More than 40 years into their chaotic, genre-defying career, Fishbone has returned with a vengeance. Their ninth studio album, Stockholm Syndrome, is not just a comeback—it’s a masterclass in controlled mayhem. Clocking in at 12 tracks, the album delivers a heady mix of ska, funk, punk, soul, and politically charged lyricism that proves Fishbone isn’t just relevant—they’re essential.
From the opening track, “Last Call in America,” featuring none other than George Clinton, it’s clear the band isn’t pulling any punches. The song explodes with bass-heavy funk and sharp horns, calling out modern America’s sociopolitical decay. It’s the kind of unfiltered commentary Fishbone does best: fearless, funky, and ferociously danceable.
The energy never dips. “Adolescent Regressive Behavior” is pure Fishbone mayhem—ska-punk chaos with tongue-in-cheek humor. Meanwhile, “Secret Police” and “Why Do We Keep on Dying?” offer darker tones, veering into alt-rock and roots-reggae, respectively—introspective, moody, and moving.
Fishbone has always had a gift for pairing serious social critique with an irresistible party vibe, and Stockholm Syndrome is no exception. “Racist Piece of Shit” is as blunt as its title suggests, taking direct aim at white nationalism and hate culture in America with scorching punk fury.
Production-wise, the album is tighter than ever. Every arrangement is deliberate, layered, and explosive. There’s a maturity in the songwriting that shows the band has grown—but thankfully, never mellowed. Angelo Moore’s vocals are still raw and unpredictable, James Jones’s basslines throb with muscle, and the horn section sounds like it’s got something to prove.
Stockholm Syndrome is a triumph—an album that doesn’t just live up to Fishbone’s legacy, but expands it. It’s biting, brilliant, and bursting with life. For longtime fans, it’s the return you’ve been waiting for. For new listeners, it’s a hell of an introduction.
Fishbone social media:
Punk Rock Mag 
Leave a comment