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Foo Fighters Medication at Midnight review: Boom




Foo Fighters Medicine at Midnight review: BOOM

ocked down like anyone else about the past yr, Dave Grohl and the Foo Fighters hardly ever went away. Grohl begun sharing tall tales of his rock and roll daily life online as @davestruestories and presented some of the most joyful moments of 2020 by tough Ipswich 10-yr-outdated Nandi Bushell to drum battles on YouTube. Meanwhile, his band’s 2003 one Occasions Like These built a strong scenario for remaining the tune of the instant, hitting selection a single in the Uk in May possibly in a new guise as a Band Aid-fashion charity protect variation, then increasing to prominence once more as a important section of the soundtrack to Joe Biden’s inauguration ceremony.

It is tricky to resist the song’s promise of “a new working day rising”, and heartwarming to see that, getting discovered fame in a band steeped in misery, Grohl’s put up-Nirvana profession has been so substantially entertaining. The past Foo Fighters earth tour, throughout 2017 and 2018, noticed the frontman screaming his head off in front of wide crowds for nicely over two several hours every night.

Past yr they would have experienced every rationale to rejoice – this album, Drugs at Midnight, is their landmark tenth and was thanks to be released in 2020 for the 25th anniversary of the band – but there is nowhere to party. That will have to frustrate a person who life for the phase. Nevertheless, you wouldn’t know it from the 9 music line-up in this article. The headline he’s been featuring in interviews is that this is their “dance record”, which isn’t promptly obvious amid the twister of guitars, but it is consistently amazing enjoyment.

As with the preceding album Concrete and Gold, Adele producer Greg Kurstin is at the controls, encouraging poppier touches this sort of as the massed female backing vocals that start the opening monitor Earning a Hearth, and a galloping guitar line reminiscent of Queen’s Hold Yourself Alive on Love Dies Youthful. They also come across room for a defeat that would qualify as funky on Cloudspotter and recall quieter Beatles times on the softly drifting ballad Chasing Birds – a rare spell of tranquil.

No Son of Mine is a Motörhead-inspired monster, a headbanging blast of crashing drums and furious riffing. Waiting on a War sounds like it could be a live performance centrepiece, with its journey from acoustic beginnings to a 2nd half that feels like the band have been shot out of a cannon. The only disappointment is that these tunes will not be heard in a stadium any time shortly.


It’s official: Andrew Scott is the greatest actor of our generation




It’s official: Andrew Scott is the greatest actor of our generation

Andrew Scott: do I want to be him, snog him, or just watch everything he ever appears in? I think it’s all three. Either way, from now on I’m going to ask everyone I meet if they agree that he is the greatest actor of our generation. If they don’t, sorry, we cannot be friends.

Not everyone loved the BBC’s lavish adaptation of Nancy Mitford’s The Pursuit of Love (I did), but everyone who watched it agreed on one thing: Scott, who played louche bright young thing Lord Merlin, lit up every second of his screen time. As we watched him dancing to T-Rex in silk pyjama suit with a harem of beautiful people following him around, we wanted to have a pyjama party in his honour.

He became a legend of this nation as Fleabag’s Hot Priest, the gin and tonic-drinking clergyman who ensured that the second series of Phoebe Waller-Bridge’s hit show was even better than the first. It was an emotional rollercoaster: we sobbed and got hot under the dog collar. Paloma Faith spoke for us all when she infamously told Scott on the Graham Norton sofa that she’d needed “alone time” after watching the show.


But we bow down to him as the very best actor we have right now because of a long career of stellar performances, elevated by his own personal life philosophy. “Acting without humour is bad manners – it’s not the way human beings work,” he said last year in an interview for Elizabeth Day’s How To Fail podcast. That’s the key to his brilliance: he brings both humanity and levity to all of his characters.

The first time I ever saw him was on stage in Birdland at the Royal Court, back in 2014 as a rock star going off the rails in a metallic jacket. He’d already played Moriarty in Sherlock by then and won a Bafta for being the best thing in the show, but I had no idea who he was (I don’t watch things about men who are really good at doing maths in their heads). I still remember sitting at the back of the circle and thinking: that man is a star. His performance was vintage Scott: manic charisma, sexy but in a way that felt a bit dangerous, all with a vulnerable tenderness at its heart.

Fleabag finds religion in season 2 – but is it enough to save her? / BBC

He’s an actor who can do the biggies. In 2017 he played Hamlet, making the prince into a sensitive man whose life has become unmoored by grief. I saw the nearly four hour running time of Robert Icke’s production and went to the theatre with a visceral sense of martyrdom, but Scott made it feel like it wasn’t long enough. It was the first time I’d watched Hamlet and not fallen asleep; usually I wake up and everyone on the stage is dead. But Scott made it so that I could understand every word he was saying… suddenly I understood why everyone else liked it so much.

And as Garry Essendine in Noel Coward’s Present Laughter in 2019, he picked up a host of gongs including Best Actor at our Evening Standard Theatre Awards. Not only did his hilarious performance light up our summer, but the production had an important political meaning too, allowing the queer subtext in Coward’s work to be openly expressed. As Scott himself said in his acceptance speech, “I think sometimes [Coward is] accused of being a dusty old playwright but he smuggles through comedy really modern ideas about sexuality and gender. He sort of says it’s okay to live a life that’s less ordinary.”

We feel like we could have a deep and meaningful with him at 2am in a toilet

/ Theodora Films Limited & Moonage Pictures Limited/Robert Viglasky

But whatever he’s in, he always becomes the bit you never forget. Psychotic taxi driver in Black Mirror? Tick. Upper class World War One officer getting through the trauma with gallows humour in 1917? Tick. Welsh bookshop owner disowned by his family for being gay, who made us cry every tear in our body in Pride? Tick. Priest who would make you hotfoot to confession (even though you are an atheist) in Fleabag? As we know, tick, tick, tick.

His next project is playing Tom Ripley in a new mega-series about Patricia Highsmith’s enigmatic con artist, alongside Johnny Flynn and Dakota Fanning, and we already know Scott will make us forget every other Ripley depiction we’ve ever seen – apols Matt Damon.

It’s not just his first class acting chops, though. Scott has an electric quality to him that makes us feel intimately connected to him. Who else could have us hanging off his every ‘to be or not to be’ and also make us feel like we could have a deep and meaningful with him at 2am in a toilet?

Give Scott an Oscar. Give him a knighthood. Give him our phone numbers. Give him everything. We pledge allegiance to the way of the Scott.

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