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Rock & Roll Hall Of Fame icons, Cheap Trick, will be special guests for the western Canadian leg of the tour. dates, as well as Toronto and Montreal, while Shaman’s Harvest will be seen on all dates. Daughtry will join Nickelback as their special guest for all of the U.S.
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Produced exclusively by Live Nation, the Feed The Machine Tour will begin on June 23 in Noblesville, Indiana, with 44 dates across North America including stops in Detroit, Los Angeles, Chicago, Toronto, Vancouver, and more. Multi-platinum, chart-topping rock band, NICKELBACK is set to hit the road this summer on the colossal headlining Feed The Machine Tour, announced today. I don’t think I ever expected to take Kroeger preaching he “never made it as a wise man” quite so literally.NICKELBACK ‘ FEED THE MACHINE ’ WITH 44-CITY NORTH AMERICAN TOUR, NEW SINGLE AND NINTH STUDIO ALBUMĬheap Trick Joining as Special Guests on Select Canadian Dates Trying to remain optimistic for a similar improvement on their next album, however, could be considered a bit of a difficult task given the band's overall history, especially when Kroeger’s recent attitude after the reasonable success of Feed The Machine has been to label any band within arms reach as ‘Nickelback Lite.’
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It’s nothing revolutionary, this isn’t the grand re-opening of ‘Kroeger and Pals’ the band would really like it to be, but you can be damned sure that early 2000s MTV would have lapped this shite up like silver sided gold dust. That being said, Feed The Machine is at least an improvement. ‘Song on Fire’ lacks any real flame to spark even the tiniest interest, and ‘After The Rain’ has about as much depth to it as a children’s paddling pool. It’s also immediately evident that Feed The Machine’s superior material is the heavier ‘Feed The Machine’ and ‘The Betrayal (Act III)’ delve a little bit deeper into Kroeger’s angrier side, a throwback to the original grunge roots that started this whole ordeal, and it’s this side of the album that completely surpasses the generic radio ballads that have tagged along for the ride and plague 30% of the record - it really wouldn’t be a Nickelback album without them.
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Sure, the lyrics, as always, can leave much to be desired for and take themselves just a tad too seriously at times, “ power absolutely all for show/The piper blows his flute and off you go(?)”, but vocalist/guitarist Kroeger and guitarist Peake are able to write catchy enough riffage to justify a few re-listens of some of the albums better material, and some fun guitar solo wankery is also certainly in abundance here. Tracks such as ‘Coin for the Ferryman’ and ‘Must Be Nice’ immediately stand out as far superior representations of what Nickelback is actually capable of, at the very least instrumentally. It’s nothing spectacular, but it is at least passable, and could have led the Canadian radio-rockers down a much more respectable route, instead of the self-destructive Long Road we’re all very familiar with. Nickelback may have actually stumbled across something reasonably fresh here, and it could have been the Holy Grail that salvaged what eventually became a career of ridicule and mediocrity. A, for the most part, hard hitting rock album, with far more interesting material that could have potentially steered the band’s infamous career in a completely different direction. Lets be honest for a second this is the album Nickelback should have released 15 years ago, after Silver Side Up saw the light of day back in 2001. Review Summary: Hardly the grand revolution it’s been made out to be, but enough of a shift in the right direction to avoid complete self-destruction.