Dropkick Murphys - 2/09 (Portland, ME)

Most families raise their children with the music they grew up with. For me, my foundation was mostly classic rock. A bit of The Clash, a dash of The Who, and a healthy helping of Queen. Amongst the many sounds of my youth is the discography of a local celtic punk rock legend. The soundtrack for the working class. Antifascist and for the people since their 1996 debut– I’m talking about the iconic Dropkick Murphy’s The band hails from South Boston (Southie as the locals say), and as a Massachusetts native myself, it was practically in the bylaws to be a Dropkick Murphys fan. If you think I’m exaggerating– I dare you to hit Southie for St. Patrick’s weekend. Not only will you find streets blocked for the infamous St. Patrick’s parade, but you’ll be met with three back to back (typically sold-out) shows; all headlined by Dropkick Murphys. An event where folks travel from around the country and even the world to witness the festivities. It’s been known that fans have flown in from Ireland to celebrate front row. If you’re lucky to get in, you’ll find the room packed with fans from all ages. The elderly attend with their adult children, some who bring their own children along. A multi-generational experience most Every New Englander dreams of.  A few years ago my friend took her toddler to experience his first Dropkick Murphys show.  Since 2002 the band has made it an annual tradition to play in Boston for St Patrick’s Day. As the band grew more in popularity, more dates were added. These days the band plans an entire tour leading up to the annual celebration. 

Previously, I have always dreamed of attending a Dropkick Murphys show on St. Patrick’s Day, yet never had the chance to make it a reality. In 2020, due to Covid restrictions and lockdowns, the band kept the energy with a “Streaming Up to Boston” livestream, filmed in Derry, NH. I shared my first Guinness with my father watching Dropkick Murphys in our kitchen. My dad, joyously watching a band he grew up with while I, his daughter passionately raised my beer glass and sang along. This family energy from the working people is exactly what Dropkick Murphys is about. This year, Dropkick Murphy’s began their St. Patrick’s tour in Portland, Maine, and for my first “real” show of theirs my expectations were fairly high. Even so, my experience far exceeded what I was prepared for. 

Opening the night was a hardcore band hailing all the way from California, Slugger. Bringing the west coast heat to the East Coast, Slugger warmed up the crowd with their passion and stage presence. Politics have always had a place in the punk rock and hardcore scene, which happened to be this band’s forte. Lyrics targeted subjects such as immigration, freedom of speech and protest, and political corruption. Considering it was early February, the heatwave of riveting riffs and important lyrical messaging was just what Maine needed to help melt the ice. 

Up next and taking things back to the East Coast was the iconic and ever so energetic New England hardcore outfit, Haywire. If that name sounds familiar it’s most likely because of their most recent release– a split EP with the headliners themselves. From Portland to Boston Haywire reminded the crowd why the New England hardcore scene is more than just legendary, New England is the heart of the scene. This comes as no surprise when one remembers Boston is known for it’s infamous Tea Party and Revolutionary War history. Haywire makes noise for a modern revolution; bandmates conquering every inch of the stage while their vocalist repeatedly engages the crowd. 

The Aggrolites hit the stage next, switching up the vibes from breakdowns to boogie town. The California band proudly calls themselves “dirty reggae,” rocking away at their mission to remind the modern world what “proper ska” sounds like. We’re talking a sound reminiscent of the original anti-racist skinhead movement that took over Britain in the 60s and 70s. Adding some Jamaican reggae influence, this band embodies the definition of “pick it up, pick it up, pick it up.” The Aggrolites entertained the crowd with a mix of funky originals such as “Funky Fire” and “Dirty Reggae” along with iconic covers including “Take ‘em All”  by Cock Sparrers and “These Boots Are Made For Walkin’” by Lee Hazelwood. Nearly half the set was covers, which was an interesting approach for a support band to take; especially one that has been in the scene for over twenty years. With an extensive discography dating back to 2002 one would not expect more than one cover. Somehow, The Aggrolites seamlessly made it work. An incredible set from start to finish. 

The energy of the room intensified as anticipation grew for the headliner. Chatter slowly muted as house lights dimmed to black. If there was ever a feeling to describe the juxtaposition of having energy feel both real and surreal it would have been this very moment. A single spotlight shines on a solo bagpipe player; pale green smoke filling the stage for effect. The first 30 seconds were focused solely on the gentleman on the bagpipes playing the intro to “Deeds Not Words”-- a song that had not been played live since 2016. Suddenly the whole stage becomes illuminated showcasing members of the band walking on stage just in time for Ken Casey to jump in on vocals. A jaw-dropping beginning to what would become a long, power-packed set. The night’s setlist was composed of 24 songs featuring tracks from their debut album such as “Boys on the Docks”, “Skinhead on the MBTA,” and title track, “Do or Die” to more recent songs such as “Who’ll Stand With Us” and their newest single featuring Haywire,  “Citizen I.C.E.” A legendary band deserves a legendary set list. Among the carefully selected deepcuts and classics were two covers the band is known for, “The Fields of Athenry” by Pete St. John and “The Green Fields of France” by Eric Bogle. 

The set list was far from the only iconic moment, for the energy of both the band and the crowd was beyond anything I had ever seen in my over a decade of concert experience. The band hardly were in one place for more than a few seconds. Ken Casey (vocalist) paced the stage and the barrier in his Happy Gilmore Bruins jersey; every now and then sticking his microphone in the face of lucky fans shouting back lyrics at the barrier. Occasionally, Casey would aid security with crowdsurfers. Jeff DaRosa (banjo), Tim Brennan (accordion), James Lynch (guitar), and Kevin Rheault (bass) crossed paths so many times that I lost track of who was where at what moment. If drummer, Matt Kelly, wasn’t glued to his kit I would have expected him to have joined what I could only interpret as human pinball on stage. 

During the second song, “The State of Massachusetts,” a child no older than ten crowdsurfed to the front, his mother surfing right behind him. The kid ended up on stage for the next song, rocking out beside his favorite band. I later found out that was the child’s first Dropkick Murphy’s concert. Throughout the night songs were dedicated to fans and friends of the band, some who have unfortunately passed away. Honoring their memory the crowd sang loudly; a reminder that the fanbase were more than just a group of eclectic fans. According to Casey himself, the room was family. In this giant music-bonded family was Maine senate candidate and longtime friend and fan, Graham Platner. Not only did Platner join Casey on stage, but he also was an active mosh pit participant; even going as far as stage diving and crowdsurfing. Only in Maine can you find a politician diving off the stage and getting sweaty in a mosh pit. 

A Dropkick Murphy’s show is not over until they play the anthem of Boston, “Shipping Up to Boston.” Luckily, there was room for one more song. That night’s final send off? “The Big Man.” A big way to end a larger than life night. That night I left the State Theatre spellbound and stunned. I can only hope that these photos are able to do justice to the pure magic channeled by the one and only Dropkick Murphy’s.