30 years ago, Fun Lovin’ Criminals exploded out of the New York City club scene into alt- rock radio stardom with their Quentin Tarantino-sampled hit single “Scooby Snacks.” The trio’s cinematic swagger mixed with hip-hop beats and garage rock guitars made them unlike any bands playing on the airwaves at the time.
The song propelled them to an opening spot on U2’s gigantic PopMart Tour, and a legacy that has seen “Scooby Snacks” amass over 51 million streams on Spotify (and close 700,000 monthly listeners).
In 2026, Fun Lovin’ Criminals have returned to the United States with a new lineup, a new record, a new perspective, yet the same fun, eclectic, and dynamic aura.
We sat down with Fast (bass, vocals, samples), Frank Benbini (drums, backing vocals) and Naim Cortazzi (guitar, backing vocals) to discuss their 2025 release A Matter of Time, taking their musical fate into their own hands, the feedback they got from a famous director about their hit song “Scooby Snacks,” and more as they rock Milkboy in Philly tonight, and Racket in NYC tomorrow.
A Matter of Time is your first album since 2019. I gave it a listen the other day and it’s a very cool record. However, that’s a long time between albums. What inspired you all to get back into the studio after all this time?
FAST: The last, proper original material record, was 2010 with Classic Fantastic. In 2019, we went in the studio to try and work on some new material, but that ended up being the second covers record, Another Mimosa, which Frank and I weren’t really feeling creatively, but it was good to do.
The band went through some big changes with the singer (Huey Morgan) leaving in 2021. It was important for Frank and I to get back in the studio, get music out, and get a new guitar player, which Naim [Cortazzi] fills the role perfectly. It was getting to where we wanted to do a full album, and we were just creatively ready. Everything was feeling really good. And to get in and do an album is what we needed to do.
Frank and I were in there writing the music in June, a year before the record dropped and we took our time with it. We came up with so many great ideas that it was hard to whittle them down, and when you haven’t been in a creative place creating music, it obviously is very frustrating. So, the fact that we had this renewed lease with the band, with the changes that happened in 2021, it was great for Frank and I to get in a studio like we did back when he joined the band, and just get loads of beats and ideas down.
Frank Benbini: We had to come up with something really good because it was such a long time from putting a record out. The quality control for the album was super high. There was a bunch of songs, some made it, some didn’t make it. IÂ told Fast when we were going into the studio that it was very important to get some of the fun back into the Fun Lovin’ Criminals. I think that had been lost especially with our experiences with a past member. We wanted to get back to having some kind of fun, going into the studio with ideas, accepting each other’s ideas, mashing it out until we could create great songs.
It’s been so cool because since we’ve been playing this new record certain songs have been going down so well with the fans, as well as any of our old hits which is super pleasing when you’re writing something in the studio. You never know how it’s going to be received. I always try to make music for myself. If I can please myself with something that we’ve written, and I think that’s all you can do as an artist, then you just hope that your fans are going to jump on it. Well, they absolutely have.
There’s a handful of new songs that when we play, the crowd goes friggin’ mad when we’re finished. There’s no better response or feeling for something you’ve penned, or tracked in the studio. So, A Matter of Time has gone down really well. And here we are, back in America, which we didn’t think we’d ever do again after the last time we played here a few years ago. So here we are, coming off a really successful European tour.
Why didn’t you think you’d come back to the States?
Frank Benbini: It’s super difficult [and] it’s super expensive to come all the way over the pond, as you can imagine. Back in the day we were touring with U2 and playing in stadiums, then we left. We left this market for over two decades before we really came back and tried to tour on the West and the East Coast. We did little bits, but never really on an album cycle. So, you never know when you’re gonna get back to the States, but obviously it’s a big deal. It’s a big deal for Fast, he’s from here. It’s a big deal for me because my mum used to live in San Francisco, just down the road from where I’m doing this chat now. I’ve always loved the States, and it’s great to come back here. Whether or not we’re playing to the crowds that we play to in Europe, it don’t matter. We’ll bring the fun, we’ll bring our sound, and hopefully the people that are in the room will dig it. We’re still beating the system, brother, you know what I mean? We’re still rock ‘n roll.
FAST: I was talking with someone yesterday about how a band from Canada will tour all over America now, and that’s cool, but they do it in waves. They can’t go to Europe anymore. They can’t tour over there, so it’s very similar with bands in Europe. Even bands from the UK have a hard time touring in Europe — just the cost of everything making it happen. Like Frank said, just to be back in America doing some shows whether it’s five people or 500 people, we’re ready to tear it down for them.
I never put you guys together as a UK band, because every time I hear your band, I’m like this is straight out of New York City. You guys literally have a song called “King of New York.”
FAST:Â Back when the band started, which was obviously a phase, you cut to a band that’s still doing its thing 30 years later. Obviously, there’s gonna be some changes. I moved overseas in 2006. Frank joined the band in 2003, Naim joined the band in 2021, so it’s naturally had this progression. The band is obviously heavily influenced by a lot of UK acts. I think it’s important that we don’t lose sight of where we came from, but at the same time we’re not in places now where we’d be writing songs about New York City. It’s changed so much, but it was very important for us back in the ’90s, working at these nightclubs, seeing all these stories happening in New York, and being inspired by that.
Naim, relatively speaking, you’re the new kid on the block for Fun Lovin’ Criminals. What’s your thoughts on all this?
Naim Cortazzi: When I joined the band, like Fast said, was in late 2021. I obviously didn’t experience that long hiatus between records, so as soon as I joined, the plan was to record. In the first year, we recorded the Roosevelt Sessions EP. We toured that around Europe. Then we did the Capistrano Sessions, another EP, toured that around Europe, and then the album. So, from my experience, it’s been relentless recording. I’ve kind of felt this wave of creativity since I joined the band. The band is on fire, you know? Regarding coming to America, I didn’t expect that I’d be able to enjoy a trip like this. Frank and Fast have worked really hard to make this happen for the fans over here.
Frank Benbini: That’s what it’s all about as you get older. It’s just about the fans, and as an artist just being able to do what you create live. Sometimes we’ll make some money; a lot of the times we won’t make any money, but there’s more to life than just that. Obviously, we have to try and make it at least break even, which sometimes is tough in this day and age, especially after the COVID bollocks, but we’re still doing it and we’re still in it to win it.
FAST:Â Frank and I realized when Huey left the band that it was like, “Well, how are we gonna do this?” And one thing we realized is we worked with so many different managers, we’re like Spinal Tap in the sense of having all these different managers. They’ve all come in, called in their favors to people to make it look like they were on top of their game, and respect to them, that was great. It got our foot through some doors. But then once those favors are used up, they couldn’t really do much. Frank and I realized: why are they getting 20% for doing very little, and then we do all the stuff that would happen regardless if we had a manager? Frank and I are basically running the whole operation.
We got a guy, Wayne, who helps us answer emails and stuff, but we learned that we can do it ourselves. It’s a lot more work, but at least we can’t blame anyone but ourselves. We also can handpick hotels. You give criteria to tour managers—windows that open, and good shower pressure, and all these lists of requirements for every aspect of being in a touring band. Then you show up, and if it’s a shit hotel, you tend to get pissed off, so we can’t blame anyone else but ourselves. We often blame Naim for things he had nothing to do with, but it’s good. He’s our patsy. The operation’s working.
Frank Benbini:Â [Speaking of touring and booking hotels] Over the years, I kind of prefer the West Coast, even though I’m rocking my New York Yankees hat. I just like the energy, the people are laid back. Like I said before, San Francisco is a big thing for me, because my mum lived here for a period of time. I’ve got a massive love for Bruce Lee, and [San Francisco] is where he first went to university. We’re actually planning a band and crew trip to the Bruce Lee Museum. It’s obviously the sunshine and then clearly the only real reason, if I’m honest, that we’re even back over here is In-N-Out Burger.
I had that for the first time two years ago.
Frank Benbini:Â What did you think?
It was like God kissed me on the cheek and said everything was going to be okay.
Frank Benbini: This is what I’m saying, Bill! This is what I’m saying.
FAST:Â I’m sure we’ll have one today. It’ll probably be a part of every day we’re here the next 6 days.
Back to the music … with the lineup change was there any trepidation when you’re coming out with a new record and going on tour because your singer was a big part of the band for a long time?
FAST: You know what? Frank and I knew this was coming a long time ago. Creatively, Frank and I still had a hell of a lot to say, because our FOC formula is something that can go on forever. We’re inspired by so many different genres of music.
There was a little bit of hesitation, but then we realized I need to be the one taking over the vocals and let’s get another guitar player. Trying to get another singer who’s going to have that same persona as Huey, which we did not want, wasn’t going to be easy.
So the natural idea was to get me in there doing vocals and finding a guitar player. Naim and Frank have known each other for decades. Naim’s an incredibly versatile guitar player, so he fit right in. We did rehearsals which is something the band never really did. We’ve now worked up a 60-plus song discography of what we can play live. Obviously, that’s limited a bit with the lack of equipment in America, but the fact that we can dig through a bunch of old songs that Frank and I ain’t played for 20 years is really cool. But yeah, man, no looking back, just looking forward, and things have been great. Like we’ve been saying, two EPs and an album, always writing new music. I’m looking at palm trees and blue skies, life is good.
So, Naim, what drew you to the band? Obviously, you knew Frank.
Naim Cortazzi: The band’s been a big part of my life for a long time. I was in a band with Frank, 25, 26, 27 years ago already. So when he joined the Fun Loving Criminals in 2003, he brought me on board as part of the crew. I was a roadie for the band in 2003 for the Welcome to Poppy’s album. I got to tour all around Europe with them. I fell in love with the setup, the boys, and the music. After that, I helped out with a little bit of engineering. When Frank wanted to record drum parts or put ideas down for FLC, I’d be going to gigs all the time, on and off, and helping out with the crewing, so it’s been a big part of my life. I ended up working with the Happy Mondays for six years. I ended up working with a British soul sensation called Beverly Knight, and a couple of other acts touring around Europe. So Fun Lovin’ Criminals has always been foundational in my music journey.
One thing I’ve always wanted to ask. You sample Reservoir Dogs and Pulp Fiction for “Scooby Stacks.” I’ve always wanted to know: did you ever get any feedback or anything from Quentin Tarantino, Tim Roth, or anyone involved in those films?
FAST: We got the best feedback. We were in New York. I don’t remember when it was, maybe the early 2000s. We were at some fashionista party, which was weird, but Mira Sorvino was there, Paul Sorvino’s daughter. I don’t know if they were ever married, but they were together at the time.
They dated, never married.
FAST: When we met her through a mutual friend, she said, “Oh my god, you guys the moment that album came out, it was all Quentin played. All he was listening to was your record.” And to us, yeah, that was amazing. She said it was really annoying. I don’t think she was as thrilled. We thought it was really quite sweet and endearing, that was a great experience since we didn’t really work with him. His lawyers had said, “Oh, you need to write that we wrote the song with him.” This implies he was in the studio with us, blazing, smoking blunts, which wasn’t the case. But, we wrote it with him in the sense that he obviously wrote the dialogue that we sampled, from Reservoir Dogs and Pulp Fiction. Obviously to deny that is what got our foot through the door, would be silly. Great song, I still love playing it.
One thing I love about this album is its cinematic swagger. It’s very cool. And today with how much streaming and how many movies are using licensed music do you have a wishlist of directors, show runners, or universes of shows and movies you’d want your music in?Â
Frank Benbini: I always think our songs would fit great in all kinds of movies, because if you listen to the record it’s all across the board. You’ve got a big rock song that would work great in any Jason Statham or Sly Stallone movie or a big action scene. And then you’ve got, a chilled-out love song, like “Love is Rock,” that would work on a breakup song with some shitty actors in. And then you’ve got any car chase scene would work with any song off any Fun Lovin’ Criminals album. It’s funny because sometimes you go to the movies and that last song that plays as the credits go up is normally such a shit song. I’m thinking, stick any of our songs in there and it would make this film better.
Naim Cortazzi: If we could rewrite history, The Sopranos should have definitely had a Fun Lovin’ Criminals track, rather than the Alabama 3 track.
FAST: We get confused with them all the time. A lot of people think that we did that song and I wish we did.
So, what I see from the three of you is every time you’re talking about music, I just see, like, there’s a real love here. Is this off to the races now? It’s just like, hey man, touring’s gonna be a regular thing, music’s gonna be a regular thing, we’re back, all gas, no breaks type deal?
FAST: Never went away, did we, Frank? That’s the thing. We never stopped.
Frank Benbini: We never went away, but with the older setup, there were pressures that we didn’t look forward to going into, and towards the end, it was touring. I dreaded turning up at gigs thinking, what spat [will it be with] the old singer? What bullshit is he gonna create to cancel another gig? That was super stressful, and that’s a place that I’d never go back to. I think what is good about here is, because we run our own shit, we decide when we want to put music out. It’s not so much of a pressure. We won’t put something out until we’re happy with it. We won’t go on tour unless we’re happy with it, and that suits me more as I get older. I’ve always been a big dude, and I have injuries so it’s not like we’re getting forced to go out and do 10 shows in 12 days. We can say, we only want to do three shows and then we need a break.
So stuff has changed a little bit, and it makes me want to carry on doing it, because, you know, me and Fast call the shots. So we’re always going to try and make sure that we’re looked after, rather than someone that doesn’t really care about us, that’ll just throw us here, there, and everywhere. Say our agent will send us a string of dates, and Fast will get on the phone to me and go, ‘Well, this means that we’ve got to fly here, get a flight here.’ It’s like, whoa, whoa, let’s move this around a bit and that’s important for me because  I’m not as young. None of us are.
FAST: We don’t want to slave over anything anymore. We’re in a good place, because the change was brewing for over 10 years. Creatively we were not writing anything new. Frank and I were writing beats, but they’re just sitting there because it was the other guy’s job to write lyrics, put guitars on it but [there was] a lack of interest. I don’t want to just jump all over him. He was not in a good place. He’s doing his own thing now, and we couldn’t be happier for him and for the fans of FLC that go out to see him. For us, it was about moving the band forward not just relying on those first two albums, not just playing in the UK. I wanted to come to America. I wanted friends of mine to come to shows, even if they’re the only ones there. It’s not easy to tour America, but just getting on a stage whether it’s for five people or 5,000 people there’s no better feeling. And that’s the fun.
Naim Cortazzi: From my point of view, we’ve reduced all our other commitments outside of the band. I quit my other jobs, and those have grown smaller while the gigs with [FLC] band have grown more frequent. We’re selling out European dates left, right, center. It’s fantastic. The last time we came to America, I think we had less than half the tickets sold that we’ve done this time, so it’s doubled. It’s just growing and growing.
Frank Benbini: I think the key is the two EPs and the new album. I think that is why we’ve probably got more people turning up to see us, especially in Europe. We just finished a run where pretty much every show was if not sold out, pretty much nearly sold out, and that’s really quite an achievement for a band that lost a lead singer.
We’ve worked our bollocks off for five years to get it to that. Every night for the last three nights of being in Europe, I stand up from the drum kit, which is always the best seat in the house, and then take a photo of the crowd, and I post it up every night, and you’ve only got to look at that and that tells me we did the right thing. I just wish we’d have done it sooner than we did.
