Fishbone: Same Flame, New Fury Set to Blaze this Summer!

Comebacks are for the complacent—for those content to echo their past glories. Fishbone, as always, is doing something else entirely: a bold, brass-knuckle reckoning. And it arrives June 27 in the form of Stockholm Syndrome—their first long play (L.P.)  album in nearly two decades.

The new record isn’t a nostalgic return, it’s an eruption—a wild, unrelenting burst of ska, punk, funk, and social fire, layered with the urgency of a band that’s still pushing boundaries instead of coasting on them. Produced by the band alongside Aryon Davis and Chris McGrew, and mixed by Cameron Webb, Stockholm Syndrome doesn’t play it safe. It snarls, it swings, and it stares down the state of the world with one raised eyebrow and a wicked grin. Even the bonus track—bluntly titled “My God Is Better Than You’re Gawd”—makes it clear: Fishbone never lost their bite. They just sharpened their teeth.

This isn’t just a new chapter—it’s a new book written in blood, sweat, spit, and frustration. And it’s being shouted loud from every stage they step on this summer.

To understand this latest evolution, you’ve got to look at the ranks. Fishbone’s lineup has always shifted like the sound itself—but the core spirit remains invincible. Original madman and sonic prophet Angelo Moore still fronts the band like a sax-wielding shaman, while creative juggernaut Christopher Dowd continues to inject harmony and chaos through his trombone, keys, and unmistakable vocals. Guitarist Tracey “Spacey T” Singleton returns with cosmic distortion and six-string attitude. But it’s the new blood that gives this incarnation its crackling voltage. James Jones on bass brings thunder with a hip-hop heartbeat. Hassan Hurd behind the kit is a polyrhythmic powerhouse. And John “JS” Williams II on trumpet and vocals doesn’t just add horn stabs—he brings a melodic counterpoint that elevates the entire band into a genre-defying, speaker-blasting organism.

These hepcats aren’t just fill-ins. These are Fishbone soldiers—handpicked for their ability to not just play the legacy, but expand it.

“They step into the ranks with the same fire that has fueled Fishbone since day one,” says the band—and you hear it in every note.

Last month, on May 27, Fishbone took over the GRAMMY Museum—not to bask in legacy, but to challenge it. In conversation with Emmy-winning comedian and activist W. Kamau Bell, the band reflected on decades of musical disruption, political commentary, and cultural transformation. The crowd? Standing room only. The vibe? Unfiltered respect. And when they hit the stage afterward? Pure combustion. Check out the conversation here

Fishbone isn’t a relic. They’re a living weapon—aimed at apathy, fear, and whatever else stands in the way of truth wrapped in rhythm.

Fresh off a packed European run, Fishbone is hitting the American summer hard, joining Less Than Jake’s “Summer Circus 2025” tour alongside The Suicide Machines and Bite Me Bambi/Catbite. It’s less of a tour and more of a rolling revolution—a kick ass, skanking celebration of sound and subversion. The tour will stop here in Seattle Aug. 5th at Showbox Sodo and tickets are available now. And its not just the intents (see what I did there) shows this summer, they’re back on the Vans Warped Tour, injecting the festival’s 2025 reboot with some long-overdue realness. From Washington, D.C. to Long Beach, Fishbone is making sure that this summer moves—physically, spiritually, and politically. ALL THE WORLD’S A STAGE… AND THIS SUMMER, FISHBONE SETS IT ON FIRE.

Check out Fishbone and their latest single, ‘Last Call in America‘ (featuring George Clinton) get the sounds and the heartbeat of this album and prepare for a summer of ‘Stockholm Syndrome‘