh Freese. Each member plays their solo, medleying songs from Ozzy Osbourne’s “Crazy Train” and AC/DC’s “Thunderstruck” to Ramones’ “Blitzkrieg Bop” and Nine Inch Nails’ “March of the Pigs.”
“It’s at this point of the show where it stops feeling like a stadium,” Grohl says.
“It feels like we’re in your backyard doing keg stands and stuff.” 40,000 people feel like 40, as the band winds down to play “My Hero,” golden lights illuminating their faces and the audiences’. Gold turns to purple as Foo Fighters transition into “The Sky Is a Neighborhood,” “Learn to Fly,” “Arlandria,” and “These Days.” The stadium has never felt more intimate, and the band has never looked more in their element.
“Ladies and gentlemen,” starts Grohl. “It’s at this point in the program where we do what every stadium rock band wants to do, but just doesn’t have the balls to.” He elicits a few chuckles from the crowd, a brief moment of silence following. “Yes, we bring an accordion onto the stage.”
Stepping down from the back podium, accordion strapped on his chest, Rami Jaffee takes the front stage as Grohl strums and sings “Skin and Bones,” humourous comments adding lively energy to the otherwise gentle acoustic track. “There’s your Super Bowl halftime show right there! F*ing accordion!”
The Foos play “Under You” and “Nothing At All” before Grohl gives another speech to the audience. “It’s usually at this point where I do a little self-check, meaning I gotta know what you want. I’m here for YOU!” he shouts. “Do you want a nice beautiful rock ballad, or do you want a screaming rock song?” He goes back and forth between the two options, with the ballad receiving hisses and boos and the screaming rock song receiving deafening cheers. “You guys are gnarly,” the frontman chuckles. “This is a screaming ballad love song called ‘Monkey Wrench!’”
Slowing down as the main set comes to a close, Grohl pays homage to Southern California and Taylor Hawkins, recounting a story of the late drummer and The Bad News Bears as he lightly strums his guitar. “I think he might be one of the Bad News Bears, because to me, that personified the California I knew and loved. [“Aurora”] is for him.” Cyan lights fill the stage as a glittery guitar solo precedes the dedicated song for Hawkins. “Best of You” closes the main set, as Grohl stares into the crowd while fans break out in sing-along.
Returning to the stage for a final two-song encore, Foo Fighters’ penultimate song was the ten-minute-long “The Teacher,” a tribute to Grohl’s mother on their latest album, But Here We Are. Goodbyes are always difficult, and Grohl acknowledges this earnestly. “Instead of saying goodbye, we just do this,” he says, strumming the opening chords of “Everlong.” Pink and red fireworks blast from behind the stands into the night sky as the six members walk to the front of the stage and take their bows, blowing kisses into the crowd as smoke fills the air and fans cheer at the top of their lungs.
Foo Fighters were there to give “Everything or Nothing at All,” and I can say with certainty that they accomplished the former.
Through a nearly three-hour set, 24 songs, and ceaseless audience engagement, Grohl and his bandmates never faltered in tact, momentum, or energy — and neither did the audience. Going from acoustic sing-along sessions to rock ‘n’ roll stadium bombast is no easy feat, but the Foos made it seem second nature, bringing 40,000 people on a rollercoaster as electric as it was emotional.
At their very best (and only getting better) three decades into the game, Foo Fighters prove they are, and will continue to be, one of the most legendary rock acts for generations to come.
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© Isabella Le
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