Imagine the chaos of a rowdy frat party, only more Irish. Crowd members and half-empty drinks alike are sailing across a sea of paddy caps. Every time the band gets louder, so does the crowd, each trying to match the other’s energy.
It’s a quintessential St. Patrick’s Day party, and the city of Boston is invited.
Dropkick Murphys (and maybe a drink or two) was just what Boston needed March 14 to get riled up for a weekend of St. Patrick’s Day festivities.
The Celtic punk band has been a Boston staple since its formation in Quincy in 1996. At MGM Music Hall at Fenway March 14, the band’s unapologetic pride for the city was on full display. The show was the first in a series of St. Patrick’s Day weekend concerts, with two more nights scheduled at MGM March 15 and 16 before a show at Citizens House of Blues on St. Patrick’s Day.
The Kilograms, featuring Joan Jett and the Blackhearts drummer Michael McDermott and The Mighty Mighty Bosstones bassist Joe Gittleman, opened the show, evoking a similar Boston energy to Dropkick Murphys with its topical songwriting. Between songs, the band called out President Donald Trump and rallied the crowd to “protect trans youth.” In a show of support for the LGBTQ+ community, The Kilograms’ members included a brief punk cover of Chappell Roan’s “HOT TO GO!”
Punk rock band The Menzingers followed with a blazing set of its own, showcasing a deceptive feel-good sound over equally topical lyrics in songs such as “America (You’re Freaking Me Out).” The band also dedicated a song to Boston, hyping up the audience. About halfway through The Menzingers’ set, the crowd could no longer contain its excitement for Dropkick Murphys, with one amped-up crowd surfer setting the scene for the rest of the night.
By the time Dropkick Murphys started its set with a cover of The Fureys’ “The Lonesome Boatman,” the energy was unmatched. Lead singer Ken Casey was undoubtedly proud to be back in Boston, leaning into the crowd and pointing the microphone toward them so they could sing along.
Alternating between originals like “The State of Massachusetts” and traditional songs such as “Johnny, I Hardly Knew Ya,” the band’s Boston pride and enthusiasm for Ireland were equally on display.
Enjoying every moment of the audience’s unabashed spirit, Casey praised the commitment of the floor crowd as the seated audience in the balcony looked on.
“You bring the energy and work hard so these people can enjoy the show,” Casey said.
For the most part, Casey welcomed the constant crowd surfing, but he called out anyone filming themselves while riding the wave and making it harder for security to catch them.
“They’re trying to catch you, so if you’re taking a fucking TikTok video, cut that shit out,” Casey said.
Dropkick Murphys didn’t hold back with any political statements of its own, railing against the “Make America Great Again” movement, or MAGA, and decrying the “fucking orange asshole” who currently serves as president of the United States. The band’s outspoken cry followed an altercation at a recent show in Clearwater, Florida, where Casey called out a fan wearing a MAGA hat and shirt.
Though Casey knew he was wading into controversial waters, he promised the Boston crowd he would never hold back from speaking his mind.
“You certainly don’t have to agree, but know this: We mean it from the bottom of our heart,” Casey said.
Casey’s comments were met with cheers from the crowd as Dropkick Murphys launched back into its endlessly energetic set. Fueled by Casey’s confidence, the crowd danced and moshed its way through the next few songs before pulling things back briefly for “Forever,” a solemn song about appreciating loved ones. Casey encouraged audience members to put their arms around each other as they swayed to the song’s steady rhythm.
As soon as “Forever” ended, however, the audience’s rowdiness was instantly revitalized, especially during “Tessie,” which comes from the Boston Red Sox’s longtime anthem, and “Rose Tattoo,” a song about Casey’s grandfather, which was re-released as part of a charity EP after the Boston Marathon bombing.
The band closed its main set with “Kiss Me, I’m Shitfaced,” a slower bar anthem that, in many ways, reflected the current state of the crowd.
Any devoted Dropkick Murphys fan immediately knew that wasn’t the end, though. Sure enough, the band came back soon after for an encore, playing “The Boys are Back,” which featured projected footage of Boston Bruins players fighting on the ice.
Finally, the band ended the night with its biggest hit, “I’m Shipping Up to Boston.” The crowd reached an explosive peak as it sang along to the Boston anthem it had been waiting all night for.
As Dropkick Murphys thanked the crowd and said good night, it left the audience without any doubt in its mind that there was no better way to kick off St. Patrick’s Day weekend, especially in Boston.
