In 1991, a band from the Pacific Northwest was seen for the first time by millions when their video for the song “Smells Like Teen Spirit” aired on MTV. Many music pundits credit that band — Nirvana — and that video, specifically, for ushering in a new era in rock music.  That era was known as “grunge,” a fairly tasteless and small-minded moniker that would be slapped on one band after another, despite how different each sounded from their Seattle-based counterpart (Nirvana didn’t sound like Pearl Jam, Pearl Jam didn’t sound like Soundgarden, Soundgarden didn’t sound like Alice in Chains, etc.).

But just as grunge emerged with Nirvana, it died with them as well — figuratively and literally (quite unfortunately) with Kurt Cobain’s suicide. Of course, as we all will likely recall, the musical movement spawned in Seattle did not go away, it simply morphed into something that was similar, yet had its own personality. By 1995, “post-grunge” and “alternative” were now the terms du jour, and one of the bands leading this new wave of bands was Bush. Spurred by a debut album, “Sixteen Stone,” that sold over six million copies and produced such radio rock hits as “Glycerine,” “Everything Zen” and “Little Things,” Bush and its highly photogenic frontman Gavin Rossdale were the rock stars of the mid-1990s.

Something happened, though, around the beginning of the new millennium. Just as the “hair band” genre had become oversaturated and homogenized in the late 1980s, it seemed as if the post-grunge faze had also run its course. Though they were clearly one of the most popular rock bands of their time, even Rossdale and Bush were not immune. The band broke up in 2002, as Rossdale, guitarist Nigel Pulsford, bassist Dave Parsons and drummer Robin Goodridge went their separate ways.

What did Rossdale do after Bush? Oh, he dabbled as a writer for television and movies just a bit. Well, maybe more than “just a bit.” He starred alongside Keanu Reeves in the film “Constantine” and landed spots on TV shows like “Criminal Minds” and “Hawaii Five-0.” And he has over 40 writing credits for music in TV shows and movies that range from “John Wick” to “Terminator 3” to”Buffy the Vampire Slayer.”

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Still, the desire to be Gavin Rossdale, frontman, songwriter and lyricist for Bush, clearly never left him. In 2011 he resurrected the band, though this time with a new lineup featuring Chris Traynor on lead guitar and Corey Britz on bass. After three album releases in 2011, 2014 and 2017, Bush and Rossdale are back with 2020’s “The Kingdom” and their latest track, “Flowers on a Grave,” which is available on

ED Publications and had the chance to speak with Rossdale about Bush’s new album, and how things have — or have not — changed since they took the music industry by storm 25 years ago.

ED: It’s hard to believe, but it’s been over 25 years since Bush’s debut album in 1994. When you compare the new music you’ve written for The Kingdom, how does it compare with your songwriting approach on Sixteen Stone?

ROSSDALE: Well it has come full circle in some ways– the bulk of this record was made at my studio, Kingston Sound, which is a far cry from my drum machine plus guitar riff beginnings. But ironically the last song for the record, “Flowers On A Grave,” was written using the Alesis HR-16 of yesteryear, as I had given up my studio. Life is circles.

ED: How has the songwriting changed with this incarnation of Bush, in comparison to the lineup that existed between 1992 and 2002?

ROSSDALE: Not very different at all. A bunch of chords, my perspective and my voice, and then adding my excellent band. Either with Chris and Corey and Nik, or as it was with Nigel, Dave and Robin. I’ve been very lucky with my bandmates.

ED: Did Bush have touring plans this spring/summer that have been altered by the Covid-19 global crisis? If so, how will you approach rescheduling those dates for later in 2020 or 2021? [Australia has already been rescheduled/announced for Feb/Mar 2021]

ROSSDALE: Just like everyone, waiting for this new world to begin. So far Australia is next year, but what is a year, a month, a day? It’s presently just quarantine.

“A lyrical standpoint for naked girls gyrating whilst getting money thrown at them by lustful men in suits, whisky and loneliness? I’ll leave that to your imagination.” – Rossdale on the song “Flowers On a Grave,” available on

ED: How are you using this “downtime” to your advantage? Conversely, how difficult is it for you (and all of the other bands in a similar situation to Bush) to have your career put on hold for an indefinite amount of time?

ROSSDALE: Playing guitar, reading, watching some movies, trying to not watch CNN and Fox, although the disconnect between the two channels is quite gripping.

ED: We have given specific coverage for the track “Flowers On a Grave” and are promoting it to over thousands of adult nightclub (strip club) DJs across the US (who will love to play it as soon as their clubs are back open!). Can you talk about this song specifically, from a lyrical standpoint?

ROSSDALE: A lyrical standpoint for naked girls gyrating whilst getting money thrown at them by lustful men in suits, whisky and loneliness? I’ll leave that to your imagination.

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ED: You also made a video for “Flowers.” How much does video still play a role in what Bush does?

ROSSDALE: It’s a great way for people to see the band. You guys remember MTV? That was a good time. Great videos rule.

ED: Many music historians credit “grunge” and “post-grunge” bands for “killing” the ’80s hard rock style, yet post-grunge seemed to experience its own sort of backlash for whatever reason. Does it seem like every “scene” or genre, once it gets very popular, will eventually receive some sort of backlash or temporary drop in popularity? 

ROSSDALE: That is life. And good riddance to the hair scene, we claimed rock back to the counter culture. Good job. We are all chapters and we are all circles.

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