Shame’s ‘Drunk Tank Pink’: proof that punk has still got it

An album that will liven up your lockdown and help you shake off the cobwebs, Shame’s Drunk Tank Pink is a must-listen and proof that punk is still a diverse and exciting genre.

Shame is a band born for gigging. From South London this 5-piece were formed in Brixton and their music certainly cements their legacy as an iconic band of the historic Brixton punk scene. After their critically acclaimed Songs of Praise debuted in 2018, it was clear any subsequent album would require hard work to live up to their repute. This new album reaffirms their top tier position in British punk and stands alone from their previous work as a great album, whilst also providing some food for thought on the future of this genre with their ongoing experimentation in lyrics and softer songs like ‘Human, for a Minute’.

Shame does not mess around in Drunk Tank Pink, they are busy and energetic

Produced by James Ford (who worked on albums like AM and What Went Down), Drunk Tank Pink is foremost a growing up record for the band, with more maturity and experimentation.

It’s obvious that the years of intense gigging since their last release have influenced Shame as Drunk Tank Pink feels catered to live audiences. Short and punchy tracks like ‘Alphabet’ and ‘6/1’ feel designed for the mosh pit, and the tempo is noticeably faster than songs in their last album. The beauty of Drunk Tank Pink lies in the diversity of its songs as these are also combined with more deliberate songs like ‘Station Wagon’. These songs prove Shame have serious credibility as lyricists and give the album a mindful tone.

Shame does not mess around in Drunk Tank Pink, they are busy and energetic. Moving on from the more basic instrumentals which gave Songs of Praise its monotone bass, Drunk Tank Pink sounds intricate. Their experimentation pays off in every song and whilst it is a big change of sound, which somewhat erodes the originality of their first album, it works to make the record a memorable punk listen.

The experimentation of Drunk Tank Pink is clear in tracks such as ‘Harsh Degrees’ and ‘Human, for a Minute’. A rejection of the more bass-oriented sound of Songs of Praise in these songs makes the album feel lighter, allowing it to stand alone from their previous work and might even give them more mainstream appeal.

Overall, the guitar and drums have taken more of a precedence whilst in Songs of Praise the vocals themselves were a key sonic element. Tracks like ‘Snow Day’ mix intense instrumentals with the husky and deep tone of lead singer Charlie Steen. ‘Human, for a Minute’ does well to utilise Steen’s vocals with dark and looming lyrics like “I watch my bones dry and shatter” whilst ‘March Day’ maintains their sharper side, “in my room, in my womb, is the only place I find peace”.

The question now goes to whether they can keep evolving and become a timeless British punk band

These tracks go further than their previous work in heady post-punk drudgery and are probably some of their best, but it is somewhat disappointing that their better work has not been able to break free of the sound they cultivated in their first album.

In terms of guitar work, this album is more electric and experimental which adds a lot more sonic diversity to it. In songs like ‘Born in Luton’ and ‘March Day’, this pays off with the combination of quick guitar riffs and drums making them some of the more memorable songs in the album.

The effort that Shame has put into these more energetic riffs pays off, giving the album a fast-paced and erratic consistency that really imbues the listener with energy. There are still intermittent glances into the slower and angrier sound Shame cultivated with tracks such as ‘The Lick’ and ‘Friction’, but this album has a more exciting energy to it and the songs are easily distinguishable from each other.

In a recent interview with NME, lead singer Charlie Steen expressed how Drunk Tank Pink captures the restless feeling of being on tour, “of wanting a cause for celebration all the time and surrounding yourself with distractions”. It feels apt that this album, clearly made for gigs, was released during a third lockdown, allowing fans to value it more as a piece of excellent music and for Shame to take time to recharge after two years on the road. The wait makes this album feel more worthwhile and it will certainly make their (hopefully) upcoming gigs in 2021 even more exciting.

Shame have cultivated a unique post-punk sound and were already unrivalled by most bands in their genre, this album only reinforces that. The question now goes to whether they can keep evolving and become a timeless British punk band.

RECOMMENDED LISTENING: ‘Born in Luton’, ‘Human, for a Minute’, ‘Station Wagon’