REVIEW: Violet Grohl - Be Sweet To Me

If you’ve been mourning the absence of 90s grunge like we have, mourn no longer - VIOLET GROHL is hauling the fuzzed movement into the modern era, with bold, hefty riffs, cutting vocals, and a flair inspired by visual cinema and 40 years worth of music, packaged beautifully into her debut album Be Sweet To Me. Sweet the title, gritty and bitter the sound, Grohl captures the essence of 90s grunge rock and peppers through modern elements that shape her album into something that bridges time.

Produced by Justin Raisen (CHARLI XCX) and collaborated on with a slew of talented musicians spanning the 60s and 70s fluctuating movements, Be Sweet To Me’s sound is influenced by a roster of groundbreaking bands who brought authenticity to their respective genres (SOUNDGARDEN, L7, ALICE IN CHAINS), and driven by the cinematic, eccentric style of David Lynch films, partially inspired by Grohl’s personal life experience with the strange and paranormal. It shifts from an edgy onslaught to absolute revelry and demands energetic movement throughout, as the instruments hammer in the background and give the centre stage for Grohl’s biting vocals and lyrical brilliance.

Crashing in with riffs that evoke the shift between 90s and 00s rock, opener track THUM was the first track written by Grohl and her crack team of collaborators and starts as the album means to go on, the rhythms racing along as she subtly shifts from a slightly dreamy pace to a forced pitch, her backing vocals echoing distorted in the distance, and giving classic QUEENS OF THE STONE AGE vibes. 595 starts with a shoegaze quality before thundering drums breaks the calm and descends into fuzzed grunge depths as Grohl sings “you won’t last” over a faint low-pitched “dead or alive”, the breakdown transporting you mentally to a frantic mosh pit. Bug in the Cake has no time to hang about, flying through at break-neck speed with rising guitars and drums, the lyrics low and keeping time with the frantic beat, Grohl suddenly bursting out in volume as she sings about her real experience of moving into her late grandma’s house and feeling her presence reaching out to her, asking her “come on grandma, play me your favourite song”.

Slowing down into sludge grunge, Last Day I Loved You takes us on a trip of 60s power guitar and floaty vocals mixed with roaring drums and riffs as Grohl’s voice rises to a lilt over the chorus ends in juxtaposition with the scuzz melody. Big Memory has a brief drum intro that is almost reminiscent of BLUR’s Song 2, but quickly pulls back for a pleasant melody to sway to on the verses whilst stepping up in power and volume for the chorus, the lyrics seeming to swerve between wanting to leave the memory of a loved one behind and not being able to give up those memories they can never return to. Mobile Star starts with space-like sound effects like the twinkling of stars, Grohl’s voice fading in from the abyss to gently sing “stay as you are” and obscure laughter and chatter fades in and out. Instruments gather in the middle to add weight, but the song doesn’t become heavy or loud, it merely tempts you with the idea it could launch at any moment.

Jumping back in full throttle, Often Others attacks with dangerous 00s grunge rock and an undertow of metal in the booming drums and scrappy guitars, Grohl’s vocals weaving and languid before punching through with obscured screams over the final breakdown. Applefish begins with lush and poignant vocals over a stripped back guitar riff, the deceptively calm rhythm ripped asunder by a brooding crescendo of heavy instruments, falling away to fading guitar and Grohl’s final emotive words “no past to escape to, greetings from the other side”. Changing paces throughout the track and giving each instrument its spotlight, Cool Buzz rattles in with prog-rock riffs and drums, pausing for Grohl to lead in with her sultry vocals over a rumbling, dominating bass line, the instruments banding together cohesively under her shouts as she delivers cutting words at posers.

Pool of My Dreams has an ethereal, cinematic melody that feels like watching a sunset on the hood of a car and just letting the world pass you by as you sink into the moment, the low vocals and reverbed guitar enveloping you. Shoegaze/grunge Plastic Couch closes out Be Sweet To Me with a stirring and lilting rhythm to lose yourself in as the instruments harmonise with Grohl’s lamenting howls, the track plummeting to a thunderous cacophony for a final taste of grunge.

VIOLET GROHL has created an album that feels entirely fresh and modern, with bouncy beats and raw, unsubtle lyrics, but more than that she’s reviving the grunge era and welcoming us back home.

Score: 9/10

Be Sweet To Me was released on 29th May 2026 via Auroura Records / Republic Records.

Words: Julia Stark

Photos: Bella Newman