Feeder

Rock City has a place in a lot of gig goers hearts, it's a special venue. It's hosted some of the biggest bands on the planet and has a natural sort of atmosphere that crowds and bands alike feed off - even if the legendary sticky floors have long gone.

Feeder are one of those bands that love Rock City and everything that surrounds it, and it makes us feel blessed to have this venue in Nottingham when you're overhearing guys from Dublin saying, "I'm buzzing to be here tonight, all the people who live here have this on their doorstep, man!" It's the kind of place that bands will never forget even as they make that next step to arenas.

For the Nottingham date of Feeder's Tallulah tour, you just know before it even starts that it's going to be a banging show. They don't mess around, and everyone is already singing out their favourite Feeder tunes before they come in straight with a new one in the shape of 'Youth', ahead of some of the bigger numbers like 'Lost & Found' and 'Feeling the Moment'.

Continue reading: Feeder - Rock City, Nottingham 20.11.2019 Live Review

It must make those who have followed these guys from the start feel old, coming to the realisation that Feeder have been going longer than some of their new growing fan base have been born. Only two years ago Feeder were celebrating their 25th anniversary together, the whole thing seems bonkers.

The thing is since Feeder came back in 2016 from a four year absence, they haven't come back trying to change the wheel. They know what they are good at, and they know what works.

On 'Tallulah', Grant Nicholas and Taka Hirose seem to have that burning connection again, and it's clear that they are making music because it's what they love. It doesn't come from a desire to be loved by everybody; they already know they have a loyal fanbase after 27 years of work.

Continue reading: Feeder - Tallulah Album Review

Twenty-five years and still going strong, Feeder prove their lasting relevance by showcasing their distinctive back catalogue at Rock City, Nottingham. Following their stellar latest album 'All Big Electric', maybe it is just the right time for a "Best Of" tour, giving them a chance to play a few numbers that you wouldn't normally hear live. 

Feeder take to the stage and immediately blast out 'Feeling A Moment' followed by 'Shatter', straight away showing that they are playing what they want to play tonight and when they want to play it. The energy of the band and the crowd is just perfect; with 'High', dedicated to the late drummer Jon Lee, they could have just played the music and left the singing to the Nottingham crowd. It's a perfect sing-a-long tribute, even if it does leave a lump in the throat.

This show even features the likes of 'Stereo World' and 'Piece by Piece'; songs that haven't been heard on the live circuit since 2001. The more commercial songs like 'Come Back Around' and Buck Rogers' go down just as well as 'Insomnia', 'Cement' and 'Tender'. It's a mixture formulated to perfection, the highlight being 'My Perfect Day'. What a tune.

Continue reading: Feeder - Rock City, Nottingham 16.03.2018 Live Review

Feeder celebrate 21 years of recording this year (2017); 21 years ago since the band came onto the scene with the release of their mini album 'Swim'. As a band they have been together for 25 years which nowadays is almost unheard of. So what better way to celebrate this great milestone than with a 'Best Of' compilation?

Feeder can boast 6 studio albums, 3 compilations, 41 EPs and singles, which means Feeder were just spoilt for choice with this anniversary release. In the end, they opted for 41 immense tracks, which indeed makes it a mammoth listen. 'Polythene' is the most represented album here, and maybe an education to some of the more recent fans. An opportunity to hear tracks like 'High', 'Tangerine', 'Stereo World' and in fact half the record - a testament to what was such a great album.

Stand out tracks from 'Echo Park' have to be 'Buck Rogers' and 'Seven Days In The Sun', which really take you back to the energy of these guys in their early years. There is no real order to the album though; you can go from an 'Echo Park' track to 'All Bright Electric' and 'Silent Cry', which sounds mad but it's a perfect mix. 'The Best Of' seems to take at least four songs from each album and their 2016 rebirth, 'All Bright Electric', is well represented with 'Universe Of Life' 'Eskimo' and 'Paperweight'.

Continue reading: Feeder - The Best Of Album Review

It seems to be the age of the re-issue, one that Feeder have embraced with their seventh studio album from 2010 'Renegades'. Unlike other album re-issues out there, though, this is not a special anniversary release. The simple fact is that before now you could no longer buy this album either physically or digitally.

'Renegades' is everything that guitar music should be, with Feeder blasting out some amazing riffs and hooks. This album could introduce a whole new fan base, and at the same time there are some added tracks to satisfy the Feeder faithful who have been following them since the early nineties.

If you want an in-your-face, loud record then this is perfect; the first three tracks shake your head around to near explosion. 'White Lies' and 'Call Out' feature thrashing guitars and crashing cymbals that almost feel like a statement from Feeder showing that there is nothing mainstream about this album and they're embracing their grunge roots. The title track keeps that high energy, guitar-celebrating party going.

Continue reading: Feeder - Renegades (Special Edition Re-issue) Album Review

Following frontman Grant Nicholas' solo stint, Feeder have reconvened to release their ninth studio album, 20 years after their breakthrough EP.  Promotion of the release will come by way of a month-long tour, which is to begin imminently and is the band's first tour in four years.

For a thunderous riff to grab attention, look no further than the opening 'Universe Of Life', a track that goes some way to dispelling the disappointing material on recent Feeder releases.  'Eskimo' is more melodic, though not to the level that was perhaps the band's most accessible just over a decade ago, while 'Geezer' is surprisingly ineffective, given the electro-stomp at its foundation.  The urgency of 'Paperweight' makes it decent enough, while 'Oh Mary' aims for sincerity, but ultimately flounders.  Almost from nowhere, 'The Impossible' threatens to thrill with some of the band's old magic, while 'Another Day On Earth' is a piano-based number that shows Nicholas can still nail a more subtle performance and wrap it up in a serene melody.

It couldn't be argued that the band are back to their best, with filler tracks particularly after the half-way point of the album, but this is certainly a couple of notches up from 2012's 'Generation Freakshow'.

There are bands around that are like Ryan Giggs: they seem to have been around forever, like the Manic Street Preachers. Naturally Feeder - unlike the Manics, who have stated 'you wont hear from us now for at least a couple of years' - have no intention of taking a year or so out, as they return with their new single 'Borders'.

Continue reading: Feeder, Borders Single Review

Having road-tested their new material with a couple of low-key tours earlier in the year, Feeder now present their seventh studio album on their own Big Teeth Music label.

The band have recruited a new drummer in the shape of Karl Brazil and are set to hit the road again in autumn after festival appearances including Sonisphere and the dual V Festival events.

'Renegades' has been touted as a return to Feeder's earlier, harder sound and this is indicated in the crunching riffs of opener 'White Lines'. Recent single 'Call Out' furthers this claim, its raw fun making for a frantic anthem, while the title track recalls the spirit of punk. It is an attitude carried throughout the likes of 'Home' and 'Barking Dogs' with the only let down being under-developed 'This Town', while 'Down By The River' opens up with an impressive chorus in the power-ballad mould.

The return to a primal style may theoretically alienate more recent fans, but Grant Nicholas still proves his knack for writing a catchy tune. The lack of variation may drag slightly toward the finale of the record, but at just over 30 minutes the length of the LP is perfect to avoid this becoming detrimental.

3/5

Andrew Lockwood