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DS Photo Gallery: Street Dogs Wreck The Halls with Noi!se and Art Thieves

Last weekend, the punks and skins came from far and wide, descending upon Boston’s Brighton Music Hall for the 13th installment of Street Dogs‘ annual Wreck The Halls festivities. The hometown working class heroes have been riding high this year, primarily due to the release of Stand For Something Or Die For Nothing, their first full-length in eight years. As the band’s members – and fans – spread far and wide, it can be hard to get all the moving parts in one place at the same time, making events like the three-day Wreck The Halls blowout all the more special.

Nights two and three of this year’s Wreck The Halls featured opening performances from Slapshot, Dori Cameron and the Invisible Monsters, Ramallah and 1916. Dying Scene made it out to the first night, particularly to get the chance to see Street Dogs take the stage with a couple bands that we’ve been fired up to finally see live: Noi!se and Art Thieves, and boy are we glad we did.

Fresh off the release of their own stellar full length, Russian Rats (State Line Records), Art Thieves kicked off the long weekend of Wreck The Halls shenanigans in fine fashion. The three-piece local band play a no-frills style of street punk that’s been the calling card of the local scene for a long time. They’ve sort of perfected the fuck-the-government calls to arms from a past generation and morphed it with the melodic sensibilities of the newer school. If there’s a local band to carry the torch that Street Dogs have been brandishing for the better part of the last couple decades once they decide to hang it up, it may well be Art Thieves.

Noi!se followed up in one of the most eagerly-awaited sets I’ve seen in quite a while. The Tacoma-based quartet has been around for seven-ish years now, but had yet to make it to this side of the Mississippi River. And yet, in many ways, Noi!se’s 45-minute set had the feel of a hometown show of their own, as a solid majority of the 435-strong capacity crowd was well versed in the band’s entire catalog. “Rank And File,” from the band’s 2012 Pushing On full-length (and previously from the This Is Who We Are 7-inch) kicked things off, and from their the band mixed in a dozen other tracks from across the last half decade. The first real pit of the night – and the first in a seemingly endless barrage of crowd-surface – fired itself up by the time fan-favorite “How We Made It Through” made its way into the set at the halfway point, pushing the gas pedal on an energy level that wouldn’t let up for the remainder of the evening. It was one of those times where the event actually exceeds lofty expectations, and where the symbiotic relationship between a band and a crowd is truly palpable.

It can be tough to come up with new phrases or adjectives to describe the live performance of a band that’s long been a stalwart of the scene. Still, the recent Boston Music Award winners for Best Punk/Hardcore act seem to find new ways to mix things up and keep them fresh, perhaps now more so than ever. The band ripped through “Stand For Something Or Die For Nothing,” the title track and lead single from their latest album, as they took the stage (well…after the rocking out to a few minutes of Boston’s “Foreplay” as the instrument-wielding 4/5th of the band took the stage anyway) before proceeding to dig deeper into the back catalog than I’ve seen them do in recent memory. “Pull The Pin” and “You Alone” and “Katie Bar The Door” were welcome additions to the setlist that I can’t recall having seen in the last handful of SD shows. The band played without a barrier (and, as a result, without a photo pit, which is something I’ve become apparently waaaaaaay too comfortable with in my old age), meaning that a band that already gets up close and personal with its fans anyway was able to raise that bar even further. There were guest appearances from Big Truth of American War Machine (I think) and the legendary CJ Ramone, the latter of whom took on vocal duties for a cover of his namesake band’s classic track “Blitzkrieg Bop.” It was a raucous first night for both band and crowd — many of whom were in attendance for two or three nights — and set the stage brilliantly for what was to come.

Head below for our full photo rundown.



Trashed Ambulance release insane fan-made video for “Dogs Chase Cars”

Canadian punk band Trashed Ambulance just released a new music video, created by their fan Shitty Dizzny, who also created animated music videos for Teenage Bottlerocket and Bad Cop/Bad Cop. In his latest creation for Trashed Ambulance, called “Dogs Chase Cars”, we see a lot of familiar cartoon characters from the Simpsons, Rick & Morty and Scooby Doo (of course). Check it out below.

Dogs Chase Cars is off Trashed Ambulance’s most recent album “Flashes Of Competence” out now on Thousand Islands Records.



Street Dogs announce dates for Wreck The Halls 2018

Somehow, it’s almost the holiday season again, and while it that doesn’t seem real or fair, that does bring with it some good news…the announcement of the Street Dogs‘ 2018 edition of Wreck The Halls!

Now in its thirteenth year, this year’s Wreck The Halls festivities will take place at Boston’s Brighton Music Hall between December 14 and 16. Openers vary from night by night and include such noteworthy acts as Art Thieves, Noi!se, Slapshot and more. As has been the case in the past, proceeds from the event will benefit the Massachusetts Fallen Heroes Foundation. Head below for the full rundown!

Street Dogs’ most recent release, the stellar Stand For Something Or Die For Nothing was released earlier this year on Century Media, and will be on my year-end “best of” list for sure!



Riot Fest Recap – Day Two (Street Dogs, Total Chaos, Conflict and more)

Riot Fest’s second day found that bastard, the sun, at it again when California punks Total Chaos began their afternoon set. Before they began, they did treat the crowd with a quick verse from Motorhead’s “Ace of Spades”during soundcheck. The band played a blistering set of breakneck punk like “In Unity,” “Riot City” and their recent track “Street Punx”off their eponymous EP. Both the band and the crowd were wearing studded jackets, patched-up vests, Mohawks and liberty spikes.

Lower Class Brats keep the momentum going. Wearing all black and singer Bones channeling his inner Adicts with his derby hat, the Austin, Texas band covered “All The Young Dudes” as a dedication to David Bowie. The rest of the set was blessed with an insane circle pit and folks just crowd surfing.

British anarcho-punks Conflict were a bit disappointing. Keeping up Lower Class Brat’s all-black-everything look, the band tried their best to get the crowd going with a smattering of success. Even singer Colin Jerwood (the only original member), stepping off stage to sing and greet the crowd didn’t help. Add to the equation some problems with the vocal mic and the overall set was a bit of a let down.

Street Dogs, on the other hand, put on a pumped set. Even with their covers of “Guns of Brixton”, “Borstal Breakout,” and “Blitzkrieg Bop” the Boston band infused it with a kinetic energy that slammed the crowd into hysterics. Even singer Mike McColgan stage dived and kept singing while he was crowdsurfing.

 

Please check out our images below from some of the other Day 2 acts. If you missed yesterday’s Day One coverage, you can check that out here. All photos by Meredith Goldberg, and words by Frederic Hall.



Album Review: Street Dogs “Stand for Something or Die for Nothing”

Street Dogs are back with their sixth studio album, which is also their first album in eight years, Stand for Something or Die for Nothing. For the uninitiated, Street Dogs have a working class street punk and roll sound that has never been tighter than what is on display on this album.

The title track “Stand for Something or Die for Nothing” opens up this album. A classic reminder of everything Street Dogs bring to the table, catchy super tight guitars, socio-political lyrical warnings, and gang-vocals that suck the listener right into the narrative. The topics covered are all in the same vein, generated largely by anger with the current political environment. There’s the blue collar “Working Class Heroes”, the immigration story of “The Round Up”, the warning to future generations in “Other Ones”, and the redemption of “The Comeback Zone”. With one highlight being “Angels Calling” featuring Boston rapper Slaine, who’s appearance gives this rowdy song a boost of energy and a sense of urgency. It’s a perfect way to blend genres in a way that will have you hitting repeat.

This album really shines with a couple of emotional tracks, the first being “These Ain’t the Old Days”. An ode to friends who were unable to overcome their struggles. The emotion put forth by Lenny Lashley on this track is extremely touching. The other song is “Lest We Forget”, the story of a Boston kid who moved to New York to be a firefighter and met a tragic end on September 11, 2001. This song has an energy that betrays its melancholic nature. On a first listen it’s a punk rock banger where it is easy to imagine the crowd singing along to every word. However the more you pay attention the more you will realize that this is a heart-breaker, a super catchy sing-along heart-breaker.

Most of Stand for Something or Die for Nothing is blazing punk rock and roll, however Street Dogs show off their chops on a couple of outliers. “Mary on Believer Street” sounds like a 70’s rock song complete with the high register vocals, and guitar work that sounds lifted from Keith Richards. Ironically enough, this album ends with a cover of “Torn and Frayed” off The Rolling Stones’ Exile on Main St. It’s a faithful cover with Street Dogs soul.

“The dumbing down of America is a reason to write songs in 2018” says lead singer Mike McColgan when discussing this album, “The theme is wake the fuck up and the working class needs to unite across all colors, creeds, nationalities, genders and realize that we are being pitted against each other by snake oil salesmen and autocrats”. Perfectly described and delivered as promised.

4/5 Stars



Street Dogs stream new song “Angels Calling”

Boston punks, Street Dogs‘ new album Stand for Something or Die for Nothing is due to be released on June 22, 2018. Vinyl, digital, and CD pre-orders are available through Century Media.

Excitement for the upcoming release has been building for a while now. In preparation the band has already leaked a few singles from the album, and today, premiere a new working class anthem called “Angels Calling”, this one featuring Boston rapper Slaine. It’s a catchy tune for the tireless and exasperated, and those who “wanna die with [their] boots on.”

The boys are currently on tour in the U.S., after which they will be on their way back to Europe. Those dates and “Angels Calling” below.



The Painted Dogs stream new album “Live Fast, Die Young”

Detroit garage and pop tinged punk act The Painted Dogs are streaming their newest album Live Fast, Die Young, which was released on June 12th.

You can give it a listen below.

The Painted Dogs last released the Vibrator EP in 2016.



Street Dogs release video for “Other Ones”

Boston-based punk band Street Dogs have released a video for “Other Ones.” The song is the second single from their upcoming album Stand For Something Or Die For Nothing, scheduled for a June 22 release via Century Media.

The highly anticipated LP is the first full length album that the band has released since their 2010 self-titled LP and the first recording since their 2014 split with Noi!se.

Watch the video for “Other Ones” below.



Street Dogs stream second track “Other Ones” off of upcoming album “Stand for Something or Die for Nothing”

Boston punk veterans Street Dogs are now streaming a second track “Other Ones” off of their upcoming album “Stand for Something or Die for Nothing.” The new album will be making it’s way to the public on June 22 from Century Media.

The track serves as an anthem to those who serve in the line of law enforcement and the mental toll it can take on them especially in today’s day and age of a politically and socially charged climate.

You can stream the new track below.



DS Exclusive: Mike McColgan on “Stand For Something Or Die For Nothing,” Street Dogs First New Album In Eight Years

Allow me, if you will, the opportunity to rewind your memory all the way back to August of 2010. For contextual purposes, here are some reminders as to that comparatively much simpler time; Dying Scene was barely a year old (and still had white text on a black background! The horror!); MySpace ruled the social networking landscape; the United States was less than two years into the Obama Administration, and we hadn’t had our eyes opened to the fact that the then-President was a Kenyan Muslim by the reality show host and beauty pageant coordinator Donald J. Trump.

It also marked the last time we were graced with a full-length album from working-class firebrand Boston punk veterans Street Dogs. Little did we know at the time that the dozen-and-a-half tracks on that self-titled album would mark the last time we’d hear from the band for quite some time, and the last time we’d hear from that lineup forever. In the time that’s elapsed since that embarked on a brief hiatus, Pete Sosa replaced Paul Rucker on drums, and Lenny Lashley (Darkbuster, Lenny Lashley’s Gang Of One) and Matt Pruitt (Have Nots) took over on guitar duties for longtime members Tobe Bean and Marcus Hollar. Centered around the backbone of Mike McColgan on vocals and Johnny Rioux on bass, the new lineup put together songs for a few 7-inch releases a few years ago, and slowly got to work on their first full-length as a unit.

Next month, June 22nd, to be exact, the wait for a new full-length Street Dogs album is finally over. Stand For Something Or Die For Nothing is slated for release on the band’s new label home, Century Media, and it couldn’t come at a better time. The album finds the band at their shot-out-of-a-cannon best, and serves as a shot across the bow not only for the powers that be that bought and sold our political system on the backs of the working class, but for those that might choose to sit idly by and let it happen. We caught up with the band’s quintessentially blue-collar Bostonian frontman Mike McColgan to chat about just why and how the band put out their best material to date, more than a decade-and-a-half into their life as a band. As you might imagine, McColgan pulled no punches.

I don’t want to be the punk band that sat that fucking out. A lot of fucking bands are sitting that out, and history won’t be kind to them,” McColgan states emphatically. “I have to be honest about what I’m feeling and what I’m thinking. I have a son, and I want to be able to say ‘We didn’t sit back. We stood up. We said something’.” Whether for personal or social or political reasons, McColgan and crew are well aware that there are some people in the scene that they could alienate but putting forward an album that puts out a cohesive statement in this day and age, and they’re more than okay with that. “We’ve always put our money where our mouth is, behind the hard-working people, and taking action. We’ve tried not to be too overbearing or be like Bono about it. But you’ve got to say something. That’s the whole point of Stand For Something Or Die For Nothing…Do! Fucking! Something! Don’t just sit this out and think it’s going to be okay. The stakes are way too fucking high.

If you are a long-time member of the Street Dogs Army, there are more than a few moments on Stand For Something Or Die For Nothing to remind you why you got into the band in the first place; lock-tight rhythms, rapid-fire guitars, infectious hooks, chant-along gang-style choruses that pull the listener and the audience right smack into the middle of the storyline. Look no further than the album’s title track for a textbook example. But there are also some sounds you might not expect; the late 70’s classic arena rock anthemic guitar and higher register vocals on “Mary On Believer Street,” rapper and fellow Bostonian Slaine making a spitfire cameo on “Angels Calling,” the album’s closing track, a cover of the Rolling Stones’ “Torn And Frayed.” In many ways, its those things you’ve grown to love about Street Dogs but performed at a higher level than you’re used to hearing. McColgan credits not only the playing and songwriting stylings of the band’s new members, but the production chops of Rioux, who manned the console on a Street Dogs album solo for the first time (Nate Albert handled the first two albums, Ted Hutt the next two, and Rioux teamed with McColgan’s former Dropkick Murphys bandmate Rick Barton on the self-titled album). “Johnny Rioux came into his own as a producer,” says McColgan. “He pushed me in particular, moreso than anybody, really, really hard. I feel like, at the end of the day, the record really stands up and will stand the test of time. I feel like our fans and maybe some people who don’t even know who the hell we are will like it too.

Stand For Something Or Die For Nothing is not only a great album, it’s a personal album and an important album. It’s tough to encapsulate the breadth and depth of the conversation we had with McColgan into a few lines in an introduction; as is part and parcel when we chat, there’s a lot of ground covered, but perhaps nothing is more poignant than the stories behind some of individual tales that Street Dogs are trying to relate to their listeners on the new album. “These Ain’t The Old Days” looks back at some members of the scene that haven’t, unfortunately, been lucky enough to overcome some of their struggles, namely former Kings of Nuthin’ frontman Torr Skoog who passed away five years ago. The emotion in the song, particularly in Lashley’s vocal contributions, is palpable. “He had to walk out of the studio,” explains McColgan. “He had to take a break. It was that personal and that pivotal and that powerful and that poignant to him.” “The Comeback Zone,” meanwhile, tells three individual tales of redemption that may sound familiar to those that have followed the long-term arc of the careers – and lives – of the band’s individual members.

“Lest We Forget,” though, is perhaps the most personal and emotional song that McColgan has worked on. The song teaches us, the listening audience, about Gerry Dewan, a Boston kid who couldn’t find work on the local fire department, so he moved to New York City and spent a few years working for the New York Fire Department, a budding career that came to a tragic early end on September 11, 2001. McColgan was not only a new recruit to the Boston Fire Department at the time of that fateful day, he was working for Dewan’s brother, William, on the force. “It’s a very, very, very tough thing for me. I’ve been trying to write this song, God, since the Savin Hill days. I’ve written multiple, multiple variations of this song – I’m talking hundreds – because it’s such a heavy, heavy topic, that I was just hellbent on finding the right way to say this and not make it too political.

Head below to check out our full, wide-ranging interview. It’s a pretty special one, particularly as McColgan himself commented on having trouble putting a few feelings into words; noteworthy for a conversation between two guys with Dorchester Irish Catholic roots.

Pre-orders for Stand For Something Or Die For Nothing are still available here.



Street Dogs stream title track from new album “Stand For Something or Die For Nothing”

Street Dogs release their sixth studio album, “Stand For Something or Die For Nothing”, on June 22th via Century Media. Ahead of the album, the band have released the audio for the title track. You can have a listen below.

Full track details and artwork, along with tour dates, were detailed by DS earlier this month.



Street Dogs announce new album, tour dates (East and West coast)

Working class punk rockers Street Dogs are preparing for the release of their sixth studio album titled “Stand For Something or Die For Nothing”, due out June 22 via Century Media.

“The dumbing down of America is a reason to write songs in 2018,” vows Mike McColgan (vocals). “The theme is wake the f*ck up and the working class needs to unite across all colors, creeds, nationalities, genders and realize that we are being pitted against each other by snake oil salesmen and autocrats.”

“Punk, to me, is people living how they want to not how they are told to,” says McColgan. ‘Stand For Something or Die For Nothing’ expresses that ideal through songs like the title track that focuses on freedom of speech and “Working Class Heroes” that focuses upon living the American dream. 

The album was recorded at Woolly Mammoth Studios, Sugarland Studio, and Q Division Studio and was produced by bassist Johnny Rioux.

You can check out the album artwork and track listing, as well as several upcoming shows, below.



Street Dogs announce West Coast tour dates

Boston punks Street Dogs have announced some west coast summer tour dates, which you can check out below.

The bands’ last full length release was the self-titled LP in 2010 that was released on Hellcat Records, with 2014 seeing a split with Noi!se through Pirates Press.



Album Review: Bundles – “Deaf Dogs”

Alright, I’m in a rare corner here. I get to review a band I’ve never heard of, like, ever— from across the country on the recommendation of a fellow Dying Scene writer (shoutout to my better, Jason Stone). The band is Bundles and the album is Deaf Dogs. Well, what does that mean to me? It means I have to put some words together.

Bundles is from Boston and as far as I can tell, Deaf Dogs is their debut album. And from a couple listens and onward, it’s a good one. What does it sound like? Muscular melodic punk from guys who probably dig Avail and the Gaslight Anthem, but probably more on the Avail side. Throat-shredding. Heartfelt. A little on the simple side when it comes to arrangements, driven mostly by bass heavy chugging and shoutalong choruses. I got a distinct street punk vibe here, there’s a certain shared spirit at work, but to be fair, they have about the same connection to a band like Arms Aloft too. Whether you see this as an extension of the working class anthems of street punk or an extension of the working class anthems of melodic punk, just know it’s music you could have a beer with.

The album opens with “Lorem Ipsum,” which stomps out of the stereo with a big verse hook that leads into an even bigger chorus hook. The vocals sound like they’ve been passed through a cheese grater, in the best possible way. In fact, this is where Bundles simple arrangements really benefit themselves. This is punk rock played like punk rock— it’s not reaching to push the boundaries of the genre or aiming for anything loftier than delivering good songs played with passion. With this creed in mind, rhythm, melody, and vocal performance step to the center stage.

Short is another key word for Bundles. Deaf Dogs is full of gloriously short songs. A good amount of the track list doesn’t pass the three minute mark, and a fair amount don’t push two. “TKC” uses its short run time for a raw and ragged singalong that almost reaches into hardcore territory, while, “The Dornishman’s Wife,” the longest song on the album at a whopping three minutes and twenty-eight seconds, slows the tempo but never loses the edge.

“Robots of the Uncanny Valley” is a stand out track that almost feels like an unhinged grunge tune before the whole scene shook off their punk influences to claim rock band status. It’s garage rock in its essence, the sound of people playing the sort of rock ‘n roll they idolize in their mind’s eyes. Inevitably, it comes out as loud and guitar-heavy, with plenty of opportunities for the crowd to singalong. “The State of Seattle” is the number two of the one-two punch, the next sequential track and another highlight of Deaf Dogs that flies by in under two minutes. The pendulum swings both ways though, and if I had to deliver a criticism of Deaf Dogs, it’d be one that a lot of albums like this attract— back to basics rock ‘n roll can only get you so far. Even with a good handful of great songs, a lot of them go by so quickly they’re hard to distinguish. For the most part though, the album survives the sameness sag, with songs like “Oh, Brazil,” and “The Glow” maintaining interest in the latter half.

Deaf Dogs is a strong album, the kind you won’t mind raising a beer and a fist to on any given night. It’s loud, personable, and defiantly minimalist. It’s back to basics punk rock by people who think that rock music should rock.

4/5



DS Photo Gallery: Night Three of Street Dogs Wreck The Halls 2017 with Michael Kane and the Morning Afters and A Wilhelm Scream

Last weekend marked the twelfth installment of Boston street punk veterans Street Dogs‘ annual Wreck The Halls festivities. The shows have taken a variety of shapes and sizes over the years, but remain one of the annual occasions where all of the old punks and skins and hardcore kids get together for a few debaucherous nights to celebrate the holidays and the music and the scene (oh, and to raise money and toys for a few good causes). This year, Wreck The Halls took place in a new spot, Sinclair in Cambridge, and spanned three overwhelmingly successful nights. Street Dogs guitarist Lenny Lashley’s other main project, The New Darkbuster, opened the first night (Thursday) alongside Boston hardcore act Taxi Driver, though sadly, we weren’t in the house for that night. We were, however, in the house when The Abductors and The Pinkerton Thugs came with the throwback ’77-inspired working class punk rock on night number two; check out our review and pictures here. And of course, we were back at it Saturday night when the lineup had a bit of a different feel and just might have been the best of the bunch.

Where the first two nights of the three-night affair focused on a more throwback street punk vibe, night three showed a little bit more of the range of local acts that have been influenced by – and continue to influence – the headliners. As such, Worcester, Massachusetts’ Michael Kane and the Morning Afters got things rolling on the third and final night of hall-wrecking. It’s probably easiest to classify the four-piece as a garage rock band, as the catchiest song in their set – “Old Men Die In New Suits” – owes just as much to the Replacements as it does to mid-70s Bruce Springsteen. Perhaps not coincidentally, both of those name-dropped bands had covers featured prominently in the Morning Afters’ half-hour set, including a set closing rendition of “Born To Run,” a track considered hallowed ground for most in the scene but which the band handled with expert care.

Keeping things in-state, A Wilhelm Scream from New Bedford, Massachusetts, were next out of the chute and my lord did they come to play. If you follow our instagram feed, I think I commented that of all of the bands I shot over thirty-three shows this year for Dying Scene, A Wilhelm Scream were simultaneously the tightest and the heaviest of the bunch, evoking all of the best parts of vintage Strung Out. As a matter of fact, the band play so fast and tight that they blazed through their pre-written setlist in record time, pulling a few older rabbits out of their collective hats. In what was a pretty cool moment for someone that’s an amateur photographer but more importantly a dad, a couple of the AWS guys had their grade-school age kids on stage for the occasion, including frontman Nuno Pereira’s five-year-old son, who was seeing daddy play for the first time ever. Pretty cool moment that further demonstrates what a family the scene really is.

All of this set the stage, of course, for Street Dogs, playing their final area performance of the year. After taking the  stage to the sounds of the timely, poignant Springsteen-led “This Land Is Your Land” singalong, the band came shot out of the gate on all cylinders once again, this time kicking things off with “Rattle and Roll” from their 2010 self-titled release. The followed in rapid succession with the anthemic “Up The Union,” “Punk Rock And Roll” and, of course, “Savin Hill” before coming up for air. Once again, the local working class heroes did a stellar job of mixing a few deeper cuts like the self-titled album digital bonus track “Ballad Of Detroit” into a lengthy setlist chock full of crowd-surf-inducing favorites like “Not Without A Purpose,” “Back To The World,” and “Tobe’s Got A Drinking Problem.” McColgan led the band in a particularly poignant rendition of “Final Transmission” during the set’s midway point. It’s tough to not be moved by even just reading the lyrics of a song like “Final Transmission,” but McColgan seemed to be particularly dialed in on this night, channeling something bigger than any of us.

And, because it’s a hometown Street Dogs show, there were of course some special guests in attendance. The multi-talented Hugh Morrison, who played with Street Dogs’ Mike McColgan, Johnny Rioux and Pete Sosa on the stellar FM359 album a couple years, jumped in on squeeze box for a few numbers. The band’s tour manager, Ryan Packer, who himself is a member of hardcore bands like Slapshot and American War Machine, pitched in on acoustic guitar on “Tobe’s Got A Drinking Problem.” They were also joined on co-lead vocals on “Elizabeth” by Heather Waters, the same voice who sang the original on 2008’s State Of Grace. The one-two punch of the Joe Strummer-inspired “General’s Boombox” directly into a pitch-perfect rendition of the Clash classic “Complete Control” was another particular highlight. No matter what their make-up, the Street Dogs roots have always been planted firmly into the soil that Strummer and The Clash tilled for many years, and they paid true, moving homage to the man on what was just shy of the fifteen year mark of his death. And, of course, there was the stage invasion during “Boston (Borstal) Breakout” that brought the show, and the three-day weekend, to a fitting close. To paraphrase a line from the Street Dogs classic (and personal favorite) “In Defense Of Dorchester,” no matter how far the bands branches might stretch, this town and this scene and the family that they’ve amassed here will always be firmly ingrained in their core.

Check out our full photo gallery from night number three below! Night two words and pictures are still up here.