On Shame’s sophomore album, Drunk Tank Pink, the London quintet display their growth since they initially burst onto the scene in 2018. But, it’s unfortunately not enough growth to keep the album interesting for it’s 41 minute runtime.
Led by frontman Charlie Steen, the band was barely out of their teens when they delivered their electrified debut album Songs of Praise, followed by two years of touring. Their thrilling live performances showcased the band’s hilarity, dynamic technique and Steen’s charisma that supplied frenzies of devoted stage divers.
Drunk Tank Pink is the band’s most personal and subdued project to date, adding a depth of maturity brought to life by Drummer Charles Forbes father who’s featured on the cover. The album’s themes evolved from Steen’s tireless nights isolated in a new home, coming to terms with his own psyche and vivid dreams.
In a recent interview with GQ, Steen revealed he painted his new room from floor to ceiling in camila pink, a shade of color used to repress anger and violence. This became the decor for many a European jail cells where they would keep drunken prisoners (nicknamed “Drunk Tank Pink”).
Shame’s youthful exuberance is traded away for a darkening tone of malaise. While the themes are present, the tracks often suffer from a loss of direction and energy. On album singles “Alphabet” and “Nigel Hitter,” the band’s formula is present but seems to be plagued with a lack of urgency. For example, the call-and-response seen on “Alphabet” offers lackluster lyrics like “monkey see and monkey do” or “don’t forget your p’s and q’s,” which don’t match with the downtrodden instrumental. While “Nigel Hitter” also seems to miss the mark with a lack of charm for a track that I would akin to “Friction” from their debut.
The album is better when Steen focuses on his lyrical game. Forgettable tracks like “Great Dog” and “Harsh Degrees” are hindered by their attempts to reconnect with their previous album’s fast-paced punk rhythm.
The middle of the album offers the most in terms of earnest, emotive moments from the band. The double punch of “Snow Day” and a new version of “Human, For A Minute” are singular in character defining weight that points to where the band will hopefully be heading on future releases. Steen takes command with lyrics centered on deteriorating relationships and the ensuing thoughts that plague your mind. “Snow Day” builds on sparse instrumentation with a grey tinge before cascading into an avalanche of reckoning with a climactic ending. “It’s the most beautiful thing you’ll ever see / And yet you walk past it all the time on your way to work,” hurls Steen as he finds the epiphany of beauty on the mundane journey to work.
“Human, For A Minute” radically changed since it was first seen live. While it took time to shake off memories of Steen screaming “I’m half the man I should be,” the new version is a true reflection of maturity in their songwriting as Bassist Josh Finerty’s riffs create a helix allowing the dual connectivity of guitarists Sean Coyle-Smith and Eddie Green to interweave with Steen’s feathery vocals. The depths of humility burns bright in the restrained tension Shame harnesses for this song.
The album’s closer “Station Wagon” follows Steen trying to make sense of his world. It’s also an ode to pop icon Elton John. A monologue spools out of Steen’s mind as he attempts to build a foundation of stability. “I need a new solution / I need a new resolution,” he sings. As the instrumental tension comes to a head, Steen uses the story of an ego crazed Elton John on his balcony bidding his assistant to move a cloud. However, Steen extracts this plea for control as a self-help technique to get through another day.
Shame reaches for the sky but falls victim to the dreaded sophomore slump. While there are gems that highlight the band’s growth, they’re held back by tired, post-punk repetitions.
Essential Tracks: “Snow Day,” “Human, For A Minute” and “Station Wagon”
Prerequisites: Iggy Pop’s The Idiot and Gang of Four’s Solid Gold