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Home » 🤘🔥 LIMP BIZKIT ARE HEADING BACK INTO THE STUDIO – AND THEIR NEXT ALBUM COULD BE VERY DIFFERENT

🤘🔥 LIMP BIZKIT ARE HEADING BACK INTO THE STUDIO – AND THEIR NEXT ALBUM COULD BE VERY DIFFERENT

Michael by Michael
18 August 2026
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Break out the red caps, dust off the baggy jeans and prepare to start breakin’ stuff again, because Limp Bizkit are gearing up to make another record.

Yep. Fred Durst, Wes Borland and the gang are heading back into the studio, with work on what could become Limp Bizkit’s seventh studio album gathering momentum.

And considering their last full-length record, Still Sucks, landed way back in 2021, a fresh slab of Bizkit is very much overdue.

But here’s where things get particularly interesting: guitarist Wes Borland has suggested that the band aren’t necessarily interested in simply recreating the classic Limp Bizkit formula.

This could be something different.

Very different.

And we are absolutely here for the chaos. 🤘

🎸 WES BORLAND: “WE’VE GOT SOME AMMO”

Throughout 2026, Borland has been dropping increasingly encouraging hints about Limp Bizkit’s plans for new music.

The guitarist revealed that the band had already held writing sessions and accumulated ideas that could potentially make their way onto the next record.

Even better, Borland indicated that August 2026 had been earmarked for more studio and writing time.

He explained that he and Fred Durst had recently gone back through riffs and material created during previous sessions and rediscovered ideas they’d almost forgotten about.

In other words…

There’s a riff cupboard.

And Wes Borland has apparently found the bloody key. 🔑🎸

For anyone familiar with Borland’s wonderfully twisted approach to guitar playing, that’s a pretty exciting prospect.

🔥 THE FOLLOW-UP TO STILL SUCKS

If the sessions ultimately result in a full album, it’ll be Limp Bizkit’s first studio LP since Still Sucks, which arrived on Halloween 2021.

That album gave us tracks including:

  • Out Of Style
  • Dirty Rotten Bizkit
  • Dad Vibes
  • Turn It Up, Bitch
  • Don’t Change
  • You Bring Out The Worst In Me

It was short, weird, ridiculously entertaining and unmistakably Limp Bizkit.

Basically, exactly what you want.

Rather than desperately pretending it was still 1999, Still Sucks embraced exactly what Limp Bizkit had become: older, stranger, self-aware and somehow enjoying another enormous wave of popularity.

And that wave hasn’t stopped.

🚨 LIMP BIZKIT ARE MASSIVE AGAIN

Here’s the mad thing.

Limp Bizkit haven’t merely survived.

They’ve become absolutely bloody enormous again.

A generation that wasn’t even alive when Significant Other arrived has discovered the band alongside fans who’ve been shouting “BREAK YOUR FING FACE TONIGHT!”* since the days of dial-up internet.

TikTok certainly helped introduce their music to younger audiences, while the wider nu-metal revival has sent bands from that era roaring back into festival culture.

But there’s something else happening with Limp Bizkit.

Their gigs genuinely feel like events again.

Crowds are packed.

Festival appearances are huge.

Fred Durst has somehow transformed himself from nu-metal’s most hated red-capped menace into everyone’s favourite eccentric uncle.

And Wes Borland still walks on stage looking like he’s escaped from a particularly disturbing side quest in a horror game.

Beautiful stuff. 😂🤘

Borland himself has commented on the band’s extraordinary resurgence, suggesting that Limp Bizkit may currently be bigger than they’ve ever been.

That’s a pretty remarkable statement for a band whose late-’90s and early-2000s peak produced some of the defining albums of the entire nu-metal explosion.

🎤 THEY’VE ALREADY GIVEN US NEW MUSIC

There has already been evidence that Limp Bizkit’s creative gears are turning.

In 2025 the band released the wonderfully titled:

“Making Love To Morgan Wallen”

Because obviously they did.

This is Limp Bizkit we’re talking about.

You didn’t seriously expect something called Reflections Upon A Dying Autumn, did you?

The track represented their first newly released material since Still Sucks and immediately sparked speculation that more music could eventually follow.

Now those studio plans appear to be becoming much more tangible.

🖤 A NEW ERA WITHOUT SAM RIVERS

There is, however, a hugely emotional element surrounding whatever Limp Bizkit create next.

Founding bassist Sam Rivers died in October 2025, aged just 48.

Rivers wasn’t merely someone who happened to play bass in Limp Bizkit.

He was fundamental to their sound.

Those enormous bass grooves underneath Borland’s riffs helped create the bounce that made songs like “Nookie,” “Break Stuff,” “Re-Arranged” and countless others instantly recognisable.

His loss understandably hit the band incredibly hard.

Borland has spoken about the group processing that grief and trying to move forward creatively.

Since returning to live activity, Limp Bizkit have performed with bassist Richie Buxton, who has stepped into one of the biggest pairs of boots imaginable.

Whatever comes next will therefore represent a major new chapter in Limp Bizkit’s history.

It’ll be their first album created following the loss of one of the musicians who helped build the band’s DNA.

That alone makes this record fascinating.

🎸 SO WHAT WILL THE NEW LIMP BIZKIT SOUND LIKE?

That’s the million-dollar question.

And we’d argue that trying to predict Limp Bizkit is usually a spectacular waste of everyone’s time.

This is the same band capable of going from an enormous Borland riff into hip-hop, punk, acoustic guitar, electronic weirdness and Fred Durst shouting something completely ridiculous within approximately four minutes.

Their catalogue has always been stranger than the lazy “nu-metal band with red cap” stereotype suggests.

You’ve got the raw aggression of Three Dollar Bill, Y’all$.

The massive grooves of Significant Other.

The stadium-sized insanity of Chocolate Starfish And The Hot Dog Flavored Water.

The experimental moments of Results May Vary.

The darker edge of The Unquestionable Truth (Part 1).

The swagger of Gold Cobra.

Then the wonderfully self-aware madness of Still Sucks.

So where the hell do they go next?

Maybe heavier.

Maybe weirder.

Maybe more experimental.

Maybe Wes Borland turns up with a guitar tuned so low it causes minor structural damage to the studio.

Anything is possible. 😂

🤘 DON’T EXPECT CHOCOLATE STARFISH PART TWO

And that’s probably the most exciting thing about this entire situation.

Limp Bizkit don’t need to recreate 2000.

We’ve already got Chocolate Starfish And The Hot Dog Flavored Water.

We’ve already got “Rollin’.”

We’ve already got “My Generation.”

We’ve already got “My Way.”

We’ve already got “Take A Look Around.”

Trying to manufacture another version of that era would probably be far less interesting than hearing what Limp Bizkit actually sound like right now.

Older.

More experienced.

Still ridiculous.

Still heavy.

Still capable of making an entire festival field bounce like somebody has accidentally switched gravity off.

That’s the Limp Bizkit album we want.

💿 LIMP BIZKIT’S STUDIO ALBUMS SO FAR

For anyone suddenly feeling the urge to disappear down a Bizkit-shaped rabbit hole:

1997 – Three Dollar Bill, Y’all$

1999 – Significant Other

2000 – Chocolate Starfish And The Hot Dog Flavored Water

2003 – Results May Vary

2011 – Gold Cobra

2021 – Still Sucks

And potentially…

2026/2027 – Album Number Seven? 👀

At the moment, there is no confirmed album title, track listing or official release date, so don’t start camping outside HMV just yet, butt.

But the important bit is this:

Limp Bizkit are writing.

The riffs exist.

Studio time has been discussed.

And according to Wes…

they’ve got ammo.

🔥 THE RIFF REPORT VERDICT

A new Limp Bizkit album arriving while nu-metal is enjoying one of its biggest revivals in decades feels almost perfectly timed.

But we’d rather they didn’t make a nostalgia record.

Give us something strange.

Give us something filthy.

Give Wes Borland permission to disappear into whatever bizarre musical laboratory exists inside his head.

Give John Otto some enormous grooves.

Give DJ Lethal some room to cause havoc.

And then give Fred Durst a microphone and see what happens.

Because more than 25 years after Limp Bizkit became one of the most controversial bands on the planet, they’re somehow back near the centre of heavy music culture again.

And perhaps the funniest part?

They look like they’re having an absolute blast doing it.

So…

Red cap ready. 🧢

Adidas dusted off.

Neck sufficiently warmed up.

Now somebody press RECORD.

🤘 WOULD YOU BE UP FOR A BRAND-NEW LIMP BIZKIT ALBUM?

Should they go heavier, embrace the classic nu-metal bounce, get completely experimental, or simply lock Wes Borland in a studio full of guitars and see what crawls out?

Let us know, butt! 🔥

The Riff Report — Proudly Welsh. Proudly Loud. Zero Apologies. 🐉🤘

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Michael

Michael

🎸 About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise — it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publication’s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist — sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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