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Stiff Little Fingers


Mariachi El Bronx

Face To Face

Street Dogs

The Bronx

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Punk Rock Karaoke

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Beans on Toast


Michael Casey Magic

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4 Night Caribbean Cruise - November 8-12, 2019

Flogging Molly



The social and political awareness that drives Flogging Molly’s music is never more prominent than in their upcoming new release LIFE IS GOOD – a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today’s most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.

For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging “Reptiles (We Woke Up”) that points toward the album’s central theme. “We woke up,” sings King, “And we won’t fall back asleep.”

“The thing is, there are things changing,” says King. “That’s why I wrote that line, ‘Like reptiles, we’ll all soon be dust someday.’ It’s quite scary, especially for somebody who has children these days–bringing up family in this environment of who’s welcome and who’s not welcome. I’m talking about the cultures in America and the UK–especially American immigration.

Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had serious impact on them. And, significantly, it also serves as notice that the time for action is now.

And people are indeed taking action, adds King, which is a crucial point.

“I think especially with things like government–I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It’s a great thing that we’re now taking to the streets again. And it’s a positive thing.”

Imagery abounds on Life Is Good, and one of the most memorable images might be found in “Adamstown,” the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed–and left little more than a ghost town in its place.

“It had a huge negative connotation to it,” King says of the eerie, unfinished settlement. “But now it’s starting to turn again, people are starting to move there, businesses are starting to open, and there is hope.”

Thematically, hope and inspiration are a major part of “The Hand of John L. Sullivan,” a rollicking track about the legendary “Boston Strong Boy” who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.

“He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them,” says King. “We live in an environment right now where that doesn’t seem to be what should be allowed to happen, you know?

Recorded in Ireland and produced by multiple Grammy Award winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.

“It’s been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We’ve always had fun getting together and coming up with the new songs, and it’s still that way.

Here we see what’s uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.

“We’re known for our live shows,” says Dave King. Writing albums has always been a vehicle for us — it’s been a means to get people onto the dance floor. And that’s kind of the way we’ve always approached it, no matter what.”

“The one thing we are is a positive band,” adds Dave King. “When people come and see our shows, it’s a celebration–of life, of the good and of the bad. And we have to take the good and the bad for it to be a life.”

FLOGGING MOLLY IS: Dave King (Lead Vocals, Acoustic Guitar, Electric Guitar, Bodhran), Bridget Regan (Violin, Tin Whistle), Dennis Casey (Acoustic Guitar, Electric Guitar), Bob Schmidt (Banjo, Mandolin), Matt Hensley (Accordion, Piano, Concertina), Nathen Maxwell (Bass Guitar), Mike Alonso (Drums, Percussion).

June 2, 2017
Vanguard Records



Never Gonna Die

April 20, 2018

Jim Lindberg
Fletcher Dragge
Byron McMackin
Randy Bradbury

The Golden State represents power and possibility to many around the world, a place where dreams are made but nightmares might come true. The cultural epicenter that is California has been defined by so many monumental mile markers, from the silent film era to skid row, from Disneyland to Ronald Reagan, from celebrity excess to social unrest. Straight Outta Compton, Suffer, Master of Puppets, Fresh Fruit for Rotting Vegetables – as the late Tupac Shakur famously said, Cali is where “we riot, not rally.”

Few bands have endured with as much demonstrably California-encompassing vibrancy as the Hermosa Beach, CA institution that is Pennywise. They reign unchallenged, outside the margins of the mainstream, a staple on the SoCal radio airwaves and worldwide festival circuit revered and championed by generations of fans filling theaters and clubs.

Pennywise possess the power to merge the subversive with the celebratory. Each Pennywise record is chock full of fast-paced anthems expertly engineered to inspire radical change, personal empowerment, relentless hijinks, and reckless fast times. On paper it may read like a mess of contradictions, but on record, it sounds like California.

At this point, three decades since the band’s DIY beginnings, Pennywise classics like “Same Old Story,” “Fuck Authority,” “Alien,” “Homesick,” and “Bro Hymn” are as fundamental to punk rock and hardcore as stage dives and guitars.

The combustible chemistry between the diverse creative personalities within Pennywise delivers some the culture’s strongest songs, obliterating the boring sameness of easygoing attitudes with a push-and-pull process that hammers the strongest songwriting and performances from each individual into a remarkable cohesive whole.

The defiantly titled Never Gonna Die is the first full album of brand new songs with singer Jim Lindberg, guitarist Fletcher Dragge, drummer Byron McMackin, and bassist Randy Bradbury in over ten years. It’s as timely as it is timeless, charging head first into the chaos of the current climate of the world with the tried-and-true determined sound the Pennywise faithful demand. Never Gonna Die was forged in the same space where the band penned classic songs with late bassist Jason Thirsk and produced once again by rock producer and close collaborator Cameron Webb (Motörhead, NOFX, Alkaline Trio).

“We Set Fire Tonight” is a furious resistance anthem challenging the “austerity measures” around the world that deny basic social services to the most vulnerable.

“American Lies” cuts through the fog of disinformation and disingenuous worldviews, rejecting partisan posturing in favor of true patriotism. “Can’t Be Ignored” is both selfexamination and societal exhortation, addressing the ravenous hunger for more that shatters the spirit and could literally destroy the world as we know it.

The title track demands an evolutionary shift in consciousness, pleading to put hundreds of years of dogma to rest, to never accept those prejudices are “Never Gonna Die.”

“Live While You Can (Time Bomb)” is the Pennywise take on the timeless adages to live while you can, enjoy today, and never let the bastards get you down. “Goodbye Bad Times” further emphasizes the holistic side of the band’s ethos, a steadfast reminder of the power of encouragement, personal empowerment and communal interdependence.

As ever, touring across the world playing with and playing to likeminded rabble rousers and mischief makers, Pennywise summon all the best and brightest of SoCal punk spirit, consciously exposing the world’s flaws as well as their own, and celebrating life loudly.

As the terrifying clown who shares the band’s namesake returns to the pop culture consciousness, via a massively well-received movie adaptation and its forthcoming sequel, so too has Pennywise – the band – reemerged at their absolute strongest. Forbes Magazine said, “It doesn’t just float, It soars.” Pennywise? They effin’ scorch.

Flogging Molly


In 2016, Frank Turner was reading a collection of poetry by Clive James when one line stopped him in his tracks. It was from a poem titled Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out, but find it out too late.” Turner was in the middle of writing an esoteric concept record about women from the historical record who had been ignored, but this single line mapped out a new direction in his mind. “It devastated me the first time I read it,” says Turner. “A lot of older, wiser people tend to say things like that, that the things that come out in the wash at the end of a human life are the way you treated people around you, your kindness and consideration.”

At the time, Turner was on tour with his band The Sleeping Souls in the US just as the election was entering its unrelenting endgame, and the Hampshire-born singer-songwriter realised his seventh solo studio album needed to be a very different record to the one he originally had in mind. “The world decided to go collectively nuts in 2016 and after that it became increasingly difficult as a writer to ignore what was going on, and the changes that seemed to be taking place in the political and social culture of the West,” he says.

Turner is one of the UK’s most successful solo artists of the past decade. He has carved out a career as a hard-touring, punk-folk troubadour with a diehard fanbase drawn to a singer-songwriter who refuses to play the game and does things on his own terms. But in contrast to his career trajectory, Turner’s personal life has not been without its troubles. His last two records, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People, dealt with the fallout from a break-up as the singer struggling to cover the cracks from broken relationships.

Now happily living with his girlfriend and their cat, he sets his sights to the bigger picture. Be More Kind bridges the personal and the political, the intimate and the universal. These are songs that could be whispered in your ear, or hollered along with from the middle of a sweaty festival crowd.

One of the driving ideas behind Be More Kind is understanding the person you’re fighting against. “You should at least be able to inhabit the mental universe of the people you disagree with,” he says. “I think Donald Trump is awful but I think if you wish to see Donald Trump not be elected for a second term then there is a need to figure out how to talk to Donald Trump supporters that is something else other than screaming at them.” Be More Kind is a political album, but more about the rules of the game than it is about a specific event. “To me, that’s the essence of liberalism,” says Turner, “because to me liberalism is about the rules of interaction more than it is about the content of that interaction.”

After a period spent looking back that culminated with last year’s career retrospective set Songbook, here Turner boldly recalibrates his trademark sound, the thematic line in the sand echoed by a new sonic beginning. There have been enough Frank Turner albums that sound how people expect Frank Turner albums to sound, he reasons, so it was time to try something new. “I wanted to try and get out of my comfort zone and do something different,” he says. “Positive Songs… was a bit of a retrenchment, I wanted to make a stripped-down punk-feeling live-sounding album where me and the band rehearsed the songs to within an inch of their lives and cut the album in nine days.” This time around, his approach was the polar opposite. Many of the songs were demoed on his laptop, with Turner incorporating his love of glitch electronica and Warp-style ambient albums and experimenting with drum loops and arpeggiator synths. These songs have the unmistakable melodic intricacy of Frank Turner, but with a dynamic gear change to the instrumentation.

The album was produced by Austin Jenkins and Joshua Block, formerly of psychedelic-rock Texans White Denim, at their Niles City Sound Studios in Fort Worth, Texas, recorded over two blocks in June and October. Some extra recording took place in London with Florence And The Machine and Halsey collaborator Charlie Hugall. “This is the longest I’ve ever worked on a record in my life,” says Turner. “It was creatively a very different experience from the previous record I made and that was by design. It was nice to be able to take time on things and have the opportunity to try a few different approaches to songs. At no point was I thinking about how the Sleeping Souls and I would play these songs live. It was more thinking, “what do these songs need?”” At some points during recording, only two members of the band would be called upon, at others, there would be 19 extra parts being laid down.

After reading James’ poem, the title track led the way. It’s a song that captures the spirit of adventure on the album. In an earlier incarnation, it was a stark folk song but here is blossoms into new, electronica-flecked territory. “It really lit the way sonically for the rest of the record,” says Turner, “that combination of what is expected of me and what I do usually and new elements.” At the other end of the process, stirring opener Don’t Worry was the last song written for the record. “I felt there was a bit of a conceptual gap,” he says. “There needed to be a mission statement track.” Turner had been listening to lots of Bill Withers, and you can hear the influence of Lean On Me in the song’s warm embrace.

From its title alone, you can tell the anthemic Make America Great Again is supposed to be provocative. “I’m old enough and calloused enough from my exposure to public attention to not really give a fuck about the backlash that song is going to generate,” says Turner. It’s an un-ironically pro-American song, he says. Turner has spent much of the last decade of his life on the road in the US and he loves the country. “What I find so depressing about the nativist populist movement is that they’ve mis-identified what is great about America.” But he still enjoys having a song that he knows will get some people’s backs up. Old punks die hard. “I think about The Clash and the Pistols and the punk bands I fell in love with and they didn’t shy away from controversial things,” he says. “Nowadays, as an individual I have to put my money down somewhere.”

Similarly, 1933 is a clattering, state-of-the-nation anthem inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” The pulsating rock groove of Blackout is inspired by the New York blackout riots in 1978, Turner intrigued by the idea of the machinery that powers a modern society breaking down. The summery guitar-pop of Little Changes, meanwhile, taps into the idea that if you want to achieve meaningful political and personal change, it’s the small transformations that accrue into a large change. “Somewhere in the record, there’s a convergence of the ideas of personal and political, which I think is quite strong and it’s a central theme,” he says.

Pockmarked throughout the album’s political themes and societal observations are some of the most personal songs of his career. Previous records have dealt with turmoil but here he sends missives from the middle of a cherished relationship. The Southern rock-style twang of Going Nowhere started as a love song and grew into a reflection on the modern world, and the widescreen Americana of There She Is was written whilst Turner was holidaying with his girlfriend in Italy. “We’d been driving and listening to a bunch of Motown songs,” he says. “When I was younger I was impressed by complexity but I’ve realised that a simple song can be more powerful.” Gospel-tinged rocker Brave Face, meanwhile, was inspired by a tour with Jason Isbell and is about the idea that “if you’ve got someone to lean on back-to-back, you can project to the world.”

21st Century Survival Blues was inspired by a conversation Turner had with an Australian businessman on a commuter flight, who told him that he’d spent all the money he made on weapons. “When I asked him why, he said it was cos “when the shit goes down, you can’t eat gold.” The line prompted a lyric about survivalists preparing for the end of the world. The hypnotic Common Ground matches Turner’s love of TS Eliot’s writing (“I love his use of repetition of simple words, to the extent it almost becomes a chant”) to a sound that evokes Thom Yorke’s The Eraser, whilst The Lifeboat started life as finger-picked folk song before being retooled and ending up with a bombastic orchestral outro.

The album’s most organic moment comes at the end. Get It Right sounds like a drunken singalong at the conclusion of a great night, the sound of Turner and his band, in a room, playing a song in a way that couldn’t be tinkered with afterwards. It sums up the human warmth at the heart of Be More Kind, an album that’s an ambitious leap forward for one of the most important artists working today. Frank Turner is ready to begin a new chapter in his career. He’s done his looking back, now it’s time to march forwards.

Coming Soon!