St. Patrick’s Day 2022 Tour

Dropkick Murphys

with The Bombpops, The Rumjacks
$37.50 - $80.00

About This Event

This event is 18+ however minors are permitted w/ parent or legal guardian.
Public Onsale: Fri, November 12th @ 10am
This show currently has no COVID safety requirements for attendees. This is subject to change. If this changes we will be sure to update this page as well as notify all ticket buyers via email.

Artist Info

Dropkick Murphys

In good times and bad times, we turn to music. Our record collections and playlists carry us through any  hardships, adversities, and trouble the world throws our way. When you press play, the pain just goes away.  It’s why we listen in the first place.  

And that’s what Dropkick Murphys set out to do - and definitely accomplished - on the new album Turn Up  That Dial. They boot in the front door of 2021 with a record that punches you square in the face and says, in  the words of Ken Casey, “Get up, get out of those sweatpants you’ve been wearing for the last year...better  times are ahead – LET’S F-in’ GO!!” 

Over the last two years, following a surgery, bassist/co-lead vocalist Casey stopped playing, passing bass  duties to longtime friend and road crew member Kevin Rheault. With Casey off his leash and free to roam the  front of the stage with co-lead vocalist Al Barr, a new, powerful dynamic has ignited between the two. After a  couple hundred shows of the untethered duo shredding stages all over the world, their long-standing vocal  trade-off explodes out of the speakers better than ever on Turn Up That Dial.  

Volume cranked, heads held high, smiles wide, eyes on the prize, Dropkick Murphys charge forward with the  same spirit that brought them here in the first place…yet with a new determination and exuberance that brings  both the live show and this album to the next level.  

“On this record, the overall theme is the importance of music, and the bands that made us who we are,” states  Casey. “We just hope it takes people’s minds off their troubles. We’re so fortunate and grateful to be in the  position to share a little happiness in our own way. Our gratitude levels are off the chart. 25 years ago,  somebody bet me 30 bucks I couldn’t form a band with three weeks’ notice to open for his band. As kids, we’d  never been out of New England and here we are—we’ve made ten records and have been all over the globe. If  there’s a message to this album, it’s ‘put your fist up and play it loud.’” 

That became something of a mantra for the guys in the studio. Even before the shit hit the fan with the global  pandemic, the boys wanted to “make a really fun and upbeat record,” according to Casey. They’d just  completed a marathon tour cycle behind 11 Short Stories of Pain & Glory—which boldly stared down the opiate  epidemic—and made a conscious decision to uplift. By the top of 2020, they had written and recorded a little  more than half of the music for what would become Turn Up That Dial.  

So they hit the road in Europe armed with a raucous new single, “Smash Shit Up.” The band shot two music  videos the day before the final show of the tour. On Friday, February 21, 2020, the band walked onstage in  front of 9,000 people at the majestic Alexandra Palace in London. All signs pointed to 2020 being maybe the  most enjoyable and memorable year of the band’s career yet. 

We all know what happened next.  

Touring ceased. Cities shut down. Way too many of our brothers and sisters lost their lives.

Hunkered down at home, Dropkick Murphys staved off depression by leaning on the music and leaning on  each other. As they have since 1996, they began throwing down rousing anthems – songs that span the gap  from punk rock ragers to melodic, Irish-inspired tunes.  

The band—Al Barr (lead vocals), Tim Brennan (guitars, tin whistle, accordion, piano, vocals), Ken Casey (lead vocals), Jeff DaRosa (guitars, banjo, mandolin, vocals), Matt Kelly (drums, percussion, and vocals),  James Lynch (guitars and vocals), plus touring members Kevin Rheault on bass and Lee Forshner on  bagpipes – proudly uphold this tradition yet again on their tenth full-length studio album, Turn Up That Dial [Born & Bred Records].  

“At first, we didn’t know if or when we’d ever play music again, but we found a way to do it,” states Casey. “It  was nice to have something to work on to keep us sane and give us a little bit of hope. We also had the time to  tinker and change things we probably wouldn’t have ordinarily. I wish it was under different circumstances, but  the time was ultimately beneficial.” 

Working out of Q Division Studios in Somerville, MA with longtime producer Ted Hutt, they recorded in shifts  with two members at a time. For the final weeks of recording, Hutt ran the sessions via video conference from  his studio in LA. For background vocals, the guys set up separate mics in five different rooms, so they could all  simultaneously sing safely. “We were all looking at each other out the window, at least,” recalls Casey. “We  went outside to do some vocals, but it gets a little crazy with the ambient sirens, wind, and all of that stuff,” he  chuckles.  

Dropkick Murphys steamrolled their way through the album with a string of anthems, starting with the title  track. “Turn Up That Dial” lays bare the whole point of the collection in the first verse: 

You’re my inspiration, you got something to say 

Now turn up that dial ‘til it takes me away  

...and the chorus drives the point home… 

We took on the world 

With these songs in our ear 

They told us to listen 

But you were all we could hear 

It’s easy to imagine the band members thinking back to their teenage selves: blasting The Clash on a  Walkman, feeling their favorite bands were sticking up for them more than anyone else in the world.  

As Casey called out above, this album is fueled by those bands that captured the energy of the streets,  distilled life’s complexities to raging choruses, and were constant companions.  

On the other end of the spectrum, the band closes the album with a tribute to Al’s late father Woody Barr on  the tearful “I Wish You Were Here.” Turn Up That Dial waves goodbye with accordion, bagpipes, and a drum  march. 


Al’s dad was just an incredible man,” Casey explains. “He and Al had a very special bond. To watch Al grieve  his death was heartbreaking. He persevered through it, even when we had to go back on the road, away from  family. He kept his head held high. We’ve never ended an album with a slow song, but we had to end it with a  tip of the cap to pay our respects to Woody and so many others. It’s a moment to stop, count our blessings,  and remember those who we’ve lost, including the 500,000-plus people to this virus.” 

Speaking of bagpipes, the band dedicates “L-EE-B-O-Y” to bagpiper Lee Forshner, who played on an  instrumental version of the song, but has yet to hear the lyrics and has no idea it’s about him.  

“We can’t wait to surprise him,” Casey grins. “Bagpipe players are unique characters in and of themselves.  Lee’s just a great dude.”

Meanwhile, the title “Middle Finger” speaks for itself. Barr spits out the verses with an evil, tongue-in-cheek  grin, as the track explodes into the chorus, “I could never keep that middle finger down.” Not one to shirk  responsibility, Casey offers this reflection: “Thinking of my younger days, I made things a lot harder than they  needed to be – and still pay for some of those mistakes now. As the lyric confirms: ‘I’ve learned from my losses  / I know when I'm wrong / Still my life’s sadder than an old country song.’”  

“Mick Jones Nicked My Pudding” recounts a hilarious memory Ted Hutt shared with the band of the time The  Clash guitarist swiped Ted’s dessert from the fridge of a studio in the UK. After hearing the story, the  Dropkicks took a lunch break, and while they were gone Casey stayed behind and turned Hutt’s story to song  in a 10-minute span. Galloping drums and a high-octane riff practically crash right into a gang chorus issuing a  warning, “Mick Jones, leave my pudding alone!”  

A newscaster introduces us to the “Queen of Suffolk County” as Casey recounts the exploits of a knife-toting  local femme fatale advising, “You best stay out of her way. She don’t joke, and she don’t play.” One of the  most light-hearted moments on the album, the hilarious “H.B.D.M.F.” puts the crosshairs on that one adult  friend who always over-celebrates their birthday. “It’s attention that you seek, it’s a birthDAY not a week,” the  song admonishes. 

“I just have a personal disdain for people who overdo the birthday thing,” Casey laughs. “It may or may not be  dedicated to a member of the band…” 

A cynical love letter to Boston, “City By The Sea” sings the praises and laments the difficulties of growing up in  the Hub, culminating with the heartfelt cry, “I wanna be back where people tell it like it is, everyone remembers  but nobody forgives.” 

With the crackle of a needle drop, “Good As Gold” brings us back to the album’s theme – the music that  shaped the band. Here, Casey talks about “the act of coveting records, going record shopping, buying albums,  and how pumped you felt to bring a new album home.” Where the title track honors the band’s musical heroes  and the impact they had on the young Dropkick members, “Good As Gold” is about the albums themselves,  those precious slabs of vinyl we listen to, collect, and cherish. 

“It’s about the important role music has played in our lives,” Casey says. “The outside world may be going on.  Boom, you put your headphones on, drop the needle, and nothing else matters. It’s about how much hope I’ve  gotten from music, all of the inspiration, and the way it’s helped me take my frustrations out.” 

For as much as everything changed in 2020, one thing didn’t. Dropkick Murphys still found a big way to give  back. On St. Patrick’s Day 2020, just as the Covid-19 pandemic was hitting critical mass in the United States,  Dropkick Murphys held their Streaming Up From Boston live stream event in lieu of their normal Boston  Blowout St. Patrick’s Day celebration. To date, it’s been watched more than 13 million times across platforms,  was featured on CBS This Morning Saturday, CNN, NBC Nightly News, The Late Show With Stephen  Colbert, and in the Wall Street Journal, and raised more than $60,000 through the band’s charitable  organization, The Claddagh Fund. 

In May 2020, they masterminded the historic Streaming Outta Fenway presented by Pega. Taking the infield at  Fenway Park instruments in-hand, it stood out as the first-ever music event without an in-person audience at a  major U.S. venue, and the first music performance directly on the infield at Fenway. Bruce Springsteen joined  on the Jumbotron for a two-song “Double Play” of DKM’s “Rose Tattoo” and his “American Land.” Most  importantly, they hauled in $700,000-plus to benefit charities such as Boston Resiliency Fund, Feeding  America®, and Habitat for Humanity, Greater Boston.  

“We found that giving back is what makes everything most relevant and worth it,” Casey says. “When it’s all  said and done, we had fun, gained a degree of popularity, paid some bills, and got to see the world. However,  the charitable stuff is what we’ll hang our hat on the most. That ties it all together for us.” 

That says a lot given their history…

With a celebrated discography including 2005’s gold-selling Warrior’s Code and the near double-platinum  classic “I’m Shipping Up To Boston,” these underdogs turned champions have quietly moved 8 million-plus  units worldwide. Whether you caught a legendary gig at The Rathskeller (The Rat) under Kenmore Square,  found the band by taking the T to Newbury Comics to cop Do Or Die in ’98, discovered them in Martin  Scorsese’s Academy Award-winning The Departed, or saw ‘em throw down at Coachella (or one of hundreds  of other festivals), you’ve become a part of their extended family. Among many accolades, they’ve earned  three Top 10 albums on the Billboard Top 200, generated half-a-billion streams, and sold out gigs on multiple  continents. Not to mention, The Signed and Sealed in Blood standout “Rose Tattoo” graced Loudwire’s "Top  66 Best Of The Decade Rock Songs" at #21 with a bullet. Most recently, 2017’s 11 Short Stories Of Pain &  Glory (released through the band's own Born & Bred Records), bowed at #8 on the Billboard Top 200 and  emerged as the #1 independently released album. 

In the end, Turn Up That Dial is a self-fulfilling prophecy for Dropkick Murphys

“We’ve all done plenty of lamenting, so the main goal was to keep this fun,” Casey leaves off. “The darker the  times got, the harder we fought to uplift with this music. Whatever we’re potentially giving to fans, trust me,  they’re giving it to us tenfold. Now, turn up that fucking dial.”  

Rick Florino, January 2021 

The Bombpops
A band that plays taut, hooky pop-punk in the time-tested SoCal manner, the Bombpops were formed in 2008 in Oceanside, California. The band is led by guitarists and vocalists Poli van Dam and Jen Razavi, who have fronted the group through a long succession of personnel changes; according to a 2017 interview with Razavi, "We’ve had three drummers and six bass players." In 2010, after making their mark as a live act in Southern California, the Bombpops self-released their first EP, … Like I Care. The EP was later reissued by Red Scare Industries, who also put out the second Bombpops EP, Stole the TV, in 2011. In 2012, the band made plans to cut their first full-length album with Tony Sly of No Use for a Name as producer, but Sly's unexpected death that year put the project on the back burner. A 2014 self-released single, "Can O'Worms" b/w "Breathe," introduced the band's most stable lineup, with van Dam and Razavi joined by bassist Neil Wayne and drummer Josh Lewis. But the band had to put some of their plans on hold when van Dam became pregnant and had to curtail recording and touring for a while. By 2016, the Bombpops were back in business, and with Chris Fogal of the Gamits serving as producer, the band finally began work on their first full-length album. Venerable punk label Fat Wreck Chords signed the Bombpops and released their album Fear of Missing Out in February 2017.

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