Grohl’s directorial debut pays tribute to the legendary- and recently shuttered- L.A.
This sort of cross-generational appeal has made Grohl not just the nicest man in rock, but its Employee of the Month for nearly 20 years running.Īnd no doubt, he’s probably the only person who could have made Sound City happen. Grohl’s essentially the middle-man who helps the geezers look cool to the kids: He’s got an open-door policy for Rock and Roll Hall of Famers to join him onstage anytime he’s got enough charm and charisma to coax the most reclusive living member of Led Zeppelin out of semi-retirement and he’s always on hand to help Grammy Awards producers mitigate the encroaching influence of EDM. But if the surprise cameo provided little indication of Grohl’s imminent future as the guitar-slinging, camera-ready leader of one of the last arena-rock bands left standing, it was the harbinger of another role he would grow to relish over the next two decades: that of a dutiful gatekeeper of classic-rock tradition.
About halfway during the time that elapsed between Kurt Cobain’s suicide and the release of the first Foo Fighters album, Dave Grohl made his first public, post-Nirvana showing in the most unlikely of places: On 'Saturday Night Live', manning Tom Petty’s drum kit for a couple of weed-scented folk-rock jams from Petty's Wild Flowers release.