Wednesday, 10 June 2026
More than a decade after their last appearance in Oslo, Foo Fighters returned to Norway’s capital on Wednesday night and reminded everyone why they remain one of rock’s most formidable live arena acts. Not content with playing for 90 minutes, two hours, or even two and a half, the band delivered an epic near three-hour set to a packed Unity Arena.
The show marked the launch of the European leg of the Take Cover Tour 2026, which will see The Foos headline major venues across the continent, including two nights at Liverpool’s Anfield Stadium. Oslo got the first taste of what promises to be a huge summer run.
From the moment Dave Grohl stormed onto the stage, arms raised as though it were already the encore, and launched into opener “All My Life”, the atmosphere shifted instantly from anticipation to exhilaration. The song’s dynamic peaks and valleys made it the perfect show starter, setting the tone for a night that rarely lost momentum. Clearly energized by the reception, Grohl spent much of the evening cracking jokes, sharing stories, and expressing his gratitude at finally being back in Norway.
The production was relatively understated by modern arena-rock standards. Massive video screens, dramatic lighting, and carefully timed visual effects enhanced the performance without overwhelming it. The focus remained firmly on the music and the connection between band and audience.
One of the first major highlights came when Grohl introduced “My Hero” with a grin: “I like a sing-along. Let’s sing together. You young ones follow the old ones who know what to do.” The invitation was eagerly accepted, and the communal atmosphere only intensified during “Learn to Fly”, as thousands of voices joined in for the chorus. When Grohl asked who had seen Foo Fighters before and who was attending their first show, the response seemed almost evenly split — proof that these songs continue to resonate across generations. “No Son of Mine” followed, powered by a thunderous riff and snippets of Motörhead’s “Ace of Spades”.
The band — Dave Grohl, Nate Mendel, Pat Smear, Chris Shiflett, Rami Jaffee, and Ilan Rubin — then made their way to the B-stage for an acoustic interlude. The set featured “Wheels” and a particularly special rendition of “Marigold,” a song Grohl wrote during his time in Nirvana. It was the song’s first live performance since 2010. Originally the only Nirvana track from that era not fronted by Kurt Cobain, “Marigold” first appeared as the B-side to “Heart-Shaped Box” in 1993. The band then left Grohl alone onstage for stripped-back performances of “Big Me” and “Times Like These,” the latter gradually building back into a full-band arrangement as Grohl sprinted from the B-stage to the main stage.
During the band introductions, Grohl reminded the audience that every member had spent time in other groups and invited them to perform snippets from their previous bands. The segment gave both Chris Shiflett and Nate Mendel a chance to step forward on vocals. While the pace dipped slightly during this section, the energy quickly returned when Pat Smear received one of the loudest ovations of the night. Grohl recalled how Kurt Cobain had specifically wanted the former Germs guitarist to join Nirvana as a second guitarist. Then came one of the evening’s surprises. Drummer Ilan Rubin stepped forward, took Grohl’s guitar, and led the band through “Tap Dancing in a Minefield” while Grohl moved behind the drum kit. Rubin delivered an impressive performance, demonstrating that there is another accomplished multi-instrumentalist in the Foo Fighters ranks.
Songs from the band’s latest album, My Favourite Toy, carried a sense of urgency while retaining the melodic hooks and muscular guitar sound fans have come to expect. Yet tracks such as “Caught in the Echo” inevitably struggled to generate the same reaction as the band’s established classics. This was less a reflection on the quality of the new material and more a reminder of the challenge facing any band whose catalogue contains so many beloved anthems.
The closing stretch was pure arena-rock theatre. With the notable exception of the poignant “Aurora”, dedicated to the late Taylor Hawkins, the final run barely allowed the audience a moment to breathe. “Monkey Wrench” injected a surge of punk energy before the inevitable finale, “Everlong”. Thousands of fans screamed every word back at the stage, creating one of those transcendent moments that only a great rock concert can produce.
Remarkably, after nearly three hours on stage, neither the band nor the audience showed any sign of wanting the night to end. Judging by the roar that greeted the final notes, everyone would happily have stayed for another three hours. In the end, there was only one complaint: the gig wasn’t Everlong after all. 5/6
Text and photography: Anne-Marie Forker
