Dave Grohl doesn't really do "subtle" very well. When he decided the band’s tenth studio record needed to be a "party album," he wasn't kidding around. Most of us expected another Wasting Light—that heavy, garage-rock grit that defines the Foos' best work. Instead, we got Foo Fighters Making a Fire, a track that opens an album with "na-na-na" gospel refrains and a groove that feels more like David Bowie’s Let’s Dance than it does Nirvana.
It was weird. Honestly? It still feels weird.
But that’s the thing about Medicine at Midnight. It was released right as the world was trying to remember how to breathe again after 2020. Dave wanted a Saturday night record. He got it. But for the die-hards who want the screaming, flailing-arm energy of "White Limo," the soul-infused pop of Foo Fighters Making a Fire felt like a massive curveball.
The Haunted House and the "Disco" Influence
The backstory of the record is actually pretty spooky. They recorded the thing in an old 1940s house in Encino. Dave told NME and Rolling Stone at the time that the vibe was off. Instruments would detune overnight. Tracks would appear on the Pro Tools sessions that nobody recorded. It sounds like a marketing gimmick, sure, but Greg Kurstin (the producer) has backed up that the energy in that house was strange.
Maybe that's why the music sounds so frantic yet polished.
Greg Kurstin is a huge factor here. He’s the guy who produces Adele and Sia. When the Foos brought him back after Concrete and Gold, it was a signal. They weren't looking for a raw, analog sound this time. They wanted pop sheen. Foo Fighters Making a Fire is the thesis statement for that collaboration. It uses a 4/4 beat that makes you want to tap your foot, even if you’re wearing a worn-out The Colour and the Shape t-shirt and feeling a bit betrayed by the lack of feedback.
The "na-na-na" backing vocals were actually provided by Dave’s daughter, Violet Grohl. It’s a family affair. It gives the track a texture that Foo Fighters have rarely touched—a blend of Sly and the Family Stone and classic 70s stadium rock.
Why the Groove Matters More Than the Gain
If you look at the drum patterns Taylor Hawkins (rest in peace) laid down for this track, they aren't his typical "hit everything as hard as possible" style. They’re syncopated. They’re tight. Taylor was a massive fan of The Police and Stewart Copeland’s breezy, intricate style. You can hear that influence bleeding through the cracks of the production.
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Most people get wrong that the Foo Fighters are just a "rock" band. They’ve always been a melody band disguised in loud Marshall stacks.
On Foo Fighters Making a Fire, they finally stripped away the disguise.
The song is short. Barely over four minutes. It doesn't overstay its welcome, which is a mercy given how dense the vocal layering is. Dave’s voice sounds cleaner than it has in years. There’s a specific grit he usually leans on, but here, he’s actually singing. Like, really singing. The lyrics are classic Grohl—vague, aspirational, slightly defiant. "Wait for the sign, then I'll ignite." It’s about renewal. It’s about starting over. Considering it was their tenth album, that theme makes a lot of sense.
The Reception: Love It or Leave It?
Critics were generally kind, but the fan base was split down the middle. If you go on any Foo Fighters subreddit or forum, you'll see the same argument. One side says, "They're evolving, let them have fun!" The other side is basically screaming into the void for more riffs from Nothing Left to Lose.
- Some fans felt the gospel influence was "cheesy."
- Others praised the band for not making Echoes, Silence, Patience & Grace for the fourth time.
- The "pop" production was the biggest sticking point for the old-school crowd.
I remember hearing it for the first time and thinking the mix was too "busy." There’s a lot going on. Between the percussion, the backing singers, and the triple-tracked guitars, it’s a wall of sound. But it’s a bright wall. Unlike the dark, moody atmosphere of One by One, this is music meant for a stadium with the lights turned all the way up.
Technical Nuance: The Kurstin Factor
Greg Kurstin’s influence on the "Making a Fire" sound cannot be overstated. He brings a keyboard-heavy sensibility even when there aren't many keyboards present. He treats guitars like rhythmic elements rather than just lead instruments. This is why the song feels so bouncy.
Compare this to their work with Butch Vig. Vig wants the drums to sound like a natural disaster. Kurstin wants the drums to sound like a clock. Both are great, but they produce wildly different emotional responses.
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The song actually won a Grammy for Best Rock Performance. So, clearly, the industry felt they got something right. It beat out some heavy hitters, proving that even when the Foos go "pop," they still carry enough weight to dominate the rock category.
The Legacy of the "Medicine at Midnight" Era
Looking back from 2026, Medicine at Midnight feels like a snapshot of a very specific moment. It was the last full studio album the world got with Taylor Hawkins before his tragic passing in 2022. That alone gives Foo Fighters Making a Fire a layer of poignancy it didn't have when it dropped.
Knowing it was Taylor’s last chance to really play with those funk and disco rhythms he loved makes the "party" atmosphere of the song feel a bit like a celebration of his life, even if it was recorded before the tragedy. It’s a reminder that the band was in a place of pure joy and experimentation.
They weren't trying to prove they were the "saviors of rock and roll" anymore. They were just five guys (and Pat Smear, so six) in a haunted house in Encino, trying to make something that didn't sound like their old selves.
Is It Actually "Rock"?
This is the question that keeps music nerds up at night. Is it rock if you can dance to it without moshing? Yes. Obviously. But Foo Fighters Making a Fire pushes the boundaries of the "Post-Grunge" label the band has been stuck with for thirty years.
It’s more of a soul-rock hybrid.
Think about the middle-eight section. The breakdown. It’s got this stuttering rhythm that feels almost like a hip-hop beat before the guitars come crashing back in. It’s sophisticated. It shows a level of musicianship that goes beyond just power chords. Nate Mendel’s bass work here is some of his most melodic, locked in perfectly with the kick drum in a way that provides the foundation for all those "na-na-nas" to float over.
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What to Listen For Next Time
If you haven't listened to the track in a while, try to focus on these specific layers:
- The way the backing vocals pan from left to right during the chorus.
- The subtle acoustic guitar tucked way back in the mix that provides the "percussive" scratch.
- Taylor's hi-hat work during the verses—it's incredibly precise.
- The bridge, where the distortion finally kicks in, reminding you that they can still get loud when they want to.
The song is a masterclass in modern production. Whether you like that "polished" sound or not is a matter of taste, but the craft is undeniable.
Moving Toward the Future
The band has since moved into a much heavier, more emotional space with But Here We Are. That album was the processing of grief. It makes Foo Fighters Making a Fire look like the "last great party" before the storm.
It remains a polarizing piece of their discography. For some, it’s a skip. For others, it’s the first song they put on their summer BBQ playlist.
If you want to understand the modern Foo Fighters, you have to reconcile with this song. You have to accept that Dave Grohl is just as influenced by The Bee Gees as he is by Black Flag. Once you accept that, the song stops being "weird" and starts being a blast.
Actionable Next Steps for Fans:
- Listen to the Mark Ronson Re-version: There is a remix of "Making a Fire" by Mark Ronson that leans even harder into the funk/soul vibe. It features members of the Dap-Kings and Budos Band. If you thought the original was "too pop," this version might actually change your mind because it goes full "retro-soul."
- Watch the Live From Studio 606 Version: To see how the song translates without the heavy studio production, find the live performance videos. It proves the song holds up even when it’s just the band in a room, stripped of the "gloss."
- Compare with "Shame Shame": Listen to "Making a Fire" back-to-back with "Shame Shame." It helps you see the two different directions the band was pulling in—one toward rhythmic tension, the other toward melodic release.