September 22, 2021

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11-year-old drummer Nandi Bushel steals Fu Fighters show: Review

3 min read

While the Fu Fighters aren’t trolling Westborough Baptists, preparing to receive the Global Icon Award for the first time at the 2021 VMA and bringing life back to Madison Square Garden amid a global pandemic, that’s what they’re doing: Rock Show.

A select group of lucky fans in Los Angeles last month were considered for an intimate performance at the Canyon Club in nearby Agoura Hills, Calif., Who met with anti-wax protesters. They then had to postpone the Los Angeles show at their forum due to a positive Covid-1 test at their camp. With a renewed mask order and the necessary vaccine proofs, the band made good on that suspension because the sold-out crowd at the forum was encouraged to put on face cover.

Such reminders – that we have not yet returned to safety – did not prevent anyone in the room, especially Dave Grohl, from enjoying themselves.

Fuss’s two-and-a-half-hour set began with a slow-moving presentation of the shocking “Times Like This.” Slow-down until Grohll shouted, “Here we are, mother fucker!” And the energy in the room explodes, setting the melody for the rest of the band’s 19-song set. Grohl was less gossipy than usual, but as he noted, “We have a lot of fucking songs that we can’t stop. That’s true. If you want us to have 225 songs or whatever, we’ll be here for six days. ”

In fact, Fu Fighters packs more hits in the first hour of their set than most bands in their careers.

Lazy loaded pictures

ich Pictures of Richfury / Forum

To cover some of the classics, there were still some wiggle rooms. About halfway through their set, a huge disco ball descends from the forum ceiling and the Fu Fighters transform into their disco-alter-egos, for a cover of de gis, b gis “you have to dance.” “Oh, it was a weird year,” Grahl announced after his impressive handling of Barry Gibb Falsetto with little help from his backup singers, including daughter Violet Grohl.

It was time to return as Fu Fighter, to introduce Grohl to the rest of the band, a mini, who immediately paid tribute to Charlie Watts. Grohl revealed earlier this week that he “cried while washing the car.”

Now the main show that has become a Fu Fighters, drummer Taylor Hawkins has relocated with Grohl for a cover of Queen’s “Somebody to Love”. The opportunity presented itself, not only to showcase his skills as Hawkins’ front worker, but to take a familiar place behind the Grohl drum kit. “Do the one no one thing,” Hawkins claims to Mike. “Three times! The best triplets in the business, “and now the long ones” from Hawkins when the planet bursts into drums. The recent album “Medicine at Midnight” had a new song with the title track.

However, the highlight of the night was that Grohll brought out his “arch nemesis” with Nandi Bushel, an 11-year-old British drumming prodigy who challenged him to stop drumming and, as Grohl put it, “flips the whole planet in front of my fucking hips” online. When the stage crew pulled out a small but powerful pink drum set, Grohl explained how special Bushel was.

Foss Frontman and Nirvana drummer said: “This guy inspired me so much last year and I’ll tell you why. Because at a time when you pick up your phone or turn on a computer and all you have is bad news. For a day, you have your phone You can pick and see this connection between two people who have never made music together and spread joy and love around the world. “

Nandi Bushel not only spread joy and love on Thursday night, she also helped her new friend close the show by tearing apart the biggest hit of the Fu Fighters, “Everlong”, while Fu Fighters drummer Taylor Hawkins lifted her legs and enjoyed the show. Bushel didn’t miss a bit and looks like he’s been traveling with Fuss for the past 26 years, although they met in person for the first time that night.

In times of such uncertainty, the night should have ended just as Fu Fighters taught an 11-year-old musician how to throw a guitar pick in a serious crowd after taking a bow. But in reality, it wasn’t a remarkable ending for any Foos show – joining different generations of rocks together over a wide range of decades.

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