There’s no getting around the fact that Violet Grohl enters the music world with expectations already attached to her name. As the daughter of Nirvana and The Foo Fighters’ Dave Grohl, listeners may instinctively search for traces of the grunge legend in her debut album, Be Sweet to Me. But once opener “THUM” explodes through the speakers with its sharp guitar intro and immediate energy, those comparisons quickly fade into the background. What stands out instead is Violet herself: a young artist with a clear perspective, a deep knowledge of alternative rock history, and the confidence to channel those influences into something distinctly her own.
Recorded with producer Justin Raisen, who has worked with artists like Charli xcx and produced Kim Gordon’s most recent album, Play Me, Be Sweet to Me balances crunchy, swaggering rock songs with dreamy, cinematic moments inspired by horror films and the surrealism of David Lynch. The album feels rooted in the sounds of the late ’80s and ’90s while still carrying the polish and experimentation of modern indie rock. Violet clearly has a deep understanding of alternative rock history, pulling from sounds associated with bands like the Pixies, Hole, and PJ Harvey without ever sounding overly nostalgic or derivative.
“THUM,” the album’s first single, wastes no time throwing listeners directly into Violet’s world with distorted guitar riffs, bouncy energy, and vocals that already sound remarkably assured. The fuzzy chaos paired with lines like “can’t help myself” makes for an addictive introduction. Second single “595” slows things down slightly while leaning into a hazy ’90s atmosphere that recalls Sheryl Crow and early Ashlee Simpson, complete with softer vocals, flirtatious lyrics, and a guitar solo that absolutely rips. “Bug in the Cake” immediately picks the energy back up with riot grrrl-style attitude reminiscent of Hole, snarling lyrics like “do you think I give a shit?” and repeated lines that get stuck in your head long after the song ends. The opening stretch of the album alone proves Violet knows exactly how to make guitars feel exciting again.
As the album unfolds, Violet consistently shifts the mood without losing momentum. “Last Day I Loved You” delivers a huge chorus and vocal moments that occasionally recall Hayley Williams, while “Big Memory” highlights the maturity of both Violet’s songwriting and the album’s production through layered harmonies and emotionally heavy lyrics like “big memory too hard to write.” “Mobile Star” drifts into something far more ethereal and spacey, almost lullaby-like in its dreamy production, before “Often Others” crashes in with a heavier rock intro that briefly pushes the album into harder territory.
The final stretch of Be Sweet to Me may be its strongest. “Applefish” slows things down enough to fully showcase Violet’s lyricism and expressive vocals before building into a heavier pre-chorus, while “Cool Buzz,” the album’s third single, jolts everything back to life with fast-paced swagger and No Doubt-style, ska-adjacent energy. Closing tracks “Pool of My Dreams” and “Plastic Couch” lean heavily into cinematic, dreamy soundscapes, with the latter beginning softly before erupting into heavy guitars and drums. There are moments throughout the album where Violet’s softer vocal style recalls Billie Eilish, but the record ultimately remains rooted in alternative rock.
What makes Be Sweet to Me so compelling is not simply that Violet Grohl understands her influences, but that she sounds fully committed to carving out her own identity with them. The album captures the messy emotional intensity of growing up while still sounding playful, cinematic, and genuinely cool. For a debut, it is remarkably self-assured and establishes Violet Grohl not as the child of a rock icon, but as an artist capable of building a lasting lane entirely on her own terms.
Be Sweet to Me is out now.
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