Tom Morello Brings Rage, Politics and a New Generation Together on Everyone Gets Everything They Want
Gustavo Vicentin
Writer
September 29, 2026
After three decades moving through Rage Against the Machine, Audioslave, and multiple other projects, Tom Morello finally releases Everyone Gets Everything They Want. Presented as his first solo album, it features appearances from famous musicians, as well as his 15-year-old son, Roman Morello. As a concept, it would be easy to expect a set completely focused on crazy riffs, an experimental guitar sound, and the politics that have always defined his career. The result, on the other hand, looks less like a new version of Morello and more like a mix of everything he has done throughout his career.
“Beth From Electronics” opens the album, making reference to a real-life case from 2021, when a Walmart employee criticized their superiors before quitting. This immediately establishes the atmosphere of an album that revolves around government authority and big corporations. After a smooth transition, the title track puts Morello at center stage, bringing a weird but recognizable guitar sound that makes the instrument feel less like a normal guitar and more like a representation of Morello’s career.
“ADJOURN IT,” with Serj Tankian, takes the album straight into politics. The lyrics address racism, immigration, and the way foreigners can be blamed for a nation’s internal problems. The mix between Serj and Morello works remarkably well, mainly because both have an extensive history of combining heavy music with explicit political criticism.
On “I Am Not Yours to Command,” the album changes completely. The heavy guitar disappears and is replaced by a piano, paired with lyrics about rejecting orders and refusing to accept authority simply because someone holds power. The track is more reminiscent of Morello’s acoustic side in The Nightwatchman than his work with Rage Against the Machine, showing how the album constantly jumps between different eras of his career.
“Soldier in the Army of Love” returns to the heavier side while also presenting one of the album’s clearest messages. Fascism, inequality, workers, borders, and resistance are all brought up throughout the track, while its central idea revolves around the power created when people organize themselves to confront these problems.
“Unconquered,” with Kneecap, takes those political criticisms toward colonialism and liberation movements. The track connects the Irish resistance with conflicts and movements from around the world, including Africa, Latin America, and Palestine. Musically, it is a mixture of rap, rock, and electronic elements, setting it apart from the expectations surrounding a Morello solo album.
“Date Night” manages to combine those two sides of the album. The song tells the story of Truus, Freddie Oversteegen, and Hannie Schaft, young members of the Dutch resistance who fought against the Nazi occupation during the Second World War. Morello transforms their story into an anti-fascist track while maintaining the same structure of his signature heavy rock.
Overall, Everyone Gets Everything They Want moves through alternative rock, hard rock, rap-rock, folk rock, alternative metal, and hints of electronic music. This variety is what defines the album, but it also prevents it from developing a clear identity of its own.
Tom Morello’s first solo album looked like a perfect opportunity to discover who he would be with himself alone at the center of a project. Instead, the album brings together almost every version of Morello that has existed throughout his career. The politics keep everything tied together, but musically, the album seems more interested in revisiting his career than starting a new era.
Edited by: Jade Read
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