foo fighters

In the private home studio left behind by his father, Shane Hawkins is hitting the drums hard. The teenager behind the kit is locked into “Driven to Tears,” the Police’s reggae-charged protest song, channeling its sharp, syncopated beats with controlled fury.

His long blond hair swings across his face as Hawkins loses himself in the moment, tapping into a brisk echo of ’80s rock. He then shifts into the thundering blues of Black Sabbath’s “The Wizard,” driving into the heavier groove while surrounded by the instruments, gear and treasured memorabilia of his late father, Foo Fighters drummer Taylor Hawkins, who died in 2022.

Joining him in this rehearsal are bassist Wiley Hodgden and guitarist Brent Woods, who played hard-rocking cover songs in Taylor’s side project Chevy Metal for more than two decades. After Taylor’s death, the Foo Fighters carried on, but Chevy Metal were certain they could not. Shane changed that.

“Wiley and I were in agreement, like, it’s done,” says Woods. “Shane was the one that said, ‘I want to do Chevy.’”

For Taylor’s son, the band was one more thing he didn’t want to let go.

“It was a part of my childhood and it’s like, my dad was gone and these people that I’ve watched my whole childhood, they’re still there,” says Shane, 19. “Why not keep something going? And it’s just honoring my dad, you know?”

Most of the music world first saw Shane behind the drums during Foo Fighters’ performance of “My Hero” at the Taylor Hawkins tribute concert at Wembley Stadium on Sept. 3, 2022. He was 16 and already obsessed with drums, but he says it wasn’t until that moment that he knew he wanted to devote his life making music.

“It was a gnarly time,” Shane recalls. “You had to pull that off. You can’t really f— that up.

“I played for a lot of people, and there’s only one feeling like that — especially playing the drums. Once you do that, you never want to do anything else.”

With Chevy Metal, Shane is in a band committed to playing songs mostly created before he was born, with a typical setlist including songs by Van Halen, Led Zeppelin, Queen, the Rolling Stones, Talking Heads, Rush and the Doors. His presence now means leaning more often into classic punk rock. During their live sets, Shane will usually take the mic to growl through the Bad Brains’ speedy “Big Takeover,” pacing the stage and banging his head.

“We’re playing the Germs now,” says Woods. “We’re playing Black Flag, which we never did before.”

Shane Hawkins plays drums with Chevy Metal at the Viper Room.

(Steve Appleford)

Chevy Metal shows routinely feature surprise guests. Dave Grohl and other Foos have frequently appeared. So have Mick Jagger and players from Queen, Red Hot Chili Peppers, Guns ‘N Roses and more. Even tennis star John McEnroe once joined the band on guitar at a Malibu gig, alongside his wife, singer Patty Smyth.

One regular guest is Lee Ving, singer for the pioneering L.A. punk band Fear. “Lee is like the elder statesman, and then we got Shane, who is so young,” Hodgden says of the age range. “You never see that unless it’s maybe a church band or something.”

Another regular is Anthrax guitarist Scott Ian, a family friend whose son Revel also plays music with Shane.

“He’s a great dude and he is a monster drummer,” Scott says of Shane. “I sit and I watch him and Revel play together. It’s so great to see, especially in a world where a lot of younger kids don’t pick up instruments anymore. They live, eat, sleep, breathe, bleed, rock music.”

Until this month, the resurrected Chevy Metal could only perform during Shane’s breaks from his boarding school on the East Coast, but he is newly graduated and ready to play. The trio performs Saturday at Alex’s Bar in Long Beach as part of a series of shows that will take the band to the U.K. Shane is also working with other young players on new material.

“He’s already jamming with kids his own age and friends that he’s had for years, and starting his own project,” says Woods. “But this is good for him to learn, just to play in different venues and travel around and get his feet wet playing covers.”

Chevy Metal once served a similar purpose for Taylor, a favorite pastime alongside his Foo Fighters work. Hodgden has been part of the Foo Fighters crew for 24 years, both on the road and at their studio 606, starting as Taylor’s drum tech. Before that, he was a bartender newly arrived from Oklahoma that the drummer befriended.

In 2002, Hodgden and original guitarist Achim “Dange” St. Dangerfield started the band as an acoustic duo doing cover songs. Taylor was a regular, Hodgden says, turning to Shane. “There’d be two drunks at the bar, and then your dad sitting there heckling us,” Hodgden says with a laugh. “We go into ‘Hotel California,’ and he’s like, ‘Oh, great song choice, guys.’”

The Foos drummer soon wanted in.

“Taylor was trying to come up with names and he’s like, ‘How about Chevy Metal?’ And I said, ‘Well, you can’t really name the band. You’re not in it,’” Hodgden adds. “But we jammed all the time up at his house, and then one day we’re playing and it sounded good. And Taylor stood up and said, ‘I’m gonna be your drummer and we’re gonna call it Chevy Metal.’ And I was like, that’s a rad name.”

“He got to be the boss in this band and steer the ship and do whatever he wanted,” says Hodgden. “But also it was low pressure and it was all about fun.”

Taylor filled much of his downtime making more music. Aside from Chevy Metal, he recorded new songs with the Coattail Riders (which included Woods) and, earlier, the Birds of Satan (including Hodgden).

“He never stopped,” Woods recalls. “He would call me at 7 a.m. and go, ‘What are you doin? Get up here!’ He’d go to bed probably at midnight, one o’clock, and he’s up taking the kids to school, he’s mountain biking, and he’s ready to roll. I was still sleeping, but he would be up every day wanting to create and work.”

Woods saw Chevy Metal’s first show with Taylor at Abuelitas in Topanga Canyon in 2002. After Dange moved up north to work as a teacher, Woods eventually became Chevy Metal’s new guitarist. Woods grew up in Burbank and took guitar lessons from Randy Rhoads, best known for his work on Ozzy Osbourne’s early solo albums.

“He was such a great lead player, but he was adamant that if you can’t play rhythm, it doesn’t matter how great of a lead player you are,” Woods says of Rhoads, who emphasized “rhythm and feel.”

“I wouldn’t be sitting here right now if it wasn’t for Randy teaching me.”

Growing up initially in Topanga Canyon, the first beat Shane learned to play was the thunderous drum fill from Phil Collins’ “In the Air Tonight.” Then came Deep Purple’s “Smoke on the Water” and the Rolling Stones’ “Miss You.” By 13, he was spending hours each day practicing alone in the basement at his boarding school.

“There were no other kids that really played at the school, so I’d just sit down and play,” he says.

Shane grew up watching both Foo Fighters and Chevy Metal shows. “I’d sit behind my dad and watch him play and watch people just go crazy,” says Shane. “And as a kid, you think that’s the coolest thing in the world, because it is. It’s the best feeling.”

The band Chevy Metal — bassist Wiley Hodgden, left, drummer Shane Hawkins and guitarist Brent Woods — gestures downstairs at the Viper Room on the Sunset Strip.

(Steve Appleford)

Taylor’s home studio was built in a guest house behind his family’s home in Hidden Hills, a gated community on the northern edge of the San Fernando Valley. Inside, the walls are still covered with his guitars, posters, photographs and other relics from his favorite artists: Aerosmith, Rush, Bowie, Jane’s Addiction and Soundgarden.

The reborn Chevy Metal still rehearses in what Woods describes as Taylor’s “man cave.”

“He put a lot of work into making this room what it is right now,” says Shane. “I remember him precisely making sure every picture was hung up in the exact place. And every banner was hung perfectly and every speaker was placed perfectly for your ear.”

The band recorded a lot of songs here with Taylor, and they hope to release some of that material from the vault. They plan on more recording with his son.

Before Shane graduated high school, the last time Chevy Metal played a hometown show was at the Viper Room on New Year’s Eve. It was also a gathering of rock ’n’ roll families, as second-generation musicians took turns onstage with Chevy Metal, representing the offspring of Guns ‘N Roses, Jane’s Addiction and Anthrax.

During the sound check, the band ran through songs by U2 and Foreigner, and Shane hammered the drums at full volume. Afterward, he was chatting with Scott Ian, who advised him: “You never want to be great at dress rehearsal. You want to be good at dress rehearsal, and then be great at the show.”

Shane nodded, but for now, he says he can only play at one level: loud.

As Shane sat in the dressing room before Chevy Metal’s set, Jane’s Addiction drummer Stephen Perkins walked in, asking, “Where’s the drummer?” Then he spotted Shane, smiled, grabbed his hand and said, “There he is!”

The title of Violet Grohl’s debut album, “Be Sweet to Me,” started as an inside joke.

“‘Be Sweet to Me’ is a phrase that my best friend and I say to each other when we’re play-fighting,” says the rising singer. “It’s what we do to put an end to it. Like, ‘Oh, be sweet to me!’”

The phrase might also carry a double meaning, one Grohl is still parsing. At some point in the naming process, someone in her circle asked Grohl if she was making a plea. Remembering that moment, Grohl pauses to consider.

“I guess it can be seen as a pretext for the album. Just … be sweet,” she says. “But at the same time, it’s literally just what my best friend and I say to each other when we’re calling each other idiots.”

Intentional or not, no one could blame the 20-year-old for inserting an earnest request for audiences to proceed with kindness as she readies her debut album, which finally landed Friday.

The reasons are pretty self-explanatory: Grohl is the eldest child of modern rock icon Dave Grohl, the highly decorated founder and centerpiece of Foo Fighters and onetime drummer of Nirvana, and his wife, former model and TV producer Jordyn Blum. In an age of “nepo” accusations and internet dogpiles, it would be completely understandable for Grohl to feel anxious about her album’s reception.

But if she is, it doesn’t show. On a warm day in mid-May, Grohl appears relaxed and self-assured — but not arrogant — as she idles on a sofa in a cozy Studio City ADU owned by her publicist. Encased in a long, black sleeveless dress, she’s giving a mixture of off-duty rock star and summer goth. Her arms host an array of intricate tattoos; I spot a raven, a skull and a vintage lace fan. Next to her is a bulging Balenciaga mini bag, and a pair of oversized sunglasses on her head are perched atop a mop of jet black curls. The high contrast of her pale, makeup-less skin and swept back hair makes her round, gray-blue eyes appear even more pronounced.

“Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me.”

(Bella Newman)

Any time spent with her reveals that Grohl is the sort of person who is ultra-sensitive to the energy of places, people and even the long-deceased. In her free time, Grohl is an avid lover of anything paranormal. “The same time I got into horror movies, I started watching ‘Ghost Adventures’ on Travel Channel,” she says. “It totally sent me down this rabbit hole of the supernatural.”

When I ask if she’d ever made contact with any ghosts, Grohl nods emphatically before describing a trip to a hunting estate near the Scottish Highlands. “It is the most haunted place I’ve ever been in my whole life,” she says. “I walked into the house, and it was like a blast of cold air, chills everywhere. It’s this instinctual feeling of, I’m not alone here … I heard footsteps and disembodied voices, I saw shadows, I had crazy f–ing dreams. It’s so eye-opening, but it’s not evil or negative.”

Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories. From a sonic perspective, listeners will be thrilled to know that her debut does not just make for an entertaining listen — it’s a dedicated towpath to the very squealing heart of alternative rock, built by an artist who understands her music history on a granular level. Across a tight 11 tracks, “Be Sweet to Me” careens across late-’80s and ‘90s experimental genres, from ripping alt-rock on “Bug in the Cake” to hazy dream pop on “Mobile Star” to aggro Clinton-era alt metal on “Often Others,” and even a bit of chugging hardcore on “Cool Buzz.”

As many references as she brought to the recording process, led by producer Justin Raisen (a known collaborator of Charli XCX and Kim Gordon, who made the introduction), Grohl is not attempting to cosplay the grunge era. Instead of simply mirroring influences, she deftly puts her own spin on each arrangement with inventive, grabby arrangements, razor-sharp production and her versatile vocals, which can bellow like Courtney Love, murmur like PJ Harvey or turn ethereal like Elizabeth Fraser.

“Justin has a crew of musicians that he works with, and they’re all close friends of his,” Grohl explains of the album’s backing band, which Raisen assembled to mimic the Wrecking Crew, a loose collective of session players who appeared on some of the most beloved albums of the 1960s and ‘70s. “They’re the coolest, most talented, genuine music lovers, and seriously talented musicians … I’d never been in that kind of recording environment before. Everyone would throw out ideas or I would share a reference, and whatever it was about the song, [we’d ask] how we can build and make it a completely new, different thing.”

Growing up in Tarzana/Woodland Hills, Grohl says she’s been singing ever since she could speak. In a baby book, her mother wrote how Grohl, at 8 or 9 months, was “babbling and singing.” She took piano lessons with a teacher who taught her any Beatles song she wanted to learn. She later picked up the ukulele, and then a guitar. Now, it’s any piece of gear, from bass to drums to a lap dulcimer. “I just love messing around with different instruments and seeing all the different sounds I can make,” she says.

Grohl also had an ideal music-taste mentor in her father, who told his eldest all about Björk and acquiesced to playing Amy Winehouse’s “Rehab” on repeat. “I think I was 4 or 5, and I remember sitting in front of his computer, and he was talking about how she was from Iceland,” Grohl says of those days. “And I was like, ‘Oh, she’s the princess of Iceland. That was my idea of Björk from a young age. Björk’s ‘Hunter’ music video was a turning point for me.”

By adolescence, while on the road with the Foo Fighters, Grohl would make herself useful by assisting the band’s tour manager. She remembers: “I had a walkie-talkie, I would hand per diems out to people, I would run the envelopes around, and bring my dad a towel after the show, stuff like that.” The live-music atmosphere may have also sparked Grohl’s curiosity in songwriting, which she says began as a way of journaling. “I have cassette demos that I made with a tiny one-track recorder,” she remembers. “Then I started learning how to use Logic right before I turned 13, and that opened up this whole new world.”

One night in May 2018, on a break from the East Coast leg of the Foos’ Concrete and Gold tour, the elder Grohl headlined a benefit concert for the UCSF Benioff Children’s Hospital, where he encouraged his daughter, then only 12, to join him onstage to sing Adele’s “When We Were Young.” A few weeks later, back on tour, Grohl jumped onstage to help sing backup on a few tracks. “It wasn’t my first time singing on a stage, but it was my first time singing on a stage with that many people in [the audience],” she says of the second experience. “I was really scared, but once it was happening, and once it was over, I was like, ‘Oh, this is what I want to do. This is my purpose.’”

Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories.

(Bella Newman)

From there, Grohl became something of a live fixture — a beloved Foos adjunct performer. But clearly one with her own trajectory. In pre-pandemic 2020, Grohl joined the surviving members of Nirvana at the Art of Elysium Gala, where she sang “Heart-Shaped Box.” The next year, father and daughter recorded a duet of “Nausea” by L.A. classic punk favorites X. In 2022, Grohl opened the second tribute to late Foos drummer, Taylor Hawkins, with an aching rendition of Leonard Cohen’s “Hallelujah.”

It should definitely be said that Grohl is hardly pulling a Jakob Dylan as it relates to her parentage — a detail that actually makes her appear that much more self-actualized and approachable, simply because she isn’t trying to circumvent reality or engage in a furious round of name-dropping. She freely discusses the long evening car rides around Los Angeles she’d take with her dad and two younger sisters during the pandemic, the car becoming a music-recommendation feedback loop, with older and younger generations trading off DJ duties. “My sister and I introduced him to Jockstrap,” Grohl chuckles when I ask what bands she introduced her dad to during those rides. “I’d play him old jazz standards, hip-hop. It was a constant thing.”

During those evening rides, Grohl also drank up the city’s otherworldly, vaguely haunted visage. “There’s something special about L.A. that I can’t fully describe,” she says. “There’s inspiration everywhere, so many beautiful people and historic buildings. I love art about L.A. — when people reference L.A. in their music, movies, or books. I grew up here, and I’ve lived here my whole life. I just feel that deep connection to it all.”

Like any great artist, Grohl is a product of her surroundings, and that can’t help but include a very specific, unlikely upbringing. In her own matter-of-fact way, Grohl shrugs as she acknowledges the inescapable pressure of her last name. “Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me. You’re not gonna convince me to change. I’m doing this because I love music, and that’s all I’ve ever known. Everyone’s gonna want me to be something, and I’m not the person that will give in to that.”