On the 27th episode of “The Album Review Crew” of the “Shout It Out Loudcast”, FOZZY frontman and wrestling superstar Chris Jericho joined hosts Tom, Zeus and Sonny to review the second album from SKID ROW, 1991’s “Slave To The Grind”. You can now listen to the discussion below.

Speaking about SKID ROW’s untimely 1996 split with singer Sebastian Bach, Jericho said (as transcribed by BLABBERMOUTH.NET): “Had there not been a complete sea change and shift in musical styles, and had Sebastian and the guys not completely broken up forever, they could have been a GUNS N’ ROSES level, a JUDAS PRIEST level. Not an IRON MAIDEN level — not a GUNS N’ ROSES either — but they could have been that second tier of main-event-level bands. Because, two reasons — one, dudes like us like the music; heavier guys like PANTERA like the music; and here’s the most important thing. You know what I’m gonna say. The chicks love the music and they love Sebastian Bach, who, at the time… I used to say, if you could into a laboratory and you were a mad scientist and create the perfect rock star, Sebastian Bach would be the perfect rock star — all cross the board; he checks every box in everything. And so I think that’s another reason why SKID ROW was able to bridge the gap. It could have even gone farther because the girls really enjoyed the band as well.”

He continued: “The first [SKID ROW] album, pictures aside — you look at the first GUNS N’ ROSES album pictures; there was a lot of hairspray and all that sort of stuff — but they had an East Coast GUNS N’ ROSES vibe, where even though Sebastian Bach was pretty, he was tall, we know he was off his rocker because we heard the stories. Other guys looked pretty nutty. Rachel [Bolan, bass] was very punk rock. They weren’t pretty guys. Snake [guitarist Dave Sabo] is not a good-looking guy. And if he was on the show right now, he’d be laughing, saying, ‘I’m the ugliest guy ever.’ Best guy in the world, by the way — Snake and Rachel are just amazing guys… But they never tried to be that way; they weren’t trying to shove it into the bag. They knew what they looked like, and they knew it was cool, ’cause they did look cool. But they didn’t look pretty. But that worked to their advantage, much like GUNS N’ ROSES as well.”

Less than two years ago, Bach blasted Jericho over allegations that the FOZZY frontman uses pre-recorded vocal tracks during live performances.

Bach initially accused Jericho of “miming to a tape” at FOZZY concerts in a social media post in July 2020. In response, the wrestler-turned-rocker insisted that he had “never mimed anything ever” and challenged Bach to a “singoff” with “no effects, no tuning, no bullshit”, saying “Bas is a great singer…but I’m better”.

In the months that ensued, Bach brought up Jericho’s alleged lip syncing on several occasions, most recently in January 2021 in an interview with The Aquarian Weekly. Asked specifically about his feud with Chris, Sebastian said: “I have an open mind about everyone. If I read on Blabbermouth.com [sic] that some band says, ‘We’re the future of rock ‘n’ roll and we are the next thing after THE ROLLING STONES,’ I think, this must be incredible! What have I been missing out on? So, I checked out one video during which the singer was 100% miming to a tape on stage at The Rockpile in Toronto. I thought to myself, ‘That’s weird, that’s not the next ROLLING STONES.’ So, I watch another video where he was opening up for NICKELBACK in an arena and, again, he’s miming to a tape. You can go watch it for yourself. Then someone said, ‘Here’s a clip of him singing live. Legit, bro.’ And it’s him miming to a tape again. It’s crazy obvious. It is not my opinion, it’s fact. It is not me starting a fight. But don’t tell me what singing live is, ’cause I have never used tape. I don’t even know how to do that.”

Bach also addressed the fact that Jericho accused him of having a less-than-original stage name after Sebastian slammed Jericho for copying the name of a SKID ROW tour for FOZZY.

“I switched a couple of letters of my legal last name [Bierk]. Who’s Mongoose McQueen?” Bach asked, referring to Jericho’s original FOZZY stage name. “What kind of a stage name is that?

“How about this: professional wrestling sucks,” he added. “Everyone wishes they were a rock star. It hilarious. Evidently, all you have to do is [record] a tape, go on stage, and jump around. You can jump off the drum riser and do jumping jacks. It doesn’t matter if you are miming to tape.”

Jericho’s most public reaction to Bach’s criticism came in a January 2021 tweet. At the time, he wrote: “I’ve been told that @sebastianbach continues to go out of his way to bury me. My response is this…be my guest! You are entitled to ur opinion & it doesn’t affect me either way. I still dig ur work on the first 3 @OfficialSkidRow albums & look forward to ur new record.”

When Bach first went public with his Jericho accusation, FOZZY guitarist Rich Ward called Sebastian “universally disliked” and said that seeing Bach “publicly go after the only guy that I have ever witness utter a nice word about him is sad.”

Sebastian, who has been outspoken about rock bands using pre-recorded backing tracks during live shows, later tried to explain his outburst, writing: “I’m not trying to beat anybody at anything. I’m actually trying to say hey Chris maybe you’re right maybe I’ll stop singing live and prance around while the tape is playing just like you do Chris. I’m tired of trying so hard it’s like beating my head against the wall.”

After a self-proclaimed Bach fan called Sebastian “an asshat” on Twitter for firing “the first shots” in his war of words with Jericho, Bach came back with: “Hey man f*** you. I have spent my life learning how to sing live on stage. When someone comes along and mimes to a tape it sucks for all of the rest of us that don’t. You want to go see a wrestling match good. Don’t call it rock and roll”.

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Cannibal Corpse headline Metal & Beer Fest’s Philly return while special full-album sets from Candlemass, Wolves in the Throne Room, Nuclear Assault and the Red Chord highlight June 10-11.
The post Decibel Magazine Metal & Beer Fest: Philly 2022 Full Band Lineup & Breweries REVEALED! appeared first on Decibel Magazine.

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Death metal blasphemers Father Befouled summon fresh hell on their sinister new single, “Unheavenly Catechesis.”
The post Track Premiere: Father Befouled – “Unheavenly Catechesis” appeared first on Decibel Magazine.

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David Crosby, Graham Nash and Stephen Stills have requested that their labels remove their collective recordings from Spotify. In solidarity with their bandmate Neil Young, and in support of stopping harmful misinformation about COVID-19, they have decided to remove their records from the streaming platform including the recordings of CROSBY, STILLS, NASH & YOUNG, CROSBY, STILLS & NASH and CROSBY & NASH, as well as Crosby’s and Stills’s solo projects. Nash has already begun the process to take down his solo recordings.

In a unified statement, the band members commented: “We support Neil and we agree with him that there is dangerous disinformation being aired on Spotify’s Joe Rogan podcast. While we always value alternate points of view, knowingly spreading disinformation during this global pandemic has deadly consequences. Until real action is taken to show that a concern for humanity must be balanced with commerce, we don’t want our music — or the music we made together — to be on the same platform.”

Last month, Neil demanded that his catalog be removed from Spotify in response to “fake information about vaccines” being “spread” on the platform via Joe Rogan’s podcast, “The Joe Rogan Experience”. Young delivered an ultimatum, adding, “They can have Rogan or Young. Not both.” Spotify announced a few days later that it would pull Young’s music catalog from its platform.

In the days after Neil had his music from Spotify removed, a handful of notable artists have pulled their music from the streaming giant, blaming the platform for spreading false information about coronavirus via Rogan’s podcast.

Neil’s wife and acclaimed actress Daryl Hannah took to Twitter to express criticism for Rogan’s podcast and the eventual choice Spotify has made regarding Neil’s ultimatum.

Daryl wrote: “sad to see some confuse censorship & free speech with the choice a private company has in deciding what they profit from a podcaster is free to say whatever they want Just as Neil is free to NOT have his music on a platform that makes $$$ of disinformation that harms folks”.

In response, Rogan promised to “do my best, in the future, to balance things out,” while Spotify said it would add content advisories to podcast episodes with information about COVID-19. In an almost 10-minute-long Instagram video posted on Monday, Rogan said he would “try harder to get people with differing opinions on” on his show, which averages 11 million listeners per episode.

“The Joe Rogan Experience” became a Spotify exclusive in 2020, when Rogan signed a multi-year exclusive licensing deal with the streaming giant.

Spotify’s company’s chief executive Daniel Ek has defended Rogan in the past, including after an episode that featured the conspiracy theorist Alex Jones in 2020.

“We want creators to create,” Ek told The Financial Times at the time. “It’s what they do best. We’re not looking to play a role in what they should say.”

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NILE guitarist/vocalist Brian Kingsland will sit out the band’s upcoming U.S. tour in order to spend time with his newborn son. Filling in for him will be Scott Eames (THY ANTICHRIST, NEVALRA). Featuring support from INCANTATION, SANGUISUGABOGG and I AM, the trek will kick off on February 3 in Nashville, Tennessee, visiting several major cities before wrapping in Spartanburg, South Carolina on March 12.

On Tuesday (February 1), NILE released the following statement via social media: “Congratulations to Brian Kingsland on the arrival of his newborn son! While Brian takes time for family, veteran metal guitarist Scott Eames will be joining us on Guitar and Vocals. Scott is an exceptionally talented motherfucker who has worked his ass off and earned his spot on stage with NILE. The band is as strong as ever and we are primed and ready to bring Metal to the fans on our upcoming tour starting in Nashville, TN on February 3rd! See you on the road! m/”

Originally hailing from Greenville, South Carolina, international death metal legends NILE have become one of the most revered names in the worldwide heavy metal scene today, combining extreme traditional and technical death metal styles with their trademarked blend of Ancient Egyptian and Near Eastern soundscapes and historical mysticism.

NILE’s ninth studio album, “Vile Nilotic Rites”, was released in November 2019 via Nuclear Blast. The disc was recorded and produced by Karl Sanders at Serpent Headed Studios in Greenville, South Carolina, with the exception of the drums which were recorded at Esoteron Music Studios in Athens, Greece with engineering handled by Jim Touras and George Dovolos. The album was mixed and mastered by Mark Lewis at MRL Studios. For the album artwork, the band returned to artist Michal “Xaay” Loranc who had worked with the band for over 10 years.

Last September, NILE announced that it had signed a worldwide contract with Napalm Records.

Congratulations to Brian Kingsland on the arrival of his newborn son! While Brian takes time for family, veteran metal…

Posted by Nile on Tuesday, February 1, 2022

News has finally broke! I am doing Guitar & Vocals for the legendary Nile❗️ ???

The tour kicks off on THURSDAY! There’s…

Posted by Scott Eames – Musician on Wednesday, February 2, 2022

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This is my last Vintage Vault column, so I want to finish with a story about a guitar near and dear to my heart: my father’s 1960 Fender Custom Telecaster.The Fender Custom Telecaster was first offered at the NAMM show in 1959, and its initial full year of production was 1960. It came with an ash body, a maple neck, and Fender’s famed slab-rosewood fretboard, which is considered very desirable. This fretboard was only available from 1958 to August 1962. Sunburst was the model’s original standard finish, but other colors were also available, and my dad’s came in red with white binding.My father, Louis Owens, purchased his 1960 Custom Tele in 1962 from a friend who needed cash to pay his family’s bills, for the princely sum of $75. The instrument had a slight burn mark on the front of the body that made it identifiable. (This is what we call foreshadowing.) Oddly, the last of its six Kluson tuners was plastic instead of metal, but it had a chrome coating.This guitar floated around my house, mostly unused, for years until I got interested in playing electric guitar as a teen. But at that age, I wanted something more rock ’n’ roll looking, so I went to a music store here in Nashville, where I saw a low-priced Les Paul I was interested in trying. The store wanted some collateral to let me take the guitar home to try it, so I brought the Tele in for them to hold while I tried the Les Paul out for the weekend. (You might see where this is going.)I was so upset by this rip-off that I told all my friends at other music stores in town about what had happened and gave them all the serial number of the Tele.I didn’t like that Les Paul, so I brought it back on Monday to get my Telecaster back. They informed me that wasn’t the deal: It was a swap, and they had already sold my guitar. Of course, I was devastated, and being young and inexperienced I just accepted that the guitar was gone. I walked away like a safe was on my shoulders. I was so upset by this rip-off that I told all my friends at other music stores in town about what had happened and gave them all the serial number of the Tele.Fast-forward 11 years. I got a call from a friend that worked at Gruhn Guitars who said he believed he’d found my dad’s Telecaster. I went down to the shop to verify the guitar, and sure enough it was my dad’s 1960 Custom. Unfortunately, the guitar had already been sold. It made me very sad to get that close, but Gruhn’s told me they would give the buyer my information and explain what had happened in case he ever wanted to sell it. About six months passed, and I got a call from the buyer. He’d found a 1952 Fender Telecaster he was interested in and wanted to sell me the 1960. He even offered it to me for $1,000 less than what he paid, so he could quickly get money to buy that ’52 Tele. I immediately reached out to family members to put the money together to get the guitar back, and it was soon mine again.Some years later, I went to work for Gibson in California as the product specialist and development manager for the Dobro guitar company, which they’d purchased. The Fender Custom Shop was just down the road, and we occasionally swapped parts for different projects. (They were trying to make Telecaster-style resonator guitars.) I became friends with Fred Stuart, one of the master luthiers at the Custom Shop. He had just done his now-famous herringbone Telecaster and was looking for other types of binding. Dobro had moved into using rope binding, in the style of Weissenborn guitars from the 1920s, and Fred wanted some. So, I asked him if he’d help restore my dad’s Custom Telecaster, which had a lot of wear.Since he was interested in rope binding for Telecasters, we decided to do it to my guitar. We changed the finish to a tobacco burst, which was painted at the Dobro factory to save money. Fred also did some research on the guitar, which has its serial number stamped on the bottom of the plate. That’s rare—only a very few Fender Custom Telecasters made in late 1959 and early 1960 have this. He found it was one of the first 25. He also put new-old-stock pots in, replacing the scratchy originals, and added a better-intonated Danny Gatton 3-piece bridge. We also added an NOS headstock logo.The results were amazing, and I’ve been lucky to have three of my Tele heroes—James Burton, Albert Lee, and Vince Gill—say it’s one of the best Telecasters they’ve ever played, with lots of clarity, definition, snap, and gorgeous midrange. I will never part with this guitar, accidentally or on purpose, again—even though I’ve seen 1960 Custom Teles listed for more than $30,000 and much higher.Thanks for sharing this column with me. I hope you’ve enjoyed reading my 6-string stories as much as I’ve enjoyed writing them.

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TESLA guitarist Frank Hannon has canceled his previously announced solo shows in February, including his appearance on the Monsters Of Rock cruise, due to “the ongoing and changing COVID issues.”

The 55-year-old musician, who battled the disease caused by the SARS-CoV-2 coronavirus last year, shared the news of his change of plans in a social media post earlier today. He wrote: “My FEB SHOWS POSTPONED: I will not be performing live shows during the month of February, including the MORC. As I will be spending this time with my family. With the ongoing and changing Covid issues, contagiousness of the virus, I must put the safety of my family and fans as first priority. I apologize for any inconvenience this causes anyone. See you on the road later this year. Sincerely, Frank”.

This year’s Monsters Of Rock cruise is celebrating its 10th anniversary. Departing out of Miami, Florida, the five-day/five-night full ship charter cruise will set sail February 9-14 aboard Royal Caribbean’s Freedom of the Seas, visit two ports in CocoCay, Bahamas and Labadee, Haiti, and feature performances from rock icon Alice Cooper, along with appearances by over 35 artists.

Last September, Hannon said that he and his TESLA bandmates went through “COVID hell” after being infected with coronavirus.

In August, TESLA announced it was postponing a few shows after Frank tested positive for COVID-19. At the time, Hannon wrote in a social media post that he had “not been able to move all week” and revealed that he woke up with a 102-degree fever and could “hardly breathe” on the day that TESLA was scheduled to leave for tour.

Hannon later opened up about his COVID-19 battle in an interview with Marci Wiser of the 95.5 KLOS radio station, saying: “We went through COVID hell, and luckily none of us died from it. I just lost another friend who died from COVID. This is a real thing, man. People that are anti-vaxxers and all that — I was on the wrong side of that fence, listening to all the baloney. But we went through it and we survived it.

“Our friends in STYX and our friends in these bands that have been successfully touring, they’ve given us some advice that we follow [while we are on the road now],” he continued.

“As much as you hate wearing a mask, you’ve just gotta do it when you’re close to people. And so we’re doing that. We’re all vaccinated now. And we’re being careful but we’re trying to live our lives too.”

Hannon also elaborated on his battle with COVID-19, saying: “I wanna describe it, ’cause I got some flak from some clown on the Internet, saying, ‘All you had was the flu. All it is is the flu. Quit making a big deal about it.’ And that’s the biggest crock. I’m telling you, man — it was a month of hell. It was a hard one.

“It affects everybody differently,” he continued. “Like I said, unfortunately, sadly a lot of people are dying from it. But for me, it was like a month-long hangover. Imagine drinking all the tequila and whiskey and smoking a pack of Pall Mall non-filters for three days — imagine that — and then waking up hung over from that for a month. That’s what it felt like.”

Earlier in September, Hannon told Meltdown of Detroit’s WRIF radio station that he “got vaccinated” before going on the road with TESLA, but admitted “it was a little too late. I was not wanting to get vaccinated, and I put it off too long. I got vaccinated and about a week later I played a gig and caught COVID and took it to the band by accident. And everybody got sick. It knocked me down for a month, man. It was a month of hell, not being able to breathe and in a lot of pain.”

He continued: “People dismiss it as being, ‘Oh, it’s only a flu,’ or, ‘It’s a cold,’ or whatever, but I just lost three more friends — people in the industry that have died from it. So it’s a very serious thing. And I don’t take it lightly anymore, that’s for damn sure.”

TESLA played the first two shows of its summer 2021 tour without Frank. Filling in for him was Howie Simon (JEFF SCOTT SOTO, GRAHAM BONNET, STRYPER), who previously stood in for Hannon in September 2018.

“Myself, I didn’t even do one show [of the summer run],” Frank told WRIF. “The morning that we were leaving to go on tour, I came down with a 102 fever. So I called one of my friends that plays guitar, and he filled in for me. They did another show up in Oregon, and they got sick. So we got the kibosh put on TESLA right away.”

In August, TESLA released the official music video for its brand new single, “Cold Blue Steel”. The clip was directed by Brandon Gullion and produced by Hannon.

TESLA’s latest album, “Shock”, was released in March 2019 via UMe. The follow-up to 2014’s “Simplicity” was produced by DEF LEPPARD guitarist Phil Collen.

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A post shared by Frank Hannon (@frankhannonofficial)

He’s a Modern Day Cowboy.. but heading to sea with us, please welcome Frank Hannon to the Monsters Of Rock Cruise!…

Posted by Monsters of Rock Cruise on Friday, December 24, 2021

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TRIUMPH’s first-ever feature documentary about the band’s dramatic career, “Triumph: Rock & Roll Machine”, will be available for streaming in Canada beginning on Monday, February 7, only on Crave.

Produced by Emmy and Peabody award-winning Banger Films, “Triumph: Rock & Roll Machine” is a Crave original documentary that has been described as “a celebratory, exhilarating thrill ride through the history of one of rock’s most unsung acts.” The film covers TRIUMPH’s humble beginnings as staples of the GTA circuit in the mid-’70s to their heyday as touring juggernauts, selling out arenas and stadiums all across North America with their legendary spectacular live shows — and way beyond.

Last September, TRIUMPH guitarist/vocalist Rik Emmett told The Metal Voice about “Triumph: Rock & Roll Machine”: “First of all, Banger Films made it, and they’ve done this before — they’ve done it for IRON MAIDEN, they’ve done it for RUSH, they’ve done it for Alice Cooper and ZZ TOP. I mean, these guys, they’re experienced. But they’re telling their perspective of the story. They’ve done their research and then they decided, ‘Well, this is the angle we’re gonna take.’ So that’s the first lens you’re getting. The other thing is it’s not my story, because I was only a part of TRIUMPH. And, in fact, I don’t actually own that brand; Gil [Moore, TRIUMPH drummer] owns that brand. So you’re gonna get a little bit more of Gil’s angle of it than Rik’s. And that’s fine — I’m cool with that — but in truth and in fairness, I think people need to know that. That’s what you’re gonna see — you’re gonna see something that’s been passed through those filters.”

He continued: “So, is this okay? Have all three guys signed off on this? Yes. But you’re not getting my story… Truth is perspective. Truth is a point of view. And everybody understands that; it’s just everybody also has this sort of ego thing where they go, ‘Yeah, but my truth is better than his.’ ‘My truth is way more important than hers.’ And that gets back to that vanity thing again about how you have to let go. So the documentary, you’re talking about trying to find truth from an integration, and I’m saying compromise and collaboration, yes, you get a kind of an integration, but what I’m showing you here, that’s only two dimensions. There’s more to this than just what you see.”

In 2020, Emmett told The Metal Voice about the making of “Triumph: Rock & Roll Machine”: “There’s a surreal nature to it — you’re going back in your life, and they’re reminding you of things that you’d completely forgotten,” he continued. “And you’re going, ‘Oh, yeah.’ And then they’re digging deeper, and they’re going, ‘So, when the band broke up…’ And you’re going, ‘Okay, this hurts, actually.’ I don’t wanna have to go back to that, because the rise and the fall and the rise again, it’s the fall that hurts. I don’t wanna go there. I thought I’d put all this behind me. It was ugly, heavy baggage.”

Emmett also talked about a “really extraordinary thing” Banger Films did while working on “Triumph: Rock & Roll Machine”. “They flew in fans from all over the world,” he said. “They created an event. And the fans didn’t know that we were gonna actually play three songs. So, they brought ’em all to the warehouse, and they’re wandering, and they’re looking at this TRIUMPH museum-y kind of thing. They’ve got dummies with my old spandex jumpsuits on. And then they send them down and they were gonna show them a few little clips on a scrim. The scrim drops and there we are and we play. And these are the people that love us the most. And there was only a couple of hundred of ’em. But it was so intense; it was so amazing. And, of course, they’ve got, like, 15 cameras around the room capturing every angle of this. And then you go, ‘Oh my God. This is heavy duty.’

“So it’s really good,” Rik added. “It really gets to the heart of, you’re a band, you create some music, you make a connection to people, and then here’s these people, you’re the soundtrack to their lives, and it matters to them. So they love you. I could get up there and fart, and they would go, ‘Yeah! Great!'”

The aforementioned invite-only event was held in November 2019 in front of 300 “superfans” at MetalWorks studio in Mississauga (a suburb of Toronto), Ontario, Canada. Emmett, bassist/keyboardist Mike Levine and Moore played a three-song set that marked TRIUMPH’s first performance in 11 years, as well as its first as a pure three-piece power trio in 31 years. The tracks played were “When The Lights Go Down”, “Lay It On The Line” and “Magic Power”.

Moore, Levine, and Emmett formed TRIUMPH in 1975, and their blend of heavy riff-rockers with progressive odysseys, peppered with thoughtful, inspiring lyrics and virtuosic guitar playing quickly made them a household name in Canada. Anthems like “Lay It On The Line”, “Magic Power” and “Fight The Good Fight” broke them in the USA, and they amassed a legion of fiercely passionate fans. But, as a band that suddenly split at the zenith of their popularity, TRIUMPH missed out on an opportunity to say thank you to those loyal and devoted fans, a base that is still active today, three decades later.

Back in 2016, Moore and Levine reunited with Rik as special guests on the “RES 9” album from Emmett’s band RESOLUTION9.

After 20 years apart, Emmett, Levine and Moore played at the 2008 editions of the Sweden Rock Festival and Rocklahoma. A DVD of the historic Sweden performance was made available four years later.

A must-see for rock and roll fans.
Canadian rock band @TriumphTheBand revisit their ‘80s heyday in the new Crave Original documentary #TriumphRockAndRollMachine. Stream it February 7, only on Crave. pic.twitter.com/wWry4GBcM6

— Crave (@CraveCanada) February 2, 2022

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CHEAP TRICK will support Rod Stewart on a U.S. tour this summer. According to a video message from Rod, the trek will kick off in mid-June and run through mid-September.

So far, the following shows have been announced (more to follow):

Jul. 01 – Dickies Arena – Fort Worth, TX
Jul. 02 – Cynthia Woods Mitchell Pavilion – The Woodlands, TX
Jul. 05 – Bridgestone Arena – Nashville, TN
Jul. 12 – Riverbend Music Center – Cincinnati, OH
Jul. 16 – Hollywood Casino Amphitheatre – Tinley Park, IL
Jul. 19 – Blossom Music Center – Cuyahoga Falls, OH
Jul. 22 – Saratoga Performing Arts Center – Saratoga Springs, NY
Jul. 26 – Budweiser Stage – Toronto, Canada
Jul. 27 – DTE Energy Music Theatre – Clarkston, MI
Aug. 12 – Xfinity Center – Mansfield, MA
Aug. 13 – Mohegan Sun Arena – Uncasville, CT
Aug. 16 – PNC Bank Arts Center – Holmdel, NJ
Aug. 19 – Mark G Etess Arena – Atlantic City, NJ
Aug. 20 – Hersheypark Stadium – Hershey, PA
Aug. 23 – Northwell Health at Jones Beach Theater – Wantagh, NY
Aug. 27 – Merriweather Post Pavilion – Columbia, MD
Aug. 31 – Ameris Bank Amphitheatre – Alpharetta, GA
Sep. 02 – Daily’s Place Amphitheater – Jacksonville, FL
Sep. 03 – Amalie Arena – Tampa, FL

Founded in 1974, CHEAP TRICK is an indisputable American institution, beloved around the globe for its instantly identifiable, hugely influential, brand of pop-rock ‘n’ roll. The bandmembers are true pioneers with an unparalleled streak of certifiably classic tunes, from “He’s A Whore”, “California Man” and “Dream Police” to “Surrender”, “I Want You To Want Me” and the worldwide No. 1 hit single “The Flame”.

2016 saw CHEAP TRICK inducted into the Rock And Roll Hall Of Fame, a long-overdue acknowledgment of a nearly five-decade career that has earned them more than 40 international gold and platinum certifications, myriad awards and industry honors, featured appearances on over 20 movie soundtracks, and total record sales well in excess of 20 million.

CHEAP TRICK’s current lineup includes three of its original members: singer Robin Zander, guitarist Rick Nielsen and bassist Tom Petersson. Drummer Bun E. Carlos stopped touring with the band in 2010 and was replaced by Nielsen’s son Daxx.

AMERICA! CANADA! I’m coming for you ?
With my good friends @cheaptrick !!

Make sure you grab tickets ? https://t.co/dfz51GdKKN pic.twitter.com/o7UvXwScwF

— Sir Rod Stewart (@rodstewart) February 2, 2022

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