Search Results for "Dropkick Murphys"

Music Video: Dropkick Murphys – “Out Of Our Heads”

Boston celtic-punk act Dropkick Murphys have released a music video for their song “Out Of Our Heads” which appeared on their album “Signed And Sealed With Blood” which came out earlier this year through “Born & Bred Records”.

Click here to check out the video.



Swingin’ Utters announce U.S. tour dates with Dropkick Murphys

California punk stalwarts Swingin’ Utters have announced U.S. tour dates with Dropkick Murphys.

You can check out the dates and locations here.

The Swingin Utters released “Poorly Formed” on February 19, 2013 through Fat Wreck Chords.



Dropkick Murphys’ Claddagh Fund disbursing $300,000 to Boston Marathon bombing victims

Dropkick Murphys announced today that their fundraising efforts following the Boston Marathon bombings has raised more than $300,000, and that they will be distributing that money directly to the victims and their families.

The money came in through three fundraising efforts: a “For Boston” t-shirt, a charity concert, and an EP that featured a new recording of “Rose Tattoo” with Bruce Springsteen.

For more information, click here.



DS Photo Gallery: Dropkick Murphys at Amnesia Rockfest

This is the first in a series of several photos I took of Dropkick Murphys at Amnesia Rockfest in Montebello, Québec, June 14-15 2013.

The rest of the gallery can be viewed here.  If you’re so inclined, you can find a full review of the festival here.



Amnesia Rockfest 2013: The Good, the Bad, and the Truly Ugly

There was confusion and pain and aggravation… and scandal and frustration and appalling grossness. But there was frenzied energy and sonic euphoria and bone rattling vibrations. It was beautiful, touching, stirring, inspiring and overwhelming. Yes, there were truly memorable moments amidst the mayhem. The Amnesia Rockfest that took place last weekend on the waterfront of the tiny nine hundred soul village of Montebello, in between Montreal and Ottawa, was all of those things and more, making it both a true gritty DIY punk music festival, and an aberration of entertainment organization at the same time.

So where to start? I crawled out of my tent early on the first day of the festival to find the whole village overrun by punkers, metal heads, and college kids; more than 100 000 thousand of them and, as is wont, many with a beer in hand at seven in the morning. Villagers all over town had opted to welcome tenants and had parcelled out their prime suburban land to maximize the number of tents and RVs they could accommodate all over their humble abodes. If it weren’t for the music blaring incessantly from cheap car stereos, the abundance of red haired girls in short shorts, and the sweet stench of beer permeating the air of the whole neighbourhood, one might have mistaken the scene for a refugee camp.

And in that image—the refugee camp—I had unknowingly found the visual metaphor that would define the festival grounds for the next 48 hours. My first hunch that something was off with the Rockfest logistics came early enough on that first day as I strolled leisurely through the backstage entrance, grateful for my press/photographer pass, and made my way to the front of the main stage where in less than an hour tens of thousands of revelers would pour in to catch Mad Caddies and Less Than Jake who had the thankless task of getting the show on the road. The gates opened on time at 11AM, but what should have been a tidal wave of screaming fans rushing in turned out to be a slow trickle of smiling (they were the lucky ones) rockers trotting towards the stage. By the time Mad Caddies’ ska beats descended on the muddy field, perhaps one or two thousand people had made it in. An hour and a half later, when Less Than Jake took the stage and ska-ed up the place some more, 80% of ticket holders were still waiting in line to exchange the ticket they bought months ago for a bracelet, an ordeal that lasted for most over two hours and a half, for many somewhere around four hours, and even longer for a few providence-deprived punks.

When it was the Dropkick Murphys turn to attack the main stage at 5PM, thank god there was an endless sea of grateful punkers in front of them, and it was with their rowdy and rollicking brand of Celtic punk and infectious stage energy that the festival really started moving. Classics ‘Shipping Up to Boston’ and ‘State of Massachusetts’ were heard, and ‘Rose Tattoo’ as well from their latest record. It was a memorable gig with not a dull moment. In all, there were a hundred and fifty bands spread over five different stages and the line-up for the main stage alone made the Rockfest a worthy rival to the best punk festivals in North America, so you’ll forgive me if I spare you the setlist of every single show I attended and focus on some of the highlights, as decided by me, which means I’ll not mention Marilyn Manson in this piece again. He was there is all I’ll say.

Soon after the Dropkick Murphys, Rancid took to the stage for a power-hour of their greatest hits, including ‘Radio,’ ‘Nihilism,’ ‘Maxwell Murders,’ and ‘Ruby Soho,’  mainly taken from their earlier opus ‘Let’s Go’ and ‘And Out Come the Wolves,’ delivered with all the gusto and rambunctiousness these guys are known for. I hadn’t enjoyed them live in fifteen years, and though Tim Armstrong seemed, naturally, a bit older, it certainly didn’t show through his wild demeanor and crazy antics on the stage, the way it did, somewhat, with Dexter and Noodle and the rest of The Offspring crew, who delivered right after The Deftones a professional if tame and subdued—granted I had great expectations—performance to bring the Friday night to a close.

It was around dusk, perhaps during Social Distortion’s superb set (talk about a band that belongs on a stage right?), that the festival grounds began metaphorically bursting at the seams, and from whence came the great dichotomy between the truly awe-inspiring acts on the stage and the grotesquely awful scenes on the ground. It was also then that a certain anthropological distinction appeared between two kinds of attendees, i.e. the ‘hardcore’ punks and metalheads who thrive on blood, sweat, mud, and piss, and who won’t need for trivial things like toilets, food, or, for that matter, drinking water, so long as they can mosh to the sound of aggressive music and smuggle beer inside the premises (these dudes were having a great fucking time), and the mellower ‘good music, good booze, good friends’ attendees, who, if you asked them, would prefer not to suffer from dehydration because of the total absence of drinking water on the site, would prefer not to have to walk through a swamp of urine to use a portable toilet overflowing with fecal matter (and maybe do without the e-coli, if possible), would prefer not to have to stand in line an hour and a half for a hot dog, and would prefer not to have to walk ten miles at three in the morning because the last shuttle buses for the campgrounds were full and not coming back for them. I believe this distinction is at the core of the wildly different accounts of the festival that appeared in print and social media the past couple of days.

The next morning, the whole place had an aura of brokenness and defeat. Getting in wasn’t a problem, but then there wasn’t any music playing as the main stage, pulsing with staffers, lay in a state of disrepair. There’s a certain oddness to a music festival when no music is playing, as you end up noticing things around you rather than what’s on stage: punks walking with crutches, headbangers with their arm in a sling, boyfriends massaging girlfriends’ ankles under the shade of a tree (the one and only tree inside the gates, of course), trashcans overflowing with plastic bottles and food scraps, with pyramidal heaps and mounds of garbage besides them. Without the infusion of music, the place had the look, smell, and feel of an open air dumping ground. None of it would have mattered if only they’d gotten a show going.

Lagwagon, slanted for a noon performance on the main stage, had been rescheduled at a different time on a different stage, to their great relief one might add, as it afforded them a few extra hours of shuteye (some of them had had a rough night). The same situation befell the Mighty Mighty Bosstones, who ended up breaking the ice a bit later than planned on a different stage with a drive and vigor that was simply contagious. After the Bosstones’ day-salvaging performance, and once the Transplants finally manned the main stage and college girls could finally get their dose of Travis Barker, all was forgotten and in the mosh pits the atmosphere was absolutely berserk.

The intensity never let up from that moment on, and after Transplants finished their set, which included a couple of new songs from their upcoming album, Pennywise took the stage and it was nice to see Jim Lindberg in front singing ‘Fuck Authority’ like it was 2002. Of course you can always count on Fletcher and Jim to get the mosh pits riled up, and it was during Pennywise’s set that the momentum in the pits reached a crescendo of motion, swell, and pulse; very exciting stuff indeed! After that the main stage belonged to headbangers for a couple of hours with Anthrax and Lamb of God on the bill, so the punks moved in throngs towards one of the smaller stages for the much anticipated Lagwagon set. And what a set it was! ‘Island of Shame,’ ‘Violin,’ ‘Lazy,’ ‘Coffee and Cigarettes,’ all delivered fast and loud to an overflowing crowd of moshers who could scarcely contain their joy. The smaller stage had better, crisper sound than the main stage and the Lagwagon boys seemed perfectly at home on it. It was one of the better moments of the festival, especially touching when they got going on NUFAN’s ‘Exit’ as a tribute to late Tony Sly, and it’s a shame that many fans missed it on account of the confusion over the venue and time changes.

Though Rise Against was the official headlining band awaited by all festival-goers, the band most anticipated by other punk bands playing the festival was clearly Black Flag (with Keith Morris), playing late in the second day on the same stage as Lagwagon. During their frenetic performance which included mostly well-known tracks like ‘Six Pack’ and ‘Wasted’ both sides of the stage featured a who’s who of the current punk scene. Finally, Rise Against appeared front and center at 1h30AM and delivered a well-balanced set, mixing the old and the new in just measure, which resulted in quite an irreproachable hour and a half of music from the punk heavyweights. It was most definitely worth hanging around for.

Unfortunately this overview of the Rockfest would not be complete if I failed to mention the truly shameful ‘pay to play’ scheme that was reported in the press in the days leading to the festival. The short of it is that emergent bands had to sell fifty tickets or pay the remainder of the 5000$ it amounted to in order to be allowed to play on a shitty stage at the top of a hill right at the festival entrance, far away from the action of the big boys stages, their time slot determined by how many tickets over the required fifty they managed to push. The whole thing, including some statements made by festival organizer Alex Martel to the effect that local band development was none of their concern, reeked of mercantilism and bad taste. For what it’s worth, following the media backlash this piece of news prompted, Alex Martel issued a statement in which he made amends and declared that all bands would be compensated after all. Perhaps too little too late for the festival’s reputation, as the damage was done, but still we’re glad for the few bucks these struggling bands will be getting in the end.

In short, if you went there planning on getting thrashed and battered in every possible way while listening to a mix of mind-blowing punk and metal bands comprising the best line-up ever offered for 80 bucks, you got served and then some! If, however, you headed to the festival expecting a good neighborly time and to be able to hold on to the basic precepts that define us as a civilized and modern society (i.e. food, shelter, safety), you may have felt cheated. Word to the wise for next year: twice the staff, three times the portable toilets, and for god’s sake drinking water galore. With the same kind of once-in-a-lifetime line-up and these common-sense issues resolved, next year’s Rockfest could be (nay, WILL be) the biggest and baddest festival in the Northeast.

Check back often for photo galleries of the event and another piece featuring a very pleasant conversation with Joey Cape!



Dropkick Murphys launch Oklahoma tornado relief fundraiser

Dropkick Murphys were due to play Oklahoma City yesterday as part of their ongoing tour in support of their latest album, “Signed And Sealed In Blood.” Due to Friday’s severe weather that ripped through Oklahoma for the second time in a week, the band got stuck in Boston where they’d been playing the Boston Strong fundraiser concert, and were forced to cancel the OKC date.

Some of the band’s crew, however, had already gone ahead to OKC and “they spent the night in the hotel’s basement tornado shelter.”

In an effort to help raise funds for the people impacted by the back-to-back tornadoes, Dropkick Murphys have unveiled a “Stand With Oklahoma” t-shirt. As usual when the Dropkicks announce a fundraiser, 100% proceeds from the shirt will be funneled to the band’s Claddagh Fund and will be sent directly to victims. Click here to get one, but do it fast; their Boston Marathon bombing t-shirts sold out in a few days.

For more on the Dropkicks’ statement, click here. Good on ya, boys. Now if only we didn’t need so many fundraisers…



Rick Barton talks Boston punk scene, painting Frank Black’s house and more

“Any kind of underground original music, no matter what it is, it’s good if people get into it and follow it. It’s kind of a dying thing, you know what I mean?”

And so began our recent interview with Rick Barton, frontman of the Quincy, MA-based Continental. The band, which also features Barton’s son Stephen on bass, is getting set to hit the road for most of the second half of 2013, while somehow finding time to record a follow-up to their 2012 debut full length, “All A Man Can Do.” Barton, who may be better known from his stint as the original guitarist for the Dropkick Murphys, took some time out of his busy schedule painting houses to talk with us about what it’s like to be in a working band, and to spend six months a year on the road.

Barton was particularly engaging when discussing the concept of being in a band with your own kid. We also discuss what’s happened to the Boston punk scene, what’s happening to the FM359 project (which features Barton teaming up with Street Dogs Mike McColgan and Johnny Rioux), and what it was like to paint Frank Black’s house. It’s a pretty entertaining, enlightening read: check it out here.



Dropkick Murphys team with Bruce Springsteen for Boston Marathon fundraiser release

Amazing how time flies, but we’re already one month removed from the bombings at the Boston Marathon that killed three and injured more than two hundred runners and spectators. Boston born-and-bred punks Dropkick Murphys were on the West Coast at the time, but quickly announced a three-pronged fundraising effort. First came the now-sold-out “For Boston” t-shirts. Next up was a benefit concert in their hometown, featuring the likes of Big D & The Kids Table and more.

Today, the Dropkicks finally revealed details of the third prong, and it’s a cool one. The band announced a special digital release that finds them teaming up with the one-and-only Bruce Springsteen for a reworked version of the band’s track “Rose Tattoo.” Also featured on the release will be two live tracks captured from a performance in California days after the bombings. The release is available for $1.29 at iTunes by clicking here. All proceeds benefit the Claddagh Fund.

“Rose Tattoo” appears on the Dropkick Murphy’s latest album, “Signed And Sealed In Blood.” Click here to read our interview with Ken Casey from the week after the bombing.



NOFX, Frank Turner, more auction prints for Boston victims

NOFX, Frank Turner, The Pilfers, Bigger Thomas, Young Dubliners, and The Saw Doctors are auctioning off autographs to support victims of Hurricane Sandy and the Boston Bombing victims, with proceeds going to the foundation Hometown Heroes, as well as the official Dropkick Murphys charity The Claddagh Fund.

Check out the listings here.



Live Video: Dropkick Murphys – “Skinhead on the MBTA,” “Dirty Water” and “Boys On The Docks” from Boston Marathon Benefit Show

If you weren’t privileged enough to be in attendance at the Dropkick Murphys‘ sold-out Boston Marathon benefit show at the House of Blues in the band’s hometown last weekend, you’re in luck.

Click here to check out the Dropkicks (and the entire audience) cover the classic Standells track “Dirty Water,” sandwiched in between old school Dropkicks tracks “Skinhead on the MBTA” and “Boys On The Docks.”

In case you missed it, click here to check out our recent interview with founding Dropkick Ken Casey, in which he discussed being away in California during the blast and subsequent fallout, and the band’s three-tiered approach toward helping those impacted by the bombings.

Dropkick Murphys released “Signed and Sealed In Blood” earlier this year via their own Born & Bred Records.



Interview: Ken Casey (Dropkick Murphys) discusses the Boston Marathon bombings and how the band are trying to help

It’s been eleven days since the fatal bombings at the Boston Marathon grabbed worldwide headlines, and only a week since the murder of an MIT police officer and the subsequent manhunt for the surviving bomber. An entire metropolitan area was, literally and figuratively, on lockdown, whether by strict orders or due to an inability to pull away from the continually-developing story. In short, living here felt like being a character in the climactic scene of a Die Hard movie, only in real time.

Perhaps no band in the last twenty years has been as synonymous with Boston as the Dropkick Murphys. In a cruel twist of fate, the band were wrapping up a tour on the West Coast while their beloved hometown was under attack and, later, under lockdown. Nevertheless, the band were amazingly quick to take action, launching a three-pronged effort to raise funds for the hundreds of victims and their families. The second of those prongs is a benefit concert at Boston’s House of Blues this coming Sunday (April 28th). In addition to the Dropkicks in their headlining spot, the show also includes the likes of State Radio, Big D and The Kids Table, the Parkington Sisters, Old Brigade and BarRoom Heroes.

Bassist and founding member of the Dropkicks, Ken Casey, took some time out of his whirlwind schedule to chat about the devastating events and how the band, and their fans, are committed to helping. Click here to check out our interview. And if you can’t make it to town for the show but you still want to help, here are links to the Dropkick Murphy’s own Claddagh Fund and the One Fund, established by the City of Boston and the Commonwealth of Massachusetts.



Dropkick Murphys plan benefit show for Boston families

Dropkick Murphys has announced a show at the Boston House of Blues to benefit the families affected by the recent Boston Marathon bombing. Check out details here. Additionally, the group continues to sell their For Boston t-shirt after raising over $100,000 through the campaign. Click here to buy a shirt.

The Dropkick Murphys last released “Signed and Sealed in Blood” on January 8 through Born and Bled.



Bad Religion, Dropkick Murphys, Social Distortion, and more confirmed for Summerfest

Dropkick Murphys, Bad Religion, Social Distortion, and Silversun Pickups are among the punk acts confirmed for this year’s Summerfest, the largest music festival in the world. Click here to check out the full lineup.

Summerfest will run from June 26-30th and July 2-7 in Milwaukee.

 



110th Harley Davidson Reunion Fest feature RX Bandits, Gaslight Anthem, Dropkick Murphys, more

Exiting news for fans of RX Bandits: The formerly ska/punk, currently alt rock band, who stopped touring in early 2012, have been confirmed for this summer’s 110th Harley Davidson Anniversary Festival in Milwaukee, along with The Gaslight Anthem, Dropkick Murphys, Sublime w/ Rome, Whiskey Of The Damned, and many more.

The festival will run from August 29th-November 1st at the Milwaukee Summerfest Grounds. Click here for the full lineup and additional info.



Dropkick Murphys raise almost $100,000 (and counting) for Boston Bombing victims

Boston natives Dropkick Murphys are close to reaching $100,000 in their “For Boston” t-shirt sales, all of which will go to their official charity to support victims of this week’s tragedy in Boston:

“All of your funds are going into our nationally-recognized official 501(c)3 charity, Claddagh Fund. Money will be given to support victims of the bombings, including the Richard Family from Dorchester, who have ties to the band.

Eight-year-old Martin Richard was killed in the blast on Boylston Street. His sister Jane and his mom Denise are still in serious condition, recovering from injuries sustained in the blast. Along with his father, Bill, he was watching friends cross the finish line.

When we disburse the funds, we will disclose a breakdown of all the financials—so you can see where your money is being spent.”

Click here to help out the project.