Watch: Dave Grohl, Trent Reznor, and Josh Homme’s uncut Grammys rehearsal

reznor-homme-grohl-grammys

One week ago today, Dave Grohl, Trent Reznor, Josh Homme, and Fleetwood Mac’s Lindsey Buckingham capped off the 2014 Grammy Awards with a blitzing performance…. that was cut short in favor of a Delta Airlines commercial. But now, fans can watch the performance as it was originally intended thanks to an uncut rehearsal video (via Antiquiet). Watch the once-in-a-lifetime rock ‘n’ roll super group tear through Nine Inch Nails’ “Copy of A” and Queens of the Stone Age’s “My God Is the Sun” below.

Red Hot Chili Peppers at Barclays Center – Super Hot!

Michael "Flea" Balzary and Anthony Kiedis of Red Hot Chili Peppers perform at WFAN’s Big Hello To Brooklyn at Barclays Center of Brooklyn on February 1st, 2014 in New York City.

Michael “Flea” Balzary and Anthony Kiedis of Red Hot Chili Peppers perform at WFAN’s Big Hello To Brooklyn at Barclays Center of Brooklyn on February 1st, 2014 in New York City.

Of all the rock’n’jock concerts capitalizing on New York City’s proximity to the Super Bowl this weekend, only one had the cheerleaders of both the Denver Broncos and the Seattle Seahawks shaking their pompoms simultaneously to Red Hot Chili Peppers’ “Give It Away,” as balloons repping each band’s team showered down on the revelers. That’s because Saturday night’s “Big Hello to Brooklyn,” the first Chili Peppers concert in New York City since 2006, was a rock’n’jock concert put on by a company that could pull off such a feat: sports-radio station WFAN.

The stagehands were dressed as referees and the cheerleaders shimmied to the Gap Band’s “You Dropped a Bomb on Me” and ZZ Top’s “Tush” between opening acts, but the real athletes were the Chili Peppers themselves, who in their early fifties have the stamina of musicians half their age. Flea shook his head like a wet dog during opener “Can’t Stop” and later shook his body like a simian in the funky “Ethiopia.” He and frontman Anthony Kiedis even moshed a little, tugging at the cable connecting Flea’s bass to his amp, just before set closer “Give It Away.” Either the Chili Peppers play hard or this was no mere warm-up for performing with Bruno Mars during Sunday’s halftime show.

Overall, the group was in fine form, even though it had every excuse to be tired. Midway through the set, Flea told the audience, “We’re just about to go into a period of hibernation and make a new record.” Talking about a need to “progress,” the bassist said Saturday night’s show was meant to be “one last blowout,” and the Chili Peppers played their 17 or so songs as though the concert was the band’s last hurrah.

Even though the band’s first record turns 30 this year, it focused its set list on the last decade or so. The Chili Peppers’ cover of Stevie Wonder’s “Higher Ground” – a punky highlight in the show – was the only Eighties song the group played. Instead they focused on hits (“Under the Bridge,” “Californication”) and the finer points of their most recent album, 2011’s I’m With You, like the sex-charged “The Adventures of Rain Dance Maggie.” It was a party.

And in typical party fashion, Kiedis adorned himself in unusual underwear, though it wasn’t the “sock only” look he and his bandmates were known for in the Eighties. Instead, he wore a red bra that some free spirit hurled onstage. He had come onstage wearing a long-tailed suit coat and dress pants with one leg trimmed to reveal (no surprise here) a long tube sock.

Similarly, he flexed his ability for bizarre between-song banter. “Is there anybody here from Flatbush,” he asked after “Dani California,” apropos of nothing and adding Brooklyn neighborhood Greenpoint to the mix. And before “Under the Bridge,” he said to the audience, “Thank you for having tie-dyed pubes above your vagina – or not.” Then he turned the attention toward his guitarist. “Josh does,” he said. And during the thank yous after “By the Way,” he singled out a concertgoer on stage right and said, “If I was closer, I’d make out with you.”

But he didn’t have to make good on such an offer: the Brooklyn audience indulged everything the band did. After pouring in steadily through the evening’s opening bands – one of which, new-wave punks New Politics, might have given the Chili Peppers a run with their frontman’s athletic feats like breakdancing and Iggy Pop-style walking over the audience’s hands – the crowd seemed hungry for the main event. (During the Seahawks cheerleaders’ routine, however, a collective of seemingly mismatched guys wearing Peyton Manning jerseys and New York Hardcore hoodies seemed satiated just by ogling the dancers.) For the band’s three-song encore, the crowd was so enthralled with Chili Peppers songs “Around the World,” “Soul to Squeeze” and even “Give it Away,” releasing a collective roar as the balloons descended in the latter song, they barely noticed the cheerleaders dancing along. Touchdown, Chili Peppers.

Set List:

“Intro Jam”
“Can’t Stop”
“Dani California”
“Otherside”
“Factory of Faith”
“Snow ((Hey Oh))”
“I Like Dirt”
“The Adventures of Rain Dance Maggie”
“Higher Ground”
“Under the Bridge”
“Ethiopia”
“Californication”
“By the Way”

“Encore Jam”
“Around the World”
“Soul to Squeeze”
“Give It Away”

Awesome Performance by Foo Fighters for Super Bowl Week Bash

David Growl of Foo Fighters

David Growl of Foo Fighters

 
“As far as I’m concerned, this is fucking half-time right here,” Grohl said.
 
Foo Fighters knew they were playing for a broader audience than usual at their Bud Light-sponsored Super Bowl week gig last night in midtown Manhattan, so, late in their set, Dave Grohl gave the crowd a lesson in Foo history. “Years ago, I was in this band and while I was in this band I wrote a bunch of songs and made a bunch of recordings in my basement. . . . [Then] I wasn’t in the band anymore, so I decided to do what I learned in Seattle – we started a band, bought a Dodge Van and played clubs. And that was 20 years ago.”
 
He began strumming 1995’s “Big Me,” delivering the endearing melody alone until the band joined in. The Foos then shifted into their more recent single “Walk,” with Taylor Hawkins pummeling explosive, dynamic rhythm as Grohl howled the arena-size choruses. The two songs proved just how far the Foos have come in the last 20 years, from opening for Mike Watt to selling out Madison Square Garden. “I wrote this song as a joke,” Grohl said before “Big Me.” “It’s not a joke anymore.”
 
As Grohl pointed out, the show was only the band’s third gig in the last year and a half. Set on a 1,500-capacity airplane hangar tent outside the old WWII aircraft carrier the Intrepid, it was a massive operation. Four thousand contest winners and corporate partners stayed onboard the ship; last night, concertgoers packed the multiple open bars while servers readily passed out hors d’oeuvres. (Openers the Zac Brown Band likely kept the barbecue for themselves backstage.)
 

It may have been an off-cycle gig for the Foos, but the minute they hit the stage with the thunderous “All My Life,” it was clear they weren’t holding back. Pat Smear grinned away, his guitar slung lower than ever while Taylor Hawkins created fireworks from his drum kit, looking like he just strolled in from the Santa Monica Pier. Grohl said being back onstage “makes me remember I have the greatest fucking job in the world.” Aside from perhaps Grohl’s buddy Paul McCartney, no one seems to approach the role of rock star with more palpable joy than Grohl. Toward the end of the night, he grabbed and sipped from someone’s Bud Light bottle and mugged with a thumbs up a la the “Big Me” video – a move few others could pull off. “As far as I’m concerned, this is fucking half-time right here,” Grohl said.
 
It really could have been, as Grohl ran, screamed and head banged throughout the tense, jagged grooves of “Rope” and “The Pretender.” One highlight was “Generator,” off the band’s most underrated album, There Is Nothing Left to Lose, whereGrohl rested his foot on the monitor, face down, concentrating on the winding riff. He seemed hypnotized by an extra-long “Monkey Wrench,” which broke down into a series of blues licks until he finally howled the song’s epic bridge.
 
At one point, “This is a Call” also turned into a funky roadhouse boogie –”That’s the Black Keys version,” Grohl joked – before the band broke into a steamrolling take on Pink Floyd’s “In the Flesh.” Before he left, Grohl acknowledged that he knew some fans were hoping to hear songs from the band’s next album : “I wish I could play you our whole new record,” he said. “But I can’t. It’s a surprise.”