Limp Bizkit review: Abu Dhabi crowd turns Etihad Arena into one big moshpit

The National

4 days ago

When Fred Durst reintroduced himself in the 2021 video for Dad Vibes, it was as a greying, sunglass-wearing, tracksuit-clad figure shuffling across the screen. The dancing was bad, the smile knowing and the message unmistakable – this was the same Fred Durst who had always mixed aggression with obvious comedy, finally free to be explicit about the joke.
The truth is, Limp Bizkit never really changed. The band that wrote Nookie and covered George Michael 's Faith was always straddling the line between heavy and silly, mixing brutal riffs with pop hooks. What confused audiences in the late 1990s was their refusal to pick a side – were they serious metal or elaborate parody?
During their maiden Middle East appearance at Abu Dhabi's Etihad Arena, we realised the band was fully committed to embracing the absurdity and that it was always part of the point. The joke wasn't on Limp Bizkit – it was built into them from the beginning, from the quirky song and album titles to Durst's range from laconic croon to dramatic and overly anxious rapping style.
The evidence was everywhere from the opening triple-hit of Hot Dog, Break Stuff and My Generation, which sparked what may have been a first for Etihad Arena – a genuine attempt at a mosh pit.
Hundreds of fans bounced and collided as the riffs crashed in, singing along to lyrics that were simultaneously furious and ridiculous. Red caps dotted the floor, vintage band shirts flashed under the lights, and the atmosphere was that of a long-delayed reunion with a band that no one needed to defend anymore. Durst himself looked liberated. Gone was the obnoxious and maybe overly defensive swagger of the early 2000s, when he seemed caught between wanting to be taken seriously and knowing his material was inherently silly.
In his place was a 54-year-old in a pink cap and baseball jacket, playing the part of the "uncool dad" with obvious delight. Even in the most frenetic moments, he moved with an easy glide, finally able to let the songs speak for themselves – heavy when they needed to be heavy, absurd when they needed to be absurd. This shift reflects something larger than one band's career trajectory. Nu metal's original problem wasn't its lack of seriousness – it was the audience's, or perhaps even more pressingly, the industry's inability to process music that could be both crushing and comical.
Bands such as Korn and System of a Down have always mixed genuine darkness with obvious humour, but for years, listeners felt forced to choose between taking them seriously or dismissing them as jokes. Tuesday's crowd – many in band shirts and red caps – showed they were in on the trick along. Wes Borland's jagged, inventive riffs is meant to co-exist with Durst rapping about fitting juvenile phrases into songs. They could appreciate the genuine craftsmanship – the tight rhythm section, DJ Lethal's textural contributions, the band's mastery of tension-and-release dynamics – without needing the lyrics to match the musical intensity. The songs themselves prove this point.
Nookie remains a perfect pop song disguised as metal aggression. Break Stuff is therapeutic cartoon violence set to genuinely crushing riffs. Faith turns George Michael's slick pop-soul into nu metal without losing either the original's charm or the cover's heaviness.
These weren't confused attempts at crossover – they were deliberate exercises in genre-blending that have become standard in pop music today. More importantly, this understanding has freed both band and audience to focus on what actually matters – the connection, the energy and the kind of release that comes from seeing your band growing up well and growing with them together.