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Ritz, Manchester on 22/11/2018.

The good, the bad and the ugly. Shame; amazing. Warm-up acts; woeful.

The good: Shame could get my grandma lobbing tinnies into a crowd. These blokes have mad and infectious stage presence, and whilst running around stage they kept the playing really tight. Charlie Steen (lead) crowd surfing was a nice touch. The mixing was spot on, crisp, loud enough to consume you without being overbearing or distorting. The lighting worked well too. Played their bangers off SOPs and a few new tracks, one they apparently debuted which sounded decent. Before playing One Rizla they dropped that it was their first ever track, which is either bollocks, or a serious sign of things to come given how young they are. I'll go again for sure. Anyone unsure, go.

The Bad: Warm-up act one. Garage rock band. Drowned out, distorted guitar, their mixing was just off, couldn't hear the female lead's vocals at all. They were unpolished too, taking waaay too long between songs. Not ready between one song, the guitarist literally played one note (not even a chord!) for 45 grating seconds which was so fucking annoying. You gotta get up, get on and get off faster. Go with a bang. From what I barely remember they sounded like they were going for a grungey Weezer sound. Yeah, not great. Songwriting sounded a'ite to be fair, but then again I couldn't really hear anything, played one too many songs. But hey, the drummer was tight and kept it together.

The Ugly: Warm-up act two. What a load of shite. I get that warming up a post-punk band is about being a bit shit and different. But these lot were woeful. They went for shock factor and people fucking lapped it up. Some even cheered and clapped - don't egg 'em on you melons! The lead singer literally cannot sing and tried to hit every note imaginable. Strutting around the stage erratically tearing off his (ze, et, it, or whatever pro-noun) clothes to reveal nothing but leather chaps and a chastity belt. Nah mate, doesn't do it for me. The spandex dome head on keys danced like one of those inflatable waving tubes you see at car dealerships. It wasn't comical, it was cringey.

To me, music is all about expression, and since they were obviously non-binary, pansexual, gender fluid they clearly expressing that they can't be put in a box. Problem is, neither could their music. I mean, what genre is it? Definitely not genre setting. Whatever your art is cool, there aren't enough different people with weird and zaney taste around, but unfortunately, there are just enough to delude this band into thinking they've got something because they've got an audience. They're tripe.

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Please check my review:

https://ourtimeisnow.wordpress.com/2018/12/01/shame-nov-30-2018-london-02-forum/

our time is now

SHAME | Nov 30 2018 | London – 02 Forum

December 1, 2018 — Leave a comment

Though 5 young men make up Shame – one’s eyes rarely stray from its frenetic frontman, Charlie Steen, at this pulsing London smashfest Charlie rocks a honking shoulder shrug that jerks the beat, a movement that is singular and timeless. Through this constant aerobics Charlie is starting to get the abs of a rock star as he and the lads of “Shame” lose their baby fat.

Even when you could see him flagging, Charlie was laughing. The bewilderment, happiness and sheer joy combined at disbelief at the adoration of the sweaty slamming beast of a crowd. Deep in the pit, a happiness rages – throbbing fore and fro – the fans swaying, and if you go down, a helping hand picks you back up.

I’m reading my notes from the tube home: where my sweat soaked shirt was draped over my shoulders and my knees creaking from the 80 minutes of solid jumping, pushing, hugging, smiles and singing. The only time you could really hear the vocals from stage, were on the new songs; because the crowd didn’t know the words!

The music is where Shame shine. With inspiring refrains enticing you to take … “just one step closer to me!” having the effect you’d expect – as the crowd compresses to the stage

If you listen hard there are hints of Duran Duran and Franz Ferdinand – in the repetitive hits and rollicking choruses. Or, you could reference The Lick’s ~ Ian /Baxter Drury cadences. Though, why bother with references? Simply enjoy the angst determined to “shake me up” (Gil’s Hole) or the moonlight meandering of the album’s psychedelic closer “Angie”.

For all their youth, Shame put forth a sophistication that may not be intentional but can’t be denied. As they stay true to their souls as they figure it out, this group of kids has everything needed to propel itself onto the world stage. Keep an ear out and catch a show if you are lucky – this is a true moment in Rock & Roll.

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Last night something special happened in Seattle. Shame brought true British rock performance and a rush of youthful energy on a Tuesday night and made shy, passive Seattlites get down and dirty. The lead vocalist would coax the audience closer, in his deep British accent, telling us not to be afraid. The two guitarist knew how to play together coherently adding mini rifts and solos and play off each other. The whole feeling was reminiscent of Foals, but more energetic and with societal commentary to rival Father John Misty. Can't wait to see where this band goes, and hope they're back in the PNW soon.

Wow! Energy like that could only come from a band where half are not even legal to drink in this country. Big Xs on the hands of some of them are in complete contradiction to their skills. To be in the presence of these excited young men who are in the states for the first time only added to the energy level. “Thank you for coming. We won’t be back for a long time.” said lead singer Charlie Steen. With age and wisdom on my side I beg to differ. They are a rising star in the music world and I think their trajectory will be quick and bring them back stateside before they know it.

What a fantastic evening! Three bands with one thing in common, energy. The lead up to Shame used the diversity of the two supports. Fontaines DC a mix of post punk icons Joy Division and The Fall with HMLTD's electronica Rock and Roll camped up and ably fronted by a Tom Verlaine style voice. Then on came Shame ramping up the energy once again with their anthemic punk. A beautifully crafted set leading to a momentous finale.

Quel show fantastique. Très messianique. Une présence sur scène très forte. Tout les morceaux s'enchaînent et ont un potentiel énorme. L'Aéronef bénéficie également d'une bonne qualité sonore et certainement d'une bonne équipe technique.

Huge energy! Entertaining from start to finish. New songs sounded great, can't wait to hear the recordings. Band is professional and they all seem sensible. Best of luck on the rest of the tour. ......................5/5

Outstanding, sweaty, its definitely not grim up True North. A truly spectacular set (basically a solid hour long mosh pit) from an excellent band. Support band Rascalton out of this world.

he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye he spat in my eye

Hot, sweaty, loud, brilliant! This proud band of south Londoners dominated this north London student enclave. Not so sure about their claim to be a Christian rock band though ;)

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Shame Announce New Album Food for Worms, Share “Fingers of Steel”: Stream

Plus, 2023 tour dates

Shame are back at it again: The UK rockers are set to share their next album Food for Worms on February 24th via Dead Oceans, and they’re celebrating the announcement today with its lead single “Fingers of Steel.” Additionally, the group have mapped out their largest headlining tour to date for 2023, trekking across Europe and North America.

In a press release, frontman Charlie Steen describes  Food for Worms  as “the Lamborghini of Shame records.” We can neither confirm nor deny that analogy, but it’s true that the record marks a big step up in maturity for the London post-punks, who usher in a more polished sound here without compensating their edge. They cite influence from Lou Reed, as well as the ’90s indie rock group Blumfeld (Germany’s answer to Pavement or Pixies) during the writing process. Pre-orders for the record are ongoing.

You can hear those cues in “Fingers of Steel,” which goes bigger and aims higher than just about any song Shame have put out to date. It also bears a bit of an anthemic quality, which is fitting to the song’s lyrical themes of finding motivation in dark times: “You know you’re wasting away/ There’s a sun outside but you don’t see it,” Steen sings.

Shame begin their tour March 1st at Dublin’s Button Factory. They’ll hit North America on May 10th in Durham, North Carolina, before hitting cities including Brooklyn, Chicago, and Austin. The finale goes down June 4th at the Toulouse Theatre in New Orleans. General on-sale begins this Friday, November 18th at 10:00 a.m. ET, and you can get your tickets at Ticketmaster .

Watch James Humby’s vivid, satirical music video for “Fingers of Steel” below, and then keep scrolling to see the details for  Food for Worms  and Shame’s 2023 tour dates.

Food for Worms  follows Shame’s 2021 album  Drunk Tank Pink .

Food for Worms Artwork:

Food for Worms Tracklist: 01. Fingers of Steel 02. Six-Pack 03. Yankees 04. Alibis 05. Adderall 06. Orchid 07. The Fall of Paul 08. Burning By Design 09. Different Person 10. All the People

Shame 2023 Tour Dates: 03/01 – Dublin, IE @ Button Factory 03/03 – Glasgow, UK @ SWG3 03/04 – Newcastle, UK @ Boiler Shop 03/05 – Leeds, UK @ Stylus 03/07 – Sheffield, UK @ Leadmill 03/08 – Liverpool, UK @ Invisible Wind Factory 03/09 – Bristol, UK @ SWX 03/11 – Manchester, UK @ New Century Hall 03/12 – Cardiff, UK @ Tramshed 03/14 – Nantes, FR @ Stereolux 03/15 – Paris, FR @ Cabaret Sauvage 03/16 – Bordeaux, FR @ Rock School Barbey 03/18 – Lisbon, PT @ LAV 03/19 – Madrid, ES @ Nazca 03/20 – Barcelona, ES @ La 2 de Apolo 03/22 – Nimes, FR @ Paloma 03/23 – Milan, IT @ Magnolia 03/24 – Zurich, CH @ Plaza 03/26 – Munich, DE @ Technikum 03/27 – Berlin, DE @ Astra 03/28 – Hamburg, DE @ Markthalle 03/30 – Oslo, NO @ Vulkan 03/31 – Stockholm, SE @ Debaser 04/01 – Copenhagen, DK @ VEGA 04/03 – Brussels, BE @ AB 04/04 – Cologne, DE @ Floria 04/06 – Amsterdam, NL @ Melkweg 04/28 – London, UK @ Brixton Academy 05/10 – Durham, NC @ Motorco Music Hall 05/12 – Baltimore, MD @ Ottobar 05/13 – Philadelphia, PA @ Union Transfer 05/14 – Brooklyn, NY @ Warsaw 05/16 – Boston, MA @ The Sinclair 05/18 – Montréal, QC @ Foufounes Électriques 05/19 – Ottawa, ON @ Club SAW 05/20 – Toronto, ON @ Lee’s Palace 05/22 – Kalamazoo, MI @ Bell’s Eccentric Cafe 05/24 – Chicago, IL @ Thalia Hall 05/26 – St. Louis, MO @ Off Broadway 05/27 – Lawrence, KS @ The Bottleneck 05/28 – Fayetteville, AR @ George’s Majestic Lounge 05/30 – Dallas,TX @ Granada Theater 06/02 – Austin, TX @ The Scoot Inn 06/03 – Houston, TX @ White Oak Music Hall 06/04 – New Orleans, LA @ Toulouse Theatre

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Shame Announce 2022 Tour, Get Remix From Parquet Courts’ Austin Brown: Listen

By Evan Minsker

Shame are set to release a new remix EP featuring new versions of their song “Born in Luton” from the sophomore album Drunk Tank Pink . In addition to work by DJ Dairy (of Black Midi), Glows, PVA, and Pelada, they’ve shared the “ Maximum Security ” version of the song, made by Parquet Courts ’ Austin Brown . Listen to the track, and also and check out the band’s newly announced 2022 tour dates, below.

The band’s Born in Luton Remixes EP is out July 23. Austin Brown said in a press release: “They’re gonna have to reopen the Hacienda for this one. Inspired by Ron Hardy’s Chicago Music Box and Belgian New Beat, this is one for the promo bin to all your fav DJs for their online radio streams and 2 a.m. playlist slots on CDJs worldwide for COVID -free club summer.”

Born in Luton Remixes EP :

01 Born in Luton - Pelada Remix 02 Born in Luton - DJ Dairy (Black Midi) Remix 03 Born in Luton - PVA Remix 04 Born in Luton - Maximum Security (Austin Brown/Parquet Courts) Remix 05 Born in Luton - Glows Remix

07-25 Southwold, England - Latitude Festival 08-20 Brecon Beacons, Wales - Green Man Festival 08-21 Biddinghuizen, Netherlands - Lowlands Festival 08-29 Turin, Italy - Today’s Festival 09-03 Herne Hill, England - Wide Awake Festival 09-24 Beseançon, France - Festival Détination 09-25 Angers, France - Levitation 11-09 Cardiff, Wales - Tramshed 11-10 Birmingham, England - The Mill 11-12 London, England - Brixton Electric 11-13 London, England - Brixton Electric 11-15 Brighton, England - Chalk 11-16 Norwich, England - The Waterfront 11-17 Sheffield, England - The Leadmill 11-19 Leeds, England - Beckett’s Union 11-20 Glasgow, Scotland - Queen Margaret Union 11-21 Newcastle England - Boiler Shop 11-23 Cambridge, England - The Junction 11-24 Manchester, England - O2 Ritz 11-25 Liverpool, England - Hangar 34 11-26 Bristol, England - SWX 02-07 Vancouver, British Columbia - Rickshaw Theatre 02-08 Seattle, WA - The Crocodile 02-09 Portland, OR - Doug Fir Lounge 02-11 San Francisco, CA - Great American Music Hall 02-14 San Diego, CA - The Casbah 02-15 Tucson, AZ - Club Congress 02-17 Austin, TX - Mohawk 02-18 Fort Worth, TX - Tulips 02-19 Fayetteville, AR - George’s Majestic Lounge 02-20 Lawrence, KS - The Bottleneck 02-22 Minneapolis, MN - Fine Line 02-23 Chicago, IL - Thalia Hall 02-25 Columbus, OH - Skully’s Music Diner 02-26 Lakewood, OH - Mahall’s 02-27 Toronto, Ontario - The Opera House 03-01 Montreal, Quebec - Theatre Fairmont 03-03 Cambridge, MA - The Sinclair 03-04 New York, NY - Webster Hall 03-05 Philadelphia, PA - First Unitarian Church 03-07 Washington, DC - Black Cat 03-08 Durham, NC - Motorco Music Hall 03-09 Atlanta, GA - Terminal West 03-11 Nashville, TN - Exit In 03-12 Birmingham, AL - Saturn 03-13 New Orleans, LA - Gasa Gasa 03-30 Amsterdam, Netherlands - Paradiso 03-31 Antwerpen, Belgium - Trix VZW 04-01 Paris, France - Bataclan 04-02 Zurich, Switzerland - Mascotte 04-04 Munich, Germany - Strom 04-05 Berlin, Germany - Festaal Kreuzberg 04-06 Hamburg, Germany - Knust 04-08 Copenhagen, Denmark - VEGA 04-09 Stockholm, Sweden - Debaser Strand 04-10 Oslo, Norway - Rockefeller 04-12 Groningen, Netherlands - Vera 04-13 Luxembourg, Luxembourg - Den Atelier 04-14 Cologne, Germany - Club Bahnhof Ehrenfeld 05-21 Madrid, Spain - Tomavistas Festival 06-04 Barcelona, Spain - Primavera Sound

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Bringing Shame To America: England’s Most Exciting New Band On Their First U.S. Tour, Trump & Stellar Debut Album

Ahead of the Jan. 12 release of their debut album 'Songs of Praise,' up-and-coming UK rock band Shame talk about their rowdy U.S. debut and what fans can expect from their music and vibe.

By John Norris

John Norris

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There’s nothing quite like laying your eyes on New York City for the first time. And Shame , the buzzed-about post-punk quintet from another great place, London, instinctively knew last month that their first trip here would be so special that they arrived in the city a few days before their debut US tour was set to begin.

“We could have saved money and come in the day of the show,” explains guitarist Sean Coyle-Smith. “Or we could come in three days early and stay in an Airbnb in Brooklyn. But we’re only gonna get to do this once.”

Adds vocalist Charlie Steen: “You can’t buy seeing New York for the first time. Coming over that bridge in the van, there’s nothing like it.”

And there’s also nothing in current music quite like Shame. While they may mine familiar touchstones — a flicker of Parquet Courts here, the dry delivery of Slint and Beck there, shades of The Fall or The Clash, and echoes of Gang of Four on recent single “Concrete” — they’ve got witty, melodic, fiery and addictive vibe that is all their own. Shame’s debut album drops in less than a month titled  Songs Of Praise , and it should earn them heaps of praise. The fivesome (Steen, Coyle-Smith, guitarist Eddie Green, bassist Josh Finerty and drummer Charlie Forbes) is a ragtag group of South Londoners, most of whom only a few years ago could barely play their instruments, have emerged as the UK’s most exhilarating new band.

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Despite being newcomers, Shame’s first two New York shows made them feel as true New York City staples. First, they played a packed-out debut at Brooklyn indie mainstay Baby’s All Right — at which a feral Steen waded into a crowd of 250 that included label heads and noteworthy Brooklyn musicians (most of whom were seeing Shame for the first time) — and a truly mental late-night appearance at Home Sweet Home in Manhattan’s Lower East Side neighborhood.

“I think New York was kind of as we expected, if not better than expected,” Coyle-Smith says. “We kinda knew that places like Philadelphia were gonna bring us back down to earth a little bit. ‘Cause we know that most of the places in America, no one’s gonna have heard of us. But I think we all quite like that, because it reminds us of the early days in England, where it’s almost like starting again.” The “early days” he’s talking about were only three years ago.

Seeing Shame live evokes thrills similar to those that Danish punks Iceage — or later, London’s Savages and Dublin’s Girl Band — triggered. What those groups share, in addition to tight players, is one captivating, charismatic front person. Shame have that in spades in the form of singer-poet-provocateur Charlie Steen — who, like the rakish actor with whom he nearly shares a name, is “winning,” with all eyes on him from the moment he takes the stage.

“Welcome to the show, ladies and gentlemen,” he quips. “We’re semi-professionals on our way to being classed as true professionals. And we hope you enjoy every moment, and each step of the way.” Before you know it, he’s stripped off his button-down shirt and tie, like a junior businessman on a bender, and is growling the woozy couplet, “I like you better when you’re not around”, from the song “Tasteless.” Once a self-described “chubby stoner”, Steen’s a natural performer — “an actor,” in bandmate Coyle-Smith’s words.

He’s also got a knack for self-deprecation. On the sparkling, tuneful single “One Rizla,” the oldest track on Songs Of Praise, Steen cops to an empty wallet, yellow teeth, “broke” shoes and unmanicured nails, and proclaims, over a chiming riff, “I ain’t much to look at, and I ain’t much to hear.” That’s where he’d be wrong. “That song was basically me turning insecurity into strength. And almost sort of maybe creating this sort of on-stage persona as well, where I don’t care what anyone thinks, because in this one moment, in this one song, you have a moment of feeling untouchable.”

Five days after that first New York show and on the even of their second, Steen and Coyle-Smith are seated in a leathered, bookshelf-lined Brooklyn bar. The band spent the in between the Gotham gigs playing shows in Philly and D.C, and managed to fit in a quick sightseeing tour of the nation’s capital. Coyle-Smith’s impressions: “The Lincoln Memorial, where Martin Luther King spoke? Seeing that was amazing. But The White House was smaller than I expected.” (No doubt to the chagrin of the size-obsessed President Trump.)

Talk turns to how Shame went from being childhood friends and amateur musicians at best (bassist Finerty, taught as a jazz drummer, is the only band member with formal training) to — in only three years — a truly compelling, must-see live act.

“We basically started this band because our drummer Charlie’s dad was best mates with the landlord of the Queen’s Head [a once- notoriously seedy Brixton pub which birthed, among others, Fat White Family],” explains Steen. “And this guy said, ‘If Charlie wants to do any drumming or whatever, he can come down.’ And we were 17, at a massive party in Streatham after our last AS [high school exams in England], and we were all fucked. And we were like, ‘Well why don’t we just go down to this pub and do it?’”

So began the Shame journey: Forbes learned the drums with just a snare and hi-hat, Coyle-Smith traded in his favored acoustic guitar for an electric, and the band’s practice space at the Queen’s Head was so sparse that in their early days, Steen didn’t even have a mic — “I just had to cup my hand,” he recalls.

The venue also proved a brutal crucible in which Shame honed their chops. “I think if you’re wanting to start a band and take it seriously, it’s quite a self-conscious thing to do, cause obviously you’re exposing yourself to criticism from your friends, the idea that you might be shit or whatever,” says Steen. “But going into the Queen’s Head, we were in this environment where criticism was constant, but in the best way. It kind of toughened us up a bit, to learn that it’s all about proving other people wrong, and proving yourself right.”

They proved themselves right with early songs like “One Rizla,” “The Lick” and “Gold Hole,” and even as word-of-mouth built and labels were sniffing around by 2016, Shame crucially took their time, to become as sharp a band as possible. There were countless local gigs, many thankless, but all instructive. “Nothing has ever been rushed,” explains Coyle-Smith. “I think it’s been a gradual understanding of what we can and can’t do — I mean we’re still amateurs, in our eyes. The only way to ever achieve success is to constantly feel like you’re on the brink of failure.”

After Losing Ground In the Streaming Era, Rock Charts Its Comeback

Beyond the pummeling rhythms, wiry, winding guitars, and Steen’s spoke-sung-shouted vocals, equally worthy of kudos is Shame’s willingness to get topical. This is a ferocious band to be sure, but as the cover photo of Songs Of Praise, in which Shame are holding baby pigs, suggests, it’s a ferocity of kindness, justice and fair play. On early standout “The Lick,” Steen, in a wry spoken word vocal, savages the herd mentality in culture and the popular taste for music that’s “relatable, not debatable.”

Shame have no problem getting debatable, and in fact, the newer tracks on Songs Of Praise skew more socio-political than ever. Youthful uncertainty is mined on “Concrete,” on which Steen shares call-and-response vocals with Finerty. “Do you feel alone?” begins Steen. “Well sometimes I do,” replies the bassist. “Dust On Trial,” Shame’s crashing album opener, seeks companionship in a dystopian world: “Will you walk this land with me?” And on the spindly, propulsive “Friction” Steen pointedly asks, “Do you help the helpless?/ Do you give them any time?” He doesn’t berate, but he’s also not afraid to provoke.

Shame’s most explicitly political turn to date was a musically mellower one-off. On the tongue-deeply-in-cheek “Visa Vulture,” released last February, the band takes on border-securing Theresa May, imploring the PM to “please let me stay, one more day,” complete with a video that juxtaposes a hillside tea party with news footage of May at her xenophobic, homophobic worst. The boys have no qualms about going there.

“We have always wanted to have control and understanding and authority over whatever we’re doing and whatever we’re presenting to the public and presenting as our image,” says Steen. “So with something like the idea of keeping it ‘safe’ with ‘Visa Vulture’ or any of the other songs we’ve had, we never thought twice about it, because why should we?”

Nor are they shy about commenting on this country and the rise of a certain troublingly narcissistic man-child. “The fact that someone like Donald Trump got elected,” offers Coyle-Smith, “I think it’s really kind of exposed the western world for kind of the farce that it is. Because up until now, it’s all kind of played out like, ‘We’re the good guys, and we police the world,’ you know. But once you’ve elected, quite literally, a reality TV star as president of the most economically and militarily powerful country in the world, it’s so ludicrous that it kind of perfectly sums up the times we live in. The fact that two world leaders could wipe out all of humanity just by hurling personal insults at one another on Twitter…it’s almost like something out of an X-Files or something.”

Still, as stupefyingly dark as these times can seem, Shame hold out optimism for what’s ahead. “I believe that as history proves, only in a time that is so radical, so obscene, that something will be created from it,” Steen offers. “I think there will be some kind of light, something you can cling onto that will come out of it.”

At long last our debut album ‘Songs Of Praise’ is available January 12th on @DeadOceans , preorder in your masses https://t.co/DSs50jEWdi pic.twitter.com/1cotEySc4k — shame (@shamebanduk) November 15, 2017

Coyle-Smith was encouraged by England’s solidarity in the wake of repeated tragedies this year—attacks in London and Manchester, and the horrific Grenfell tower fire. “Everyone comes together, and says, ‘things need to change,’” he says. Youth voter turnout is up in their country, and Steen feels it’s time for a fundamental rethink in the way politics works. “I believe that in London, a new party needs to be created that will reflect our generation,” he continues. “Because Labour was founded on trade unions and inequality. And at the moment, trade unions don’t run the country as they did when they were founded. Inequality still definitely occurs, but people are acknowledging it more. So what in my mind needs to happen is a new party needs to be created that can reflect our generation in the means that we require, which will probably take about 10, 15, 20 years. Because all of these parties, Conservative, Labour, they are from a very different generation.”

Shame’s second New York gig was several times more unhinged than its first. The band didn’t take the stage until after 1am — on a Wednesday — in the Lower East Side’s small subterranean bar Home Sweet Home, preceded by a techno DJ. Things could easily have gone sideways, but once again, Steen and his mates owned their surroundings and things got properly turnt. “This is like London on crack!” the singer declared. There was an older gent in tights down front who provided some interpretive dancing, a ceiling so low that at one point Steen accidentally knocked a disco ball from its moorings, and a videographer in the middle of the crowded floor. After ripping through the likes of “Dust On Trial,” “Tasteless,” “Friction” and the short-and-sweet “Lampoon,” Steen climbed on a fan’s shoulders — and promptly fell off. “That’s actually the first time I’ve ever fallen off anyone’s shoulders. So maybe you New Yorkers aren’t really that great!” he gibed, adding, “I’m joking! You’re brilliant! You’re wonderful!”

It’s been a memorable year for Shame, and they’re only getting started. They recorded their first album, an experience which Coyle-Smith says “opened the world up” for the band. “Up until that point we never really had the freedom to experiment that much with music.” And apart from dealing with the pesky American drinking age — some band members are still only 20 — their first tour of the northeast US was a definite 2017 highlight, one they’ll expand on in February and March with a coast-to-coast trek of the States. They’re well aware how tough a nut to crack the America can be: “We’ve had so many English bands say, ‘Oh America will crush your soul, when you’re like, playing to no one,’” says Coyle-Smith. “But for us it’s all exciting.”

“We can look at it in a more optimistic way than other people,” Steen adds. “New York was something quite unexpected for me. You know, we had 250 people in that room, which was fucking amazing. And then you go to Philadelphia and there’s sort of 20 or 30 people, go to Washington, DC, and that’s still fucking amazing. And I don’t think about how big it is. I more think about the idea of creating something where there is a consistency of touring and playing and putting out records, and it all expands to where something that we as individuals have created can go as far as America. I’ve always been quite fixated on the idea of coming to America, because I know how hard it is, and I know how unrealistic it is, and that is, in my personal opinion, that’s the best thing you could do.”

These days, with the old Queen’s Head having been gentrified into a gastropub, the band’s mecca is the Windmill in Brixton — “the cornerstone of culture in London at the moment”, Steen says — but soon Shame’s footprint will be global. If there is any justice — and whoever said there was in music — this band will be exponentially more known a year from now. It all begins with an album. As Steen reminded the crowd with his parting words at Home Sweet Home: “Our album Songs Of Praise comes out in January! Don’t buy it, don’t buy it. Find a friend that has it and download it, like 21st Century kids. Enjoy yourself, New York!”

Songs Of Praise is out January 12th via Dead Oceans.

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Dead Oceans

shame were tourists in their own adolescence – and nothing was quite like the postcard. The freefall of their early twenties, in all its delight and disaster, was tangled up in being hailed one of post-punk’s greatest hopes. In 2018, they took their incendiary debut album Songs of Praise for a cross-continental joyride for almost 350 relentless nights. They tried to bite off more than they could chew, just to prove their teeth were sharp enough – but eventually, you’ve got to learn to spit it out. Then came the hangover. shame’s frontman, Charlie Steen, suffered a series of panic attacks which led to the tour’s cancellation. For the first time, since being plucked from the stage of The Windmill and catapulted into notoriety, shame were confronted with who they’d become on the other side of it. This era, of being forced to endure reality and the terror that comes with your own company, would form shame’s second album, 2021’s Drunk Tank Pink, the band’s reinvention.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album’s identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be “the Lamborghini of shame records.”

For the first time, the band are not delving inwards, but seeking to capture the world around them. “I don’t think you can be in your own head forever,” says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: “It’s weird, isn’t it? Popular music is always about love, heartbreak, or yourself. There isn’t much about your mates.” In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together – and grown so close, against all odds – can share.

The title, Food for Worms, takes on different meanings when considered with the ten vignettes the band has painted for you across the record. That spirit of interpretation, to see yourself reflected within it, is conveyed through the cover art. Designed by acclaimed artist Marcel Dzama, whose style evokes dark fairy tales and surrealism, it’s suggestive of what’s left unsaid, what lies beneath the surface.

On the one hand, Food for Worms calls to mind a certain morbidity, but on the other, it’s a celebration of life; the way that, in the end, we need each other. It also strikes at the core of shame itself. Since the beginning, the band has been in the business of finding the light in uncomfortable contradictions: Steen always makes a point of taking his top off during performances as a way of tackling his body weight insecurities. Through sheer defiance, they play their vulnerabilities as strengths.

Reconnecting with that ethos is what hotwired the band into making the album after a false start during the pandemic. Without pressure or an end goal – just a long expanse of time – nothing would hold. Their management then presented them with a challenge: in just under three weeks, shame would play two shows at The Windmill where they would be expected to debut two sets of entirely new songs.

This opportunity meant that the band returned the same ideology which propelled them to these heights in the first place: the love of playing live, on their own terms, fed by their audience. Thus, Food for Worms careened and crashed into life faster than anything they’d created before: a weapons-grade cocktail that captured all the gristle, fragility and carnal physicality that earned shame their merits.

It was only right that shame would record the album entirely live for the first time. The band recorded Food for Worms while playing festivals all over Europe, invigorated by the strength of the reaction their new material was met with. That live energy, what it’s like to witness shame in their element, is captured perfectly on record – like lightning in a bottle.

They called upon renowned producer Flood (Nick Cave, U2, Foals) to execute their vision. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harks back to the title itself and the way that with this record, the band are embracing frailty and by doing so, are tapping into a new source of bravery.

It also marks a sonic departure from anything they’ve done before. shame have abandoned their post-punk beginnings for far more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrical observations of Lou Reed and the more melodic works of 90s German band, Blumfeld.

In the past, their music had been almost clinically assembled, with the vocals and the band existing as two distinct layers. But Food for Worms, there has never been such an immediate sense of togetherness – and more than that, it was fun. Everyone chipped in on vocals; they made the unifying choice to sing, rather than the solitude that comes with a shout. Roles were not so fiercely defined, with Steen taking command of the bass guitar for the anthemic “Adderall”, devising a simple progression that bassist Josh Finerty would never dream of, pushing the album into new, unexpected places.

“Adderall” staggers, feeling the weight of its own bones, evoking a certain desperation that comes with dragging yourself through an internal fog. Steen explains: “‘Adderall’ is the observation of a person reliant on prescription drugs. These pills shift their mental and physical state and alter their behaviour; it’s about how this affects them and those around them. It’s a song of compassion, frustration and the acceptance of change. It’s partly coming to terms with the fact that sometimes your help and love can’t cure those around you but, as much as it causes exasperation, you still won’t ever stop trying to help.”

The album opens with “Fingers of Steel”, which is heralded with an airy piano section that plunges into nosebleed-inducing guitars like a mutant orchestra; it was completely transformed from its folk-indebted beginnings. It delves into the cyclical nature of friendship, which the title invites you to consider. “‘Fingers of Steel’ is about helping a mate and the frustrations that come with it,” shares Steen. “It’s coming to terms with the fact that people can’t be who you want them to be and sometimes there isn’t anything you can do to help, it’s their own thing they have to work out for themselves and you have to accept that.”

But it wouldn’t be shame if there wasn’t a bit of theatrical flair, signed off with a smirk. “Six Pack”, with its psychedelic wah-wah grooves and frenetic guitarwork, sees Steen act as your spirit guide into a room where, within those four walls, your wildest dreams come true: “Now you’ve got Pamela Anderson reading you a bedtime story / And every scratch card is a fucking winner!” he howls. The song is a product of lockdown-induced cabin fever, and the absurd places our mind can wander when we are confined. It’s an anthem for newfound freedom: “You’ve done time behind bars, and now you’re making time in front of them,” Steen sings, with a showman’s grandeur. It’s time to make up for everything you’ve lost or wasted – and shame wants it all.

Food for Worms also sees Steen deliver one of his greatest vocal performances which came from learning to lean into the vulnerabilities his lyrics portray, rather than deflecting them. “Orchid”, opens with the easy amble of an acoustic guitar, a different sound for the band which required careful consideration for how his voice would adapt to it. His vocal teacher, Rebecca Phillips, encouraged him to approach it unflinchingly. He recalls her telling him: “Anything that you’re singing is obviously personal, but a very male tendency is to detach from it and think of the melody, instead of what you’re saying.”

It was this new technique that allowed shame to embrace the songs that dealt with a deeply personal subject: fear for a friend’s mental well-being. Steen’s voice paces with sleepless worry, guilt, frustration – and absolute tenderness. Closing track “All the People”, a great musical swell of brotherly love, haunts the mind the lingering words penned by guitarist Sean Coyle-Smith: “All the people that you’re gonna meet / Don’t you throw it all away / Because you can’t love yourself.” With that weight, there is a lightness to the song which captures the spirit of Food for Worms and all the thoughts that expression evokes, all that bittersweetness. And even if you can’t put those feelings into words, shame have found them for you.

Food for Worms

Released 02/24/2023

Born in Luton Remixes EP

Released 07/23/2021

Drunk Tank Pink

Coming Soon

Songs of Praise

Released 01/12/2018

09/27/2024 Huddersfield (UK) - The Parish

09/28/2024 Sheffield (UK) - Float Along Festival

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Shame: ‘We were tourists in our own adolescence’

The south london rockers had been on the road since their teens but when they stopped it was time to find out who they were beyond the band. as they release their second album, they get real with ed power about self-discovery, solitude and slagging off other groups, article bookmarked.

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T he emergence of a new generation of UK rock bands over the past few years has been exciting, and not just because of the music. Gobby groups like Fat White Family, IDLES, Sleaford Mods , Sorry and their peers give good riffage but they also excel at raising a heartfelt ruckus. Along with the thrilling tunes, they’ve served up some of the best rock star beef since Blur vs Oasis.

Sleaford Mods and IDLES have had it out over class and privilege. Fat White Family and IDLES have, too. It’s got to the point where south London guitar urchins Shame are even teasing about orchestrating some band vs band conflict as a way of generating publicity.

“We’re going to organise some online beef with Sleaford Mods because both our albums are coming out the same day,” deadpans drummer Charlie Forbes, tongue firmly in his cheek. “We’re going to buy ourselves a bit of publicity by swinging insults.”

“I think it’s funny,” he continues, about their peers’ feuding. “They’re really good with their insults. At least Sleaford Mods and Fat White Family are. It’s entertaining to watch from the sidelines. We’re not desperate to get involved.”

The young five-piece brim with cheeky humour in person but Shame’s music is devastatingly serious. They are among the first great scuzz-merchants coughed up by Gen Z, early twentysomethings whose first album, 2018’s Songs of Praise , wrestled with teenage insecurity and youthful frustration. Their music sounds like a filthy-gorgeous hurricane of Fall-style staccato onslaught, Happy Mondays lairiness and the monochrome angst that was a stock in trade of Factory Records producer Martin Hannett.

Their follow-up, Drunk Tank Pink , which is out on Friday, is a more majestic assault: imagine a pale, pinched Shaun Ryder fronting Joy Division with fretboards primed to explode. The guitars are louder, the choruses bigger, and it deals with increasingly adult themes, such as loneliness and trying to establish a sense of individual identity when all you’ve known is the gang mentality of being in a band. As those riffs detonate, you begin to understand why some critics have been moved to hail Shame saviours of guitar music – something the threadbare music press always tries to do whenever a new Brit guitar band emerges from the depths, but here has real cause for attention.

The album is accidentally timely, too. “Although the album was written before quarantine and Covid, it deals with a lot of themes of isolation,” says Forbes. “Given the year we’ve just had, it’s probably going to resonate. Nobody’s not had a time this year where they haven’t felt alone.”

The two Charlies who form the backbone of Shame are a study in contrasts. That seam of tortured alienation running through the project is largely courtesy of frontman Charlie Steen, who is at his flat in Peckham, clear-eyed and gazing earnestly into a Zoom screen. He cuts a very different figure to Forbes, who commandeers both the drum kit and Shame’s lively Twitter account. The latter explains he is “breaking into” a pub at Tulse Hill in order to do this interview (it’s fine– he knows the landlord). And then, just like the indie stars of old, he’s merrily running the rule over rival bands and criticising politicians (as a Labour supporter, he finds Keir Starmer entirely hapless).

“I’ve had so many disciplinary… well, not ‘meetings’. Untold tellings off,” says Forbes of the mischief he has wreaked. “Once I was at home and sent some tweets at Catfish and the Bottlemen, just slagging them off [the actual tweet went simply: “s*** band”] . It got a lot more traction than I thought it would. Steen gets angry because people will come up to him and say, ‘Why are you talking about this?’ And he’s got nothing to do with it. He gets confronted with accusations.”

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Shame began in 2014 when the two Charlies, guitarists Eddie Green and Sean Coyle-Smith and bassist Josh Finerty were in their mid-teens. Their base of operations was the gloriously dingy Queen’s Head pub in Brixton (now a vegan gastropub). Forbes’s father was friendly with the landlord so the band were allowed to rehearse in the upstairs function room, and soon they were crossing paths with apocalyptic art-rockers Fat White Family, for whom the Queen’s Head was a spiritual HQ.

A little of Fat White Family’s nihilistic wit rubbed off. Yet, musically and philosophically, Shame stood apart from other south London peers such as Goat Girl and Black Midi. In concert, Steen embraced the cliche of the charismatic frontman. Rather than play it cool, he would prowl the stage with his shirt off, like Iggy Pop auditioning for Skins.

“It is massively addictive,” he says of live performance. “It’s also a form of meditation. People might think I sound like an arsehole. This is the truth of it: when it’s a really good show I’m not thinking about what I’m doing. I’m not worried about the criticism that people might be thinking about me – or my general insecurities. I’m feeling nothing. Just pure bliss. That’s the only time in my life I ever have that.”

Those fleeting moments of abandon would begin to exact a toll. In 2017, Shame played 140 shows and 57 festivals in the span of three months. Steen couldn’t go on and that December a German tour was called off. The singer felt it important to honestly address the reasons for the cancellation – to explain that being in a successful band didn’t mean that your mental health wasn’t at risk.

“There’s a reason I’m a lead singer,” he says. “I have the necessity within myself to vocalise my thoughts and opinions. So I was very open to talk about it. I didn’t want to deny it. It was seriously affecting me.”

After two and a half years of near-constant touring, the singer struggled to decompress when Shame went back to civilian life in 2019. His coping mechanism was to go out every night. The more he surrounded himself with people, the starker his loneliness.

“It gets to a point where it’s eight in the morning and you’re at your flat and there are a few random strangers you’ve never met before chatting your ear off,” he says. “And, you’re kind of like, ‘Hmmm… maybe there’s an element of my lifestyle I need to evolve from, for my own sanity’.”

With Shame dominating his life since his teens, he says that he skipped an important part of adolescence – that sense of growing into your skin and understanding the person you are becoming. “We toured a long time and we felt we missed out,” says Steen. “We were like tourists in our own adolescence in a way. When we came back it was with a feeling of restlessness. We’d been on the move so long in new cities and new places meeting new people. And suddenly, you were static.”

He came down to earth with a bang, which formed the basis of Drunk Tank Pink. “You have to separate Shame from yourself – what do I like? What do I want to do?” he says. “Learning to deal with that and learning to enjoy being in the company of yourself is largely what the record is about.”

On a whim, he decided he wanted to sleep in a womb-pink bedroom. To help with the redecorating, he roped in a housemate and his housemate’s dad. Only afterwards did it dawn on him that he may have subliminally been trying to bring some tranquillity to his life. “It wasn’t an intentional thing to calm me down,” he says. “I just wanted a pink room.” He wasn’t aware that Drunk Tank Pink is named for a shade of pink scientifically demonstrated to reduce aggression when painted on prison cell walls – and that’s how the album got its name.

They hope the album will build on the success of Songs of Praise , which breached the UK Top 40 and was followed by a series of sell-out tours. Perhaps it will even earn the group the Mercury nomination some feel their debut deserved. Coronavirus will be one impediment to a group that has built much of their momentum through touring. Another will be Brexit, which they fear will impact negatively on their ability to sustain their considerable audience on the continent. “We benefited from going to Europe early on and just grinding it out in places other than the UK,” says Forbes. “Now you’re not going to be able to do that unless you’ve got the [financial] means to.”

Politics doesn’t feature particularly heavily on the new LP, yet they still feel it is important to speak out – which they do, especially on social media where they have recently criticised the stuttering roll-out of Covid vaccinations and the raw deal artists get from streaming services.

“We’re happy for our politics to be known without necessarily having to write songs about it,” says Forbes. “How many different ways have Sleaford Mods come up with saying, ‘F*** the Tories’. It’s genuinely impressive. I don’t think we’ve got the wit to pull off songs like that. But we’re outspoken. People know how we feel about issues even if it’s not written into a song.”

For now, there’s little sign of a face-off with Sleaford Mods, so they’ll have to settle for some potshots from Sports Team , the shiny, happy indie group from Cambridge who have sniped at them on Twitter. “The worst band!” winces Forbes. “Don’t get me f***ing started on Sports Team, man. It’s different when you’re talking about the Fat Whites and Sleaford Mods. They’re bands with a bit of f***ing credibility.” They agree the present generation of feuding rockstars isn’t in the same league as Guns N’ Roses and Nirvana squaring off backstage at the MTV Awards – but it is, at least, some much-needed entertainment in a harsh world. “We use words on social media – from behind our computer screens,” laughs Steen. “We’re a bit more lightweight.”

Drunk Tank Pink is released on Friday 

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Foo Fighters at London Stadium: timings and everything you need to know

The legendary rockers’ Everything Or Nothing At All tour lands in London this week

One of the biggest rock bands in the world right now are playing London this week. After kicking off the UK leg of their Everything Or Nothing At All tour in Manchester last week , Foo Fighters are heading up to massive shows at the London Stadium.

Dave Grohl and co’s shows follow the release of 2023 album But Here We Are , a record that is both full of Foo Fighters’ typical anthems and deals with the band’s grief following the death of drummer Taylor Hawkins in 2022. 

If you’re heading to see Foo Fighters at the London Stadium this week, expect an emotional (but still rip-roaring) show. Here’s everything you need to know about the gigs, from timings and support acts to any remaining tickets. 

When are Foo Fighters playing London Stadium?

The band’s shows are on Thursday June 20 and Saturday June 22 .

What time do doors open for the gigs?

Doors for the two shows will open at 4.30pm.

What time will Foo Fighters come on stage?

Expect the band to take to the stage between 7.40pm and 8.05pm. The curfew for the London Stadium is 11pm.

Who is supporting the band?

On June 20, the Foos will be supported by Wet Leg and Shame.

On June 22, support will come from Courtney Barnett and Hot Milk. 

What’s the setlist for the Everything or Nothing At All tour?

For an idea of what the Foo Fighters will play at the London Stadium, this was the setlist in Manchester last week (according to Setlist.fm ). 

• All My Life
• No Son of Mine
• The Pretender
• Times Like These
• This Is a Call
• Guitar Solo / Sabotage / Keyboard Solo / Blitzkrieg Bop / Whip It / March of the Pigs
• The Sky Is a Neighborhood
• Learn to Fly
• Ballad of the Beaconsfield Miners
• Nothing at All
• Unconditional
• Monkey Wrench
• Best of You
• The Teacher
• Everlong 

Are there any tickets left?

There is very limited ticket availability for both dates – though there are a few more options on resale. Check Ticketmaster here for tickets.

Stay in the loop: sign up to our   free Time Out London newsletter   for the best of the city, straight to your inbox.

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Syracuse Jazz Fest 2024 lineup, schedule: What to know before you go

• Updated: Jun. 18, 2024, 9:00 a.m. |
• Published: Jun. 18, 2024, 8:19 a.m.

In this 2022 file photo, The Jazz Mafia performs at King of Clubs during opening night of the Syracuse Jazz Festival. Dennis Nett | [email protected]

• Geoff Herbert | [email protected]

A Syracuse music tradition is celebrating its 38th year with big names in jazz, R&B, swing, rock and more.

The 2024 National Grid Syracuse International Jazz Fest will take place June 26-30, at multiple venues in Syracuse, N.Y. Headliners include Kenny G on Friday, June 28; The O’Jays on Saturday, June 29; and The Mavericks on Thursday, June 27; all three concerts will take place on the main Amazon Outdoor Stage in Clinton Square.

All Syracuse Jazz Festival performances are free to attend.

The fun kicks off Wednesday, June 26, with local and regional artists performing in 20 different venues throughout Syracuse. Highlights include tributes to Sarah Vaughan and Donny Hathaway; Wayne Tucker & The Bad Motha’s; The Latin Groove Connection; the Joe Magnarelli Organ Band; Marissa Mulder & Jon Weber; and Syracuse Area Music Awards (SAMMYS) winners like Shawn Maurice Seals & SMX, E S P, and Jimmy John’s Vibe.

Other artists on the five-day schedule include McKinley James and the Catherine Russell Band on Thursday, June 27; the Gunhild Carling Big Band (“Sweden’s Queen of Swing”) and a celebration of Ella Fitzgerald by the Freda Payne Big Band on Friday, June 28; Gino Vanelli and saxophone great James Carter paying tribute to the late Eddie “Lockjaw” Davis on Saturday, June 29; and “Return to Community: A Sunday Gospel Jazz Service” featuring The Bowie State University Gospel Choir, The Black Celestial Choral Ensemble (BCCE) of Syracuse University, and a community choir at Syracuse University’s Hendricks Chapel on Sunday, June 30.

“It all starts with the music, that’s the reason we’re here,” Malfitano said when the lineup was announced in March.

Here’s everything you need to know about the 2024 Syracuse Jazz Fest (see full schedule at bottom):

Kenny G, who previously played Jazz Fest in 2012 and 2013, is a smooth jazz saxophonist and one of the best-selling artists of all time. He’s released more than a dozen albums and won a Grammy Award for Best Instrumental Composition with 1994′s “Forever in Love.”

The O’Jays are an R&B, soul and funk group known for songs like “Love Train,” “For the Love of Money,” and “I Love Music.” The band, currently on a farewell tour with original members Eddie Levert and Walter Lee Williams, has been inducted in the Vocal Group Hall of Fame, the Rock and Roll Hall of Fame and the Rhythm & Blues Music Hall of Fame.

The Mavericks are a Grammy-winning band known for their mix of country, rock, Latin, Americana and pop music on songs like “All You Ever Do is Bring Me Down,” “What a Crying Shame” and “Dance the Night Away.” The Raul Malo-led group previously performed at Syracuse Jazz Fest in 2017 .

Guitarist Eddie Perez of the Mavericks performs at the 2017 Syracuse Jazz Festival. (Charlie Miller | [email protected]) SYR

All performances will be free of charge, including the club and main stage shows. No tickets are required.

PARKING / DIRECTIONS

Clinton Square is located at 161 W Genesee St, Syracuse, N.Y. ( Click here for Google Maps directions .)

Parking is available on city streets surrounding Clinton Square and in various lots and parking garages. Rates may vary.

There are multiple Centro bus stops along N. Salina St., E. Washington St. and Franklin St.; the festival site is located half a mile north of the Centro Transit Hub on Salina Street. Taxis and ride-share services can also drop off passengers near Clinton Square.

FOOD / DRINK

There will be food and drink vendors at Clinton Square on Thursday, Friday and Saturday, while the club shows will be at local bars and restaurants.

There will be minimal seating provided at Jazz Fest, so attendees are invited and encouraged to bring their own chairs. Seating areas include the Clinton Square fountain/skating rink and grass around the Soldiers & Sailors Monument.

More than 20,000 people saw Herbie Hancock and Gladys Knight perform at Syracuse Jazz Fest in 2023, according to Jazz Fest founder and executive producer Frank Malfitano. 2022′s event featured 16,500 attendees after a four-year hiatus.

Some past Jazz Fests drew even bigger crowds, including 40,000 for Aretha Franklin in 2007 at Onondaga Community College and 35,000 for Ray Charles, Dave Brubeck and Diana Krall in 2000 at Clinton Square. Giant video screens and sound towers help ensure everyone can see and hear the performers, but Kenny G, The Mavericks and The O’Jays could be big draws if the weather cooperates.

Lionel Loueke plays a solo for Herbie Hancock on Friday at the 2023 National Grid Syracuse Jazz Fest in Clinton Square. (Charlie Miller | [email protected])

2024 Syracuse Jazz Fest schedule

Wednesday, June 26 at multiple venues, Syracuse

5-7 p.m. Avenue J feat. Le Tiffault at Talking Cursive

5-7 p.m. Jimmy John’s Vibe (Tribute to Milt Jackson) at Gilded Club

5-7 p.m. The Frank Grosso Quartet at Oh My Darling!

5-7 p.m. The Jeff Martin Trio at Mulrooney’s

5-7 p.m. Dave Solazzo & The Bridge at Al’s Wine & Whiskey

5-7 p.m. Shawn Maurice Seals & SMX at The Song & Dance

5-7 p.m. Colleen Prossner & Friends at Lounge @ The Courtyard, Marriott Armory Square

6-8 p.m. Brian Scherer Quartet at The Saltine Warrior

6-8 p.m. In The Pocket w/ Big Nate at Benjamin’s On Franklin

6-8 p.m. The Ageless Jazz Band at Salt City Market Patio

6-8 p.m. Joe Magnarelli Organ Band f/ Akiko Tsuruga at The Tasting Room

6-8 p.m. Vinnie Amico Trio f/ Tim Herron, Zach Fleitz at Funk ‘n Waffles

6-8 p.m. Julie & Rick’s Jazz Asylum at Evergreen

6-8 p.m. Michael Passarelli Trio at Lounge @ The Residence Inn, Marriott Armory Square

7-9 p.m. Wayne Tucker & The Bad Motha’s at The Fitz

7-9 p.m. The Latin Groove Connection f/ Joe Carello at The Taphouse on Walton

8-10 p.m. Ralph Lalama Trio at The Tasting Room

8-10 p.m. Tish Oney’s All Star Salute to Sarah Vaughan at Gilded Club

8-10 p.m. Sam Wynn’s All Star Tribute to Donny Hathaway at The Song & Dance

8-10 p.m. Marissa Mulder & Jon Weber at Prime Steakhouse

8-10 p.m. E S P at Maxwells

8-10 p.m. The Intention at Eleven Waters Patio, Downtown Syracuse Marriott

8-10 p.m. The Drew Serafini Trio at Pastabilities

8-10 p.m. Scott Rutledge Quintet

9-11 p.m. Vince Watson / Mikal Serafim Collective at Lounge @ The Residence Inn

9-11 p.m. The Instigators at Funk ‘n Waffles

Thursday, June 27 at Clinton Square, downtown Syracuse

4-4:30 p.m. The Katz Pajamas Jazz Band

5-6:15 p.m. Bill O’Connell’s Latin Jazz All Stars

6:45-8 p.m. Catherine Russell Band

8:15-9 p.m. McKinley James

9:30-11 p.m. The Mavericks

Friday, June 28 at Clinton Square, downtown Syracuse

4-4:45 p.m. SU Student Jazz Combo Orange Juice

5:15-6:15 p.m. Jane Bunnett & Maqueque

6:35-7:35 p.m. Freda Payne Big Band (“Freda Celebrates Ella”)

7:55-8:55 p.m. Gunhild Carling Big Band (Sweden’s Queen of Swing)

9:25-11 p.m. Kenny G

This provided photo shows Kenny G, who will headline the 2024 Syracuse International Jazz Festival. The Grammy-winning musician previously played Jazz Fest in 2012 and 2013. Provided

Saturday, June 29 at Clinton Square, downtown Syracuse

4-5:15 p.m. SU Faculty Jazz Ensemble

5:30-6:45 p.m. James Carter Quintet

7:15-8:45 p.m. Gino Vanelli

9:30-11 p.m. The O’Jays

Sunday, June 30 at Hendricks Chapel, Syracuse University

12:30-2:30 p.m. Pre-event luncheon

3 p.m. “Return to Community: A Sunday Gospel Jazz Service”

For more information, visit syracusejazzfest.com .

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Stay up to date on the latest news from Shane Smith & the Saints!

Foo Fighters’ Dave Grohl fires shot at Taylor Swift, ‘Eras’ tour

Taylor Swift and the “Eras” tour were recently slammed by Dave Grohl of the Foo Fighters .

During a recent concert in London, England, Grohl joked to the crowd that the Foo Fighters call their tour the “Errors” tour. He implied that Swift does not play her concerts live with the swipe.

“I tell you, man, you don’t want to suffer the wrath of Taylor Swift,” Grohl told the crowd. “So, we like to call our tour the ‘Errors’ tour because I feel like we’ve had more than a few eras and more than a few f**king errors as well. Just a couple.

“That’s because we actually play live, what?” he added.

He continued, “Just saying. You guys like raw, rock ‘n’ roll music, right? You came to the right f**king place!”

While Grohl’s comments can come off as a swipe at Swift, the two have history. He also seemed to laugh while saying the comments which could mean he is just joking and making a play on words with the “Eras” tour name.

Grohl’s daughter, Violet, was criticized in January 2024 for a post on X criticizing Swift’s private jet usage. Stephanie Soteriou on X captured the since-deleted post. Perhaps Grohl was sticking up for her.

During her June 23 London show, Swift responded. She introduced and shouted out her band, crew, and the other performers on stage with her.

Ironically, both Swift and Grohl were performing shows in London. Swift played three nights at Wembley Stadium from June 21-23 while Grohl and the Foo Fighters played two shows at London Stadium.

Swifties react

The reactions to Grohl’s comments have been polarizing. Of course, there are fans that have stuck up for the Foo Fighters frontman. At the same time, Swifties have come out to defend Swift as well.

“A thousand Taylor Swifts can’t do what Dave Grohl has done for music,” one X user said.

“Everyone is entitled to their opinion and maybe he knows something we don’t. Maybe he is being a bit defensive because his daughter was viciously verbally attacked by TS fans,” another fan reasoned. “I know from first-hand that they do not like any sort of negativity of TS.”

A Swiftie did not take too kindly to Grohl’s comments, calling him “washed.”

“Wow Grohl [is] so washed he has to use Taylor’s name for free PR?” they said. “Embarrassing[.] Thought he was better than that what a shame.”

Another said, “Kurt Cobain would’ve been a huge #swiftie.”

“He knows, first hand, that Taylor,” an X user said. “I doubt she is concerned!”

Who is Dave Grohl?

Dave Grohl is known for founding the Foo Fighters and is their lead singer, guitarist, and main songwriter. Before the band, he was the drummer of Nirvana from 1991-94.

As a group, Foo Fighters have released eleven studio albums. Their most recent, But Here We Are, was released in 2023 and is their first album since the death of drummer Taylor Hawkins.

Taylor Swift and the “Eras” tour

Taylor Swift is knee-deep in the “Eras” tour’s European leg. The tour commenced in March 2023 with a show in Glendale, Arizona. After a North American leg and a handful of shows in Mexico, Argentina, and Brazil, Swift took a break.

In February 2024, Swift resumed the tour with shows in Japan, Australia, and Singapore. On May 9, Swift commenced the European leg of the “Eras” tour. While she just played Wembley Stadium, she will return to the venue on August 15 for five nights to close out this leg of the tour.

She will then come to North America to play more dates. Dates in Florida, Louisiana, and Indiana will be played before she plays nine shows in Canada.

Throughout the three-hour show, Swift takes her fans on a journey throughout her career. The “Eras” tour features songs from almost all of her albums and is jam-packed each night with over 40 songs.

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The post Foo Fighters’ Dave Grohl fires shot at Taylor Swift, ‘Eras’ tour appeared first on ClutchPoints .

Will Friedle Details Talk With Drake Bell After ‘Quiet on Set’ Release, Says He Didn’t Know Bell Was Brian Peck’s Victim Despite Being in the Courtroom

By Emily Longeretta

Emily Longeretta

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• Will Friedle Details Talk With Drake Bell After ‘Quiet on Set’ Release, Says He Didn’t Know Bell Was Brian Peck’s Victim Despite Being in the Courtroom 5 days ago

Will Friedle and Rider Strong , who wrote letters of support for Brian Peck in his 2003 case against Drake Bell , have spoken out for the first time following the release of the “Quiet on Set” documentary .

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“I’m sitting in the back of the courtroom. There’s no social media. I’m 26 years old at the time. I don’t watch Nickelodeon. I don’t know who Drake Bell is. I see a kid walk into the courtroom and I’m like, OK, I’ve been lied to. Automatically I know this,” Friedle said, since he had been told by Peck that the person was “almost 18” and was a “one-time” incident. (Peck spent 16 months in prison after being charged with eight counts of sexual abuse and had to register as a sex offender.)

During the fifth episode of the doc , Bell said that when he later worked with Friedle on “Ultimate Spider-Man” 10 years after the case, he had “a lot of opportunity to apologize or talk about it” but never did so.

“It’s going to be life-long processing for me. I knew I had been lied to and manipulated by Brian, essentially from the courtroom, but I didn’t know how much until I saw the documentary. And then I really didn’t know how much until I spoke with Drake,” Friedle said. While he and Strong made attempts to get a hold of Bell through his team after the doc aired, it wasn’t until Bell saw the Instagram direct message Strong sent that he replied, and they each got on the phone. “Talking to Drake was amazing… horrible… healing, for a number of reasons. He started the conversation by saying to me, ‘Before you say a word, I want you to know I love you and I forgive you.'”

“We both talked about how happy we were that was the case because we had the best day working together. All I wanted to do from the day in that courtroom was apologize to whoever was there. The idea that I found out later that he was standing in front of me and I did not have that [chance] was nuts,” he explained. “There comes a point where you have to look at yourself and go, I have to be OK that I made a huge mistake, that I owe this person an enormous apology, that it’s not going to be enough and I’m going to spend a ton of time apologizing to this person. You have to use that to move on a become a better person yourself.”

Strong added that watching the doc was “just devastating,” especially seeing how much Bell had gone through.

“The pain, hurting for Drake, and feeling so full of regret and shame and then just start picking apart the lies… my brother called me immediately, we just sat there on the phone, [comparing stories]. I just fell into this hole. I still haven’t quite gotten out,” he explained. “Of course, moral clarity is something that comes over time and distance. There’s really no excuse — that I accepted Brain’s story, that I didn’t ask the questions or do research or investigate on my own. Or even that I was ever friends with that piece of shit to behind with, there was so much denial.”

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4th of July events, parades and fireworks in Greater Cincinnati

Our nation's Independence Day falls midweek this year, so hang out your stars and stripes bunting and put on your party pants because the celebrations begin early and run into the weekend.

Here's a look at all the Fourth of July festivals, concerts and fireworks displays happening around Greater Cincinnati this year. Party responsibly, America!

This list focuses on ALL the July 4th events in town. For a quick look at when and where to find fireworks near you, click here .

Weekend of June 28-30

Reading: Carnival and Fireworks, 5-11 p.m. June 28, noon-11 p.m. June 29-30, Koenig Park, 1401 Koenig Ave. Softball, games, rides, inflatables, live music, food, and fireworks at 10 p.m. Sunday. facebook.com .

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Downtown: All American Birthday Bash, 4-10 p.m. June 29, Sawyer Point Park, 705 E. Pete Rose Way. See 200 vintage cars, enjoy live music, and more. Free. Cincinnati-oh.gov .

Falmouth: Pendleton County 4th of July Parade, 2 p.m. June 29, Pendleton County Fairgrounds, 68 Fairgrounds Road. Parade leaves fairgrounds left onto State Route 27, right on Shelby and ending on Main Street. Free. facebook.com .

Oxford: Freedom Festival Parade, 5 p.m. June 30, Kramer Elementary School, 400 W. Sycamore St. Progresses south on College Avenue, east on High Street and ends at Poplar Street. Free. enjoyoxford.org .

Blanchester: Fourth of July Festival: Thank a Farmer, 5-11 p.m. July 2-3, 11 a.m.-dusk July 4, 127 W. Broadway St. July 2: Live music with Rachel Patterson, Spencer Robinette, Hearthstone Worship. July 3: Live music with Werner Crawford, The Dillion Band, Life After This, cornhole tournament. July 4: Parade, live music with Glady Road, Patrick Roush, Ronnie Vaughn Band, entertainment with The Gymnastics Loft, bird show with Midwest Falconry and fireworks at dusk. blanchesterchamber.org .

Colerain Township: 4th of July Spectacular, 7 p.m. July 3, Drew Campbell Memorial Commons, 4160 Springdale Road. Enjoy food trucks, live music from Second Wind, a kids' play area, touch-a-truck, and fireworks. Free parking, shuttles and admission. colerain.org .

Fairfield: Red, White & Kaboom, 4-10 p.m. July 3, Village Green Park, 301 Wessel Drive and Harbin Park, 1300 Hunter Road. Two parks, one party! At Village Green, enjoy a farmers market, food truck and performances by Cincinnati Circus at 4 and 6 p.m. At Harbin Park, there will be food trucks, live music with Walk of Shame, and Rozzi Fireworks at 10 p.m. Free. fairfield-city.org .

Florence: Independence Day Celebration, 7-10 p.m. July 3, Florence Government Center, 8100 Ewing Blvd. Food trucks, vendors, live music with East of Austin and Elite Pyrotechnics fireworks at 10 p.m. Parking available at Florence Government Center campus. Rain date is July 4. Free. florence-ky.gov .

Green Township: Independence Day Celebration, 5:30 p.m. July 3, Kuliga Park, 6717 Bridgetown Road. Celebration includes a free concert by Saffire Express and fireworks at dusk. Food and drinks, including beer, available for purchase from local nonprofit organizations. No alcohol carried in. Free shuttle buses from Dulles Elementary (6481 Bridgetown Road) and Our Lady of Visitation (3180 South Road). greentwp.org .

Madeira: Friendly Fourth, 5:30-11 p.m. July 3, McDonald Commons Park, 7502 Dawson Road. The Madeira Mile kicks off this fun event, which includes food, beer, entertainment, a parade at 6 p.m., family-friendly festivities and fireworks at 10 p.m. madeiracity.com .

Mason: Red, Rhythm & Boom, 4-10 p.m. July 3, Mason Municipal and Community Center Campus, 6050 Mason-Montgomery Road. Enjoy a kids' zone with 9-hole putt-putt golf, slides, bounce houses, carnival games, a trackless train and more. Food trucks, adult beverages, live music with Sister Hazel at 6 p.m. and Spin Doctors at 8 p.m. Rozzi's Famous Fireworks and Drone Show at 10 p.m. Lawn seating is first come, first serve beginning at 3 p.m. imaginemason.org .

Middletown: Broad Street Blast, 6 p.m. July 3, Smith Park, 500 Tytus Ave. Enjoy food trucks, live music from Finnigan-Denson, and Noah Wotherspoon Band, followed by fireworks. Free. facebook.com .

Milford: Sparks in the Park, 7-10 p.m. July 3, Riverside Ballfield, 100 Race St. Bring chairs or blankets to set up your spot on the ballfield. Food, adult beverages in special event dora cups, live music followed by Rozzi Famous Fireworks. Free admission. milford.org .

Montgomery: Patriotic Concert, 7:15-9 p.m. July 3, Montgomery Park, 10105 Montgomery Road. Enjoy a patriotic concert by the Blue Ash Montgomery Symphony Orchestra. Free.

Mount Auburn: Inwood All-American Block Party, 5-10 p.m. July 3, Inwood Park, 2308 Vine St. Cincinnati Circus bounce house, face painting, hot dog cart, live music with What About Jane, and fireworks at 9:30 p.m. Free. cincinnati-oh-gov .

Mount Healthy: 4th of July Celebration, 6-10 p.m. July 3, Mount Healthy City Park, 1541 Hill Ave. Live music, fireworks. facebook.com .

Newport: Newport Blast, 5 p.m. July 3, Newport on the Levee, 1 Levee Way. Celebrate Independence Day with a carnival-themed extravaganza followed by a Rozzi Fireworks display and drone show. There’ll be stilt walkers, live music from DV8, juggling magicians, games, inflatables for the kids, a hot dog eating contest and more. BB Riverboats will be offering three ticketed cruise options to coincide with the event, which require advance reservations. Blast admission is free. Bit.ly/NewportBlast24 .

Oxford: Freedom Festival, 5-10:30 p.m. July 3, Oxford Community Park, 6801 Fairfield Road. Axe throwing, large inflatables, games, gaga pit, carriage rides, face painting, food and beverages, live music. Fireworks at 10 p.m. $5 parking. Enjoyoxford.org .

Anderson Township: Beechmont Bolt, 9:45 a.m. July 4, Christ Hospital Outpatient Center, 7545 Beechmont Ave. 1-mile race for runners only. $20. runsignup.com .

Anderson Township: Independence Day Parade, 10 a.m. July 4, Anderson Township Operations Center, 7954 Beechmont Ave. Parade ends at Anderson Towne Center (7500 Beechmont Ave.). andersontownshipoh.gov .

Anderson Township: Red, White & Boom, 8 p.m. July 4, Riverbend Music Center, 6295 Kellogg Ave. Join conductor John Morris Russell and the Cincinnati Pops Orchestra for a showcase of American favorites, followed by fireworks. $15-up, $5-up military. Free lawn tickets ages 17-under. cincinnatisymphony.org .

Blue Ash: Red White & Blue Ash, 4-10:30 p.m. July 4, Summit Park. 4335 Glendale Milford Road. Enjoy food trucks, restaurants, a beer garden provided by MadTree, carnival rides and family fun. Live music with headliner Judah & the Lion with opener Motherfolk. Rozzi Pyrotechnics at 10 p.m. set to patriotic music. Free. Blueashevents.com .

Colerain: July 4th Vintage Baseball Game, noon July 4, Colerain Park, 4725 Springdale Road. Family-friendly game features players in vintage 1869 attire, playing by rules from 150 years ago. Free. facebook.com .

Covington: Fourth of July Festival, 1-5 p.m. July 4, Sisters of Notre Dame, 1601 Dixie Highway, Covington. Enjoy kids’ games, raffles, silent auction, live music and Honey Hill Farm animals. Free. facebook.com .

Covington: Friends of Peaselburg Neighborhood Assn. Fourth of July Parade, 11 a.m. July 4, St. Augustine School, W. 19 St., Covington. Parade route: West 19th Street, Euclid Avenue, 18th Street, Homan Avenue, Augustine Street, 21st Street, Howell Street, Jefferson Avenue. See decorated bicycles, wagons, strollers, rollerblades, scooters, skateboards, banners, dogs, cars, trucks and floats. Social gathering with refreshments follows. Free.

Downtown: Rockin’ the Roebling, 7-10 p.m. July 4, Smale Riverfront Park, 166 Mehring Way, Downtown. July 4th concert with Ernie Johnson From Detroit. Free. Cincinnati-oh.gov .

Edgewood: 4th of July Celebration. Independence Day 5K Race at 7:30 a.m. July 4 at Presidents Park (283 Dudley Pike). Parade at 9:30 a.m. from Caywood Elementary and Turkeyfood Middle School campus (3300 Turkeyfoot Road). 7:30 p.m. at Freedom Park (550 Freedom Park Drive) there is a free concert by the Derek Alan Band followed by fireworks. Free. edgewoodky.gov .

Evendale: Conquer the Hill 10K, 8 a.m.-noon July 4, Evendale Recreation Center, 10500 Reading Road. 10K run course is USATF certified. Walker's course is family-friendly and non-professional. Awards. $25. runsignup.com .

Fort Mitchell: Independence Day Parade, 12:30 p.m. July 4. Parade begins at the DCCH Center for Children and Families Fairgrounds (75 Orphanage Road), follows Dixie Highway to Beechwood Road, ending at Beechwood High School (54 Beechwood Road). Free. fortmitchell.com .

Fort Thomas: Independence Day Celebration, 8 a.m.-11 p.m. July 4, Tower Park, 950 S. Fort Thomas Ave. Firecracker 5K at 8 a.m. starts at Tower Park Mess Hall (801 Cochran Ave.), parade at 10:30 a.m., playground opens at 4 p.m., food trucks, Cincinnati Circus, bounce houses, face painting and live music with Sly Band, and Mad Costanza at 6 p.m., fireworks at 10 p.m. fortthomasky.org .

Franklin: Independence Day Parade, 10 a.m. July 4. Parade lines up at Park Ave., crosses Lion Bridge, right onto River St., ends at Farm Ave. No fireworks this year due to construction at Community Park. franklinohio.org .

Hamilton: July 4th Celebration, 10 a.m.-10 p.m. July 4. Parade at 10 a.m. from Butler County Fairgrounds (1715 Fairgrove Ave.) to Park Ave. at F Street, historical sites open until 4 p.m., RiversEdge Amphitheater concert at 8:30 p.m. with That Arena Rock Show, and fireworks at 10 p.m. Free. hamiltonjuly4th.org .

Hamilton Township: Freedom Parade & Festival, 10 a.m.-2 p.m. July 4, Testerman Park, 8373 Maineville Road. Parade followed by festival with skydiving show, live music, inflatables, a cool down zone with water slides, games, and food trucks. Free. hamilton-township.org .

Harrison: July 4th Parade and Celebration, 4-10 p.m. July 4, Harrison Community Center, 300 George St. Parade at 4 p.m. from intersection of George and Broadway streets. Parade travels west on Broadway to State St., north to Harrison Ave. and east to Washington. Family-friendly festivities, live music with P&G Big Band, Don't Tell Steve, cornhole tournament, fireworks at dusk. Free. facebook.com .

Lebanon: Run4Home 5K and Kids Fun Run, 8:30-11 a.m. July 4, Armco Park, shelter 33, 1223 State Route 741. 3.1-mile course in shaded park. Fruit, yogurt and bagels after race. $10-$25. runsignup.com .

Liberty Township: 4th of July Parade, 9 a.m. July 4, Lakota East High School (6840 Lakota Lane) and ends at Liberty Junior School (7055 Dutchland Parkway). liberty-township.com .

Loveland: Independence Day Celebration, 4-11 p.m. July 4, Nisbit Park, City Hall and downtown Loveland. Food trucks, lawn games, dancing, scavenger hunt, bingo, game show battle rooms, a kids’ bike decorating contest and parade, live music from Trailer Park Floosies, and fireworks. Parade steps off at 7 p.m. from Loveland Elementary School (600 Loveland Madeira Road) and ends at the intersection of State Route 48 and East Loveland Avenue. There’s bingo at 4 and 5 p.m., and a pie-eating contest in front of City Hall at 8:30 p.m. Free. lovinlifeloveland.com/events/Loveland-independence-day-celebration .

Mason: Kings Island Fourth of July Celebration, 10 a.m.-10 p.m. July 4, Kings Island, 6300 Kings Island Drive. One of the largest and most immersive fireworks displays in the area. visitkingsisland.com .

Middletown: Independence Parade, 10-11:30 a.m. July 4, Smith Park, 500 Tytus Ave. Parade travels from the park to Main St., left on Central Ave. cityofmiddletown.org .

Monroe: 4th of July Parade, noon July 4. Parade travels streets of Macready, Elm and Main from Kroger to Monroe Community Park (500 Main St.). Light Up the Sky festivities start at 5 p.m. at park with food trucks and refreshments, kids' activities, hot air balloon rides, live music by After the Party, and fireworks at 10 p.m. Free. facebook.com .

Montgomery: Independence Day Parade & Festival, 10 a.m.-2 p.m. July 4, Montgomery Park, 10101 Montgomery Road. Parade route runs east along Cooper Road from the junior high to Montgomery Road, then north to Schoolhouse Lane. Afterward enjoy food, entertainment and family-friendly fun. Free. Montgomeryohio.gov .

Mount Lookout: Ault Park July 4th Celebration, 11 a.m.-11 p.m. July 4, Ault Park, 5090 Observatory Circle. Food trucks, kids' activities, live music and fireworks. Free. cincinnati-oh.gov .

New Richmond: Freedom Fest, 6 p.m. July 4, 4-8 p.m. July 5, 10 a.m.-10 p.m. July 6, Post 6770. July 4: parade. July 5: vendors, beer booths, Cincinnati Circus, live music and bingo. July 6: car show, vendors, beer booths, Cincinnati Circus, cardboard boat race, live music and Rozzi's Famous Fireworks. facebook.com .

Northside: Northside Parade and Rock ‘n’ Roll Carnival, 11 a.m.-1 a.m. July 4, 4:30 p.m.-1 a.m. July 5-6, Hoffner Park. The city's most vibrant Independence Day parade starts at 11 a.m., followed by three days of live music and entertainment. Free. northsiderocks.com ; northsideparade.com .

Norwood: Hometown Fireworks, 6:30 p.m. July 4, Shea Stadium, 2603 Harris Ave. facebook.com .

Over-the-Rhine: Fourth of July Celebration, 6-10 p.m. July 4, Washington Park, Elm St. Family-friendly games and activities. Fireworks after sunset. Free. washingtonpark.org .

Ross: Stricker's Grove 4th of July Celebration, 2-11 p.m. July 4, Stricker's Grove, 11490 Hamilton Cleves Road. Enjoy rides, food, and fireworks. Admission to park is free, parking is $5 before 6 p.m. and $10 after 6 p.m. Individual ride tickets are $2.50 each or purchase an unlimited ride armband for $20. facebook.com .

Sayler Park: Fourth of July Bike Parade, 10 a.m. July 4, Sayler Park School (6700 Home City Ave.) to Nelson Sayler Memorial Park (6600 Gracely Drive). Kids, teens and adults can decorate their bikes and ride in the parade. Light refreshments and prizes for best-decorated bikes. Free. facebook.com .

Sharonville: 4th on the Loop, noon-3 p.m. July 4, 11115 Main St. Parade at noon followed by afterparty. Free. sharonville.org .

Springboro: Boro Boom, 6-10 p.m. July 4, Springboro High School, 1675 S. Main St. Bounce houses, food trucks, live music with Reel2Real and fireworks. cityofspringboro.com .

West Chester: Taps, Tastes & Tunes, noon-11 p.m. July 4-6, Voice of America Park, 8070 Tylersville Road. Enjoy live music and family fun all three days. July 4 headliner: John Morgan. July 5: Lit. July 6: Nine Days, The Smithereens. Fireworks cap off the night on July 5. Free admission. cincyfests.com .

Wyoming: 4th of July Celebration, all day July 4, Downtown Business District and Oak Park. Parade at 10 a.m. from Village Green (400 Wyoming Ave.), west on Wyoming Avenue, north on Springfield Pike, east on Wentworth Avenue, south on Burns Avenue and east on Wyoming Avenue. From 6:30-9:30 p.m. at Oak Park (928 Oak Ave.), enjoy inflatable bounce houses, obstacle course, games, food and live music from The Shifferly Road Band, followed by Rozzi's Fireworks. Free. wyomingohio.gov .

Downtown: Cincinnati Reds vs. Detroit Tigers, 7:10 p.m. July 5, Great American Ball Park, 100 Joe Nuxhall Way. Post-game fireworks start 15 minutes after conclusion of game. reds.com .

Independence: Independence Day Celebration, 5-11 p.m. July 5, 4 p.m.-midnight July 6, Memorial Park, 2099 Jack Woods Parkway. Friday: Rides, family-friendly activities, live music, Roman candle show at 10 p.m. Saturday: Parade at 3 p.m. from Summit View Academy (5006 Madison Pike) to Simon Kenton High School (11132 Madison Pike), rides, family-friendly activities, live music, Vito's Fireworks at 10 p.m. Free; ride wristbands are $20-$25. facebook.com .

Rising Sun: Stars & Stripes Celebration, 4-10:30 p.m. July 6, Front St. and Riverfront Park. Ohio County Tourism, the city of Rising Sun and the Rising Sun Lion's Club hosts this celebration, which includes arts and crafts and information booths, food trucks, a foam party in the Foam Zone, DJ and live music from Saffire Express, and Hank Ruff and the Hellbenders, followed by fireworks at 10 p.m. Bring your own lawn chairs. Free. facebook.com .