Few bands have spent the last three decades dividing opinion quite like Nickelback. From the arena-filling choruses that defined the early 2000s to a reputation that has often seen them become the subject of rock music’s biggest punchlines, the Canadian quartet has rarely struggled to make themselves heard.
Yet, with their new album Everything Under the Sun, there is a sense of a band increasingly comfortable with simply doing what they enjoy. Speaking to Erazer, bassist Mike Kroeger described the recording process as one in which the group felt they had little left to prove, explaining that they “just got to have fun”. It’s an attitude that raises an interesting question: when a band with such an established identity no longer feels the need to prove itself, just how far is it willing to venture beyond what made it successful in the first place? Across its eleven tracks, Everything Under the Sun offers a glimpse of a band balancing the familiar with the unexpected, and perhaps discovering that there’s still plenty of room to surprise us.
It comes as no surprise that Rattle the Cage is the first thing we’re greeted with. There’s something wonderfully nostalgic about its opening, with heavy, metal-inspired riffs that immediately recall the larger-than-life rock anthems of the early 2000s. The repeated “Get up, rattle the cage” vocal feels tailor-made for a live audience, the sort of chorus that would have thousands of people shouting along without a second thought. An impressive guitar solo, followed by a particularly satisfying breakdown, only adds to that feeling. It’s a reminder of just how comfortable Nickelback are in this territory and, frankly, how good they can be when they lean into it. But there’s more to Everything Under the Sun than simply revisiting the sound that made them so successful. As the album unfolds, those heavier foundations begin to make room for some rather unexpected influences, and it’s here that things become considerably more interesting.
That willingness to explore becomes apparent surprisingly early, with Bones for the Crows taking things in a rather different direction. An atmospheric string arrangement introduces the track before gradually developing into something with an almost sea-shanty feel to it. There’s still a familiar Nickelback melodic sensibility running throughout, occasionally reminiscent of the band’s earlier work, but the darker lyrical imagery gives it a character of its own. References to leaving others to bleed out and having their bones left for the crows create a particularly grim picture, with the line “Bones for the crows” delivered with an almost theatrical intensity. What’s equally interesting is the way the instrumentation repeatedly pulls back before the chorus, allowing the song to build its momentum rather than relying on volume alone. It’s an early indication that there’s more thought going into the album’s arrangements than simply finding the next opportunity for a huge guitar riff, though they certainly make their presence known throughout.
There are moments across Everything Under the Sun where Nickelback lean into a much softer, more melodic side of their songwriting, and I Already Know is a particularly good example. Built around an almost old-fashioned piano arrangement, with subtle synth work and beautifully layered vocals, it’s a considerably warmer affair than some of the album’s heavier moments. There’s a real sense of togetherness running through the track, particularly in its chorus, where the call-and-response vocals and bright chord progression give it an almost celebratory feel. It’s not necessarily the most adventurous thing on the record, but there’s an undeniable charm to it, and the arrangement feels carefully put together without ever becoming overcomplicated.
But if there’s one track that I suspect will stay with me long after the album’s release, it’s If I Don’t Go. In fact, it’s probably my favourite of the eleven. There’s something particularly striking about the way it begins, with delicate acoustic guitar and spacious, almost distant vocals creating an atmosphere that feels surprisingly intimate. Its subject matter is equally personal, exploring that feeling of being trapped somewhere familiar and knowing that, unless you make the decision to leave, you might never get the chance to become the person you want to be. The line “If I don’t go I’m gonna die here” captures that feeling rather bluntly, but it’s all the more effective for it. What makes the track so memorable, though, is how dramatically it develops. The cosy acoustic opening gradually gives way to a much more urgent, pop-punk-inspired chorus, with heavier guitars and driving drums adding a real sense of desperation to the words. It’s almost as though the music itself is trying to break free from the place the lyrics describe. That contrast gives the song a personality that I don’t think many others on the album quite manage to achieve, and it’s the sort of chorus that feels capable of finding an audience well beyond Nickelback‘s existing fanbase. If I had to pick one track from Everything Under the Sun with the potential to become its biggest success, this would be it. It’s one of those songs that genuinely gave me goosebumps, and I found myself completely drawn into it from beginning to end.
One thing I find quite interesting about Everything Under the Sun is that Nickelback don’t seem particularly interested in reinventing themselves. In fact, after speaking to Erazer, Mike Kroeger made it sound as though the band was simply enjoying having the freedom to make whatever music they wanted. He explained that they didn’t really have any deadlines or expectations hanging over them, saying they “Didn’t really owe anyone anything time-wise or content-wise.” And I think you can hear that throughout the album.
Interestingly, Kroeger revealed that Rattle the Cage had actually been sitting on a hard drive for years, having previously been considered for earlier albums before finally making the cut here. He even mentioned that it ended up being heavier than he expected, which I can definitely get behind. It’s a good example of the band being able to revisit ideas and take them in whatever direction feels right. That freedom also comes through in tracks like If I Don’t Go, which moves from a relaxed acoustic opening into something far more energetic. Kroeger spoke about how their albums have always had a mixture of hard rock and lighter, more melodic songs, and this is probably one of the best examples of that.
There’s also Last Night Was Fun, which is perhaps the biggest surprise of the lot. Kroeger himself described it as “Borderline sugar pop”, and it’s easy to see what he means. It’s got a much more modern pop feel than you’d typically associate with Nickelback, but there’s still enough of their usual sound in there to stop it feeling completely out of place. I think there’s something quite telling about a band with their history being happy to put something like this on an album. The same can be said for Technicolor Steamboat, with its banjo, acoustic guitar and rather unexpected Gene Wilder sample. It feels like a band having a bit of a laugh and making something because they fancy it, rather than worrying about whether it’ll fit into what people expect from them.
And perhaps that’s the real feeling I get from this record. There’s no overwhelming sense that Nickelback are desperately trying to prove something, or that every song needs to be another huge hit. Kroeger even spoke about how, ultimately, it’s up to the audience to decide which songs become successful, rather than something the band can control. I quite like that attitude. If a song connects with people, fantastic; if it doesn’t, at least they’ve enjoyed making it. After all these years, perhaps that’s exactly where Nickelback should be. They’re making music they want to make, and whether that’s a huge arena-rock anthem or something a little more unexpected, they’re seemingly happy to let the listener decide what they take from it.
Of course, that doesn’t mean everything on Everything Under the Sun quite hits the mark. There are a few moments where I found myself wanting a little more, with tracks like Chasin’ Famous and Bottled Dreams never quite leaving the same impression as some of the album’s stronger moments. They’re perfectly enjoyable listens, but perhaps don’t offer quite enough to make them particularly memorable. Even so, I don’t think that takes too much away from what Nickelback have achieved here. Across eleven tracks, there’s a genuine variety of sounds and ideas, and even when something doesn’t completely work for me, there’s usually something interesting going on.
Ultimately, though, it’s If I Don’t Go that I’ll probably remember most. It’s the track that feels like it has the most to say, both musically and lyrically, and one that I can see myself returning to long after the initial excitement of a new Nickelback album has settled. Whether it ends up becoming the record’s biggest success is another question, but it’s certainly the one I’d be putting forward.
I suppose that’s what makes Everything Under the Sun such an interesting listen. It doesn’t feel like a band desperately trying to change people’s minds, nor does it feel as though Nickelback are simply going through the motions and giving us another version of what they’ve done before. Instead, it sounds like four musicians who have spent three decades doing this and who are now quite happy to make whatever takes their fancy. Some of it will land better than others, naturally, but there’s something rather refreshing about that.
Perhaps Nickelback don’t need to prove anything anymore. If people enjoy the music, that’s great. And if they don’t, well, they’ve clearly had a good time making it.
Nickelback will tour the UK in 2027, with support from Don Broco.
