Dropkick Murphys came out of Boston in the mid-90s, blending street punk with Irish folk instruments led by bass player Ken Casey.

From Quincy pubs to packed halls

After a stretch where co-vocalist Al Barr stepped away for family reasons, the band adjusted with Casey taking most leads, and Barr has since returned to many shows. You get bagpipes locked to guitar riffs and a stomping drum feel that turns choruses into call-and-response.

What might be played, and who shows up

Likely anchors include I'm Shipping Up to Boston, The State of Massachusetts, Rose Tattoo, and Worker's Song. The crowd skews mixed-age, with union jackets and Bruins sweaters next to college hoodies, and families showing up early while lifers crowd the rail. A neat detail is that the words to I'm Shipping Up to Boston came from Woody Guthrie's notebooks, a link they doubled down on with This Machine Still Kills Fascists. Another tidbit is that Rose Tattoo gained a charity version with Bruce Springsteen, reflecting the band's community streak. Take the set and production notes here as informed guesses drawn from recent runs.

Green Threads, Union Patches, and Pub-Chorus Culture

The scene leans green and black, with tartan scarves, worn boots, union patches, and hockey sweaters trading nods at the bar.

Green threads and loud voices

You will hear warm greetings across rows and a steady hum of pre-chorus oh-ohs even before lights drop. When The State of Massachusetts or Rose Tattoo hits, the room swings into arm-linked sway, and you can pick out multi-generational voices in the blend.

Traditions that stick

A long-running tradition is inviting fans onstage for Kiss Me, I'm Shitfaced, which turns the finale into a pub sing with mics shared across smiling faces. Merch lines favor limited-run hockey jerseys, Irish-flag scarves, and charity tees supporting the Claddagh Fund, alongside classic skull-and-shamrock designs. Chants come back between songs, often a simple "Let's go Murphys" clap pattern that the band answers with a quick count-in. The vibe is communal more than wild, and the expectation is to look out for each other so the pit stays fun and the singalongs stay loud.

Pipes, Power Chords, and Punchy Choruses with Dropkick Murphys

Live, Dropkick Murphys lean on barked lead vocals, stacked gang shouts, and tight guitar lines that mirror the pipes.

Pipes meet power chords

Drums hit with a marching snap, then drop into half-time for breakdowns that let the crowd breathe before the next rush. The bagpipes favor a narrow set of keys, so the band writes and transposes riffs to fit that range, which gives many songs their bright ring. Guitars often double the pipe melody for impact, then peel off into chunky chords to clear space for the chorus chant. On a good night, Al Barr's rasp roughens the edges while Ken Casey's bark keeps phrases clear so the crowd can follow.

Hooks built for a roar

They sometimes strip one mid-set tune to acoustic roots, a habit sharpened during the This Machine Still Kills Fascists and Okemah Rising era. Lights tend to ride the snare and switch to deep greens on the bagpipe hooks, adding color without stealing focus.

If You Like Dropkick Murphys, You'll Click With These

Fans of Flogging Molly often find common ground here thanks to Celtic fiddle runs, pogo-ready tempos, and choruses built to shout as one.

Kindred loud hearts

Frank Turner connects through working-class storytelling and the knack for turning punk grit into pub-sing rallying cries. If you like brisk rhythms and gang vocals with a bounce, The Interrupters bring a ska-punk tilt that lands in the same live sweet spot. For folk-punk with global flavors and violin-driven sparks, Gogol Bordello draws a similar crowd that favors movement and melody over polish.

Where scenes overlap

These artists all prize big hooks, clear beats, and a room-first approach, which mirrors how Dropkick Murphys build their nights. If those names sit in your playlists, this show likely fits beside them without whiplash.