Words by Natalie Blacklock
Photography by Tam Schilling // @tamcamimages_ – VIEW FULL GALLERY HERE
Aussie punk fans are copping a double-dose of nostalgia as Boston rock ‘n’ roll underdogs turned champions Dropkick Murphys embark on their first Australian headline tour in over a decade, bringing none other than Chicago’s rock canons Alkaline Trio along for the ride. The bands are winding up their 6-date tour of the country in style, taking over one of Brisbane’s most sought after venues, The Fortitude Music Hall for a *SOLD OUT* final night of tour.
Located front and centre of the Brunswick Street Mall, The Fortitude has well and truly made its mark on the local scene, hosting a plethora of local and international acts, including Grinspoon, The Streets, NOFX and even a Vert-Skating showcase from none other than Tony Hawk, celebrating 25 years of Pro Skater 2. The venue is the work of Hutchinson Builders Chairman, Scott Hutchinson and Powderfinger Bassist / owner of The Triffid, John “JC” Collins and seeks to serve as a “Festival Hall for a whole new generation”. From the bright lighted mall-side façade, The Fortitude Music Hall opens up into a spectacular foyer, glittering front bar followed by the triumphant two-level, high-ceiling bandroom, which features opulent hanging chandeliers and tiered standing areas for the some 3500 punters to have a perfect view of the stage no matter where they find themselves.
In the absence of a support act on the bill, the bandroom packed out quickly, with punters ready to mosh early on! In their more than 25 years together as a band, Alkaline Trio have delivered urgent punk blasts with a dark, driving edge that helped them remain commercially viable without sacrificing their raucous spirit, creating their own little universe, a few short steps away from Armageddon. Slowly ascending through the Warped Tour ranks into the early 2000s, with 2003’s breakthrough record ‘Good Mourning’ and 2005 follow-up ‘Crimson’. The release of their monumental 10th record, ‘Blood, Hair, and Eyeballs’ earlier this year, saw the band strip their sound back to the bare essentials that endeared them to a generation of punk fans. This tour marks Alkaline Trio’s return to Australian shores for the first time since Soundwave Festival 2014, and, undoubtedly there is plenty of excitement in the crowd.
Dressed to impress in matching black suits, the band; Frontman / Guitarist Matt Skiba, Bassist Dan Andriano and new full-time Drummer Atom Willard waste no time in delivering a jam-packed setlist featuring gems for fans, both old and new. Opening the set with Time To Waste, from 2005 record ‘Crimson’, the band hit their strides as they ripped straight into older cut, We’ve Had Enough, sending the crowd into a frenzy with its soaring chorus scream-a-longs. Dan Andriano’s vocals take the lead on Take Lots of Alcohol before Frontman Matt Skiba sends out a heartfelt thankyou to the Dropkick Murphys for having them along on the tour, dedicating recent single Bad Time to them. Inspired by Skiba’s proximity to two life-threatening situations of gun violence in his life, the track speaks of the comfort he was given through hearing the voice of a loved one. Following a quick change-up of guitars, the band rolled out another ‘Blood, Hair, and Eyeballs’ track; Versions Of You, keenly led by Dan Andriano’s booming vocals. Diving back to 2008 ‘Agony & Irony’, Calling All Skeletons, ignited another crowd singalong complete with all the “oh-oh-oh’s”. By this point in the set, Drummer Atom Willard was easily 90% sweat, visibly soaked from head to toe, keeping a frenetic pace on Cringe. Skiba addresses the crowd briefly, apologising that it’s been 11 long years between drinks, but admitted he “didn’t know if we’d see each other again with that whole COVID thing” before launching into crowd favourite, Armageddon, from 2001’s ‘From Here To Infirmary’. Pausing briefly before Sadie, a track written about Manson Family member Susan Atkins, Skiba spotted a punter in the front row who’d been holding up a sign saying “Matt! Draw on me and I’ll get it tattooed” and told the crowd that he would happily draw whatever the punter wanted after the show. The set was hitting its peak as the band launched into 2005 ‘Crimson’ cut, Mercy Me. One of my personal favourites, the track did not disappoint, with Skiba even chucking in a cheeky reference to Australia in the lyrics (subbing out Chicago). Not to be outdone, the band quickly followed up with Fat Wreck Chords’ 2004 ‘Rock Against Bush Volume 1’ compilation contribution Warbrain. Littered with references to songs by Hot Water Music and The Bouncing Souls, this one is undoubtedly a hit with the crowd, as they passionately screamed along to every word. Andriano’s croon comes alive on Crawl as the crowd clapped along. Skiba took a moment to formally introduce Willard to the crowd, before launching into the title track of the band’s latest record ‘Blood, Hair, and Eyeballs’, released earlier this year – an energetic track but one that definitely stays true to the roots of the band. Revisiting the ‘From Here To Infirmary’ record, the band unleash Private Eye; with its clever lyricism, it’s hard to not get caught up and sing along (at the top of your lungs, like your life depends on it…). After numerous requests from the crowd thus far, Skiba leads the band in This Could Be Love from 2003’s ‘Good Mourning’, which saw en-masse singalong complete with hand-gestures signalling each ‘step’ detailed in the track. Rounding out their set with unconventional break-up anthem Radio, the crowd were clearly feeling every single emotion through the song’s bridge. If there was ever such a thing of ‘peaking at the support band’, tonight could be a perfect example. Alkaline Trio did not miss a beat, bringing together a cohesive set of old and new material, pleasing the rusted-on fans and undoubtedly garnering a few new ones along the way.
Since their founding to win a bet 1996, Dropkick Murphys have created the kind of music that’s meant to be chanted at ‘last call’ in dingy dive bars, in packed arenas arm-in-arm with drunken friends and across sporting stadiums the world over. Through their extensive back-catalogue including 2005 breakout record ‘The Warrior’s Code’, the band have defined a genre of good-times and punk party vibes, through their unique combination Celtic roots with punk and a healthy dose of political commentary.
As The Fureys’ (and Celtic FC anthem) instrumental The Lonesome Boatman beckoned Dropkick Murphys to centre stage (and the punters away from the bar), the first of many crowd singalongs of the night ensued with energetic Frontman Ken Casey, leading the way. Rolling straight into the anthemic The Boys Are Back, the heaving crowd were swept up in the band’s signature Celtic punk spirit. The singalongs did not stop on The State of Massachusetts from 2007 ‘The Meanest Of Times’, led by Jeff DaRosa’s expertise on the Banjo, which he took for a quick crowdsurf for good measure. Middle Finger, a romping ode to the orneriest of hand gestures, was perfectly punctuated by Tim Brennan’s expertise on the Piano Accordion. As the ever-familiar strains of “hurroo hurroo” rang out, a mate I was with passed me his beer and promptly ran off into the thick of the pit for a frantic singalong of Johnny, I Hardly Knew Ya. First published in London in 1867 by Joseph B. Geoghegan, the track details the return home of a badly disfigured soldier, who lost his legs, his arms, his eyes (and, in some versions, his nose), fighting on the island of Sulloon. Following on, the band’s latest single and title track to 2024 album ‘Sirens’, provided a perceptive (and unsettling) commentary of the underlying causes of the modern world’s fractured social structure: “The billionaire profits while the worker bleeds, one percent of the wealth hoards from millions in need. We’re fightin’ for the scraps, we struggle and suffer, we’re fallin’ for the trap, we’re turnin’ on each other.” The Dropkicks’ take a step back to 2022’s ‘This Machine Still Kills Fascists’ album (the title of which is a nod to the World War II-era stickers American machinists affixed to their metalworking lathes and drill presses and of course, the iconic words folk singer and left-wing political activist Woody Guthrie inscribed on the back of his acoustic guitars), with the catchy Two 6’s Upside Down, before “Bringing a little bit of Glasgow to Brisbane” with their Bagpipe-laden cover of Gerry Cinnamon’s The Bonny. The crowd clapped along as Frontman Ken Casey manically roamed the stage, firing up the masses and offering mic-grabs to crowd surfers on Good As Gold and Smash Shit Up from 2021’s ‘Turn Up That Dial’. Captain Kelly’s Kitchen from 2005 record ‘The Warrior’s Code’ provided driving drumlines from Matt Kelly and a front-and-centre moment for touring band member, Campbell Webster on the Violin. Dedicated to the memory of a fan (whose family members were in attendance), the band ripped into a stirring rendition of God Willing, complete with stunning Guitar solo from multi-instrumentalist Tim Brennan. Pausing to check in with the crowd, Casey asks “Brisbane, you guys alright?” before taking a moment to thank everyone for their love and patience on behalf co-vocalist, Al Barr, who stepped away from DKM duties in 2022 to care for his mother, who has Lewy Body Dementia. In introducing the next track, Casey cheekily dedicated The Season’s Upon Us, to “anyone who has a fucked-up family during the holidays”. Party bop (F)lannigan’s Ball followed up – taking its origin story from 1860s Irish folk song Lanigan’s Ball, describes a raucous party thrown by titular character Jeremy Lanigan, after inheriting land from his Father. By request, the band launched into their cover of Pete St. John’s folk ballad The Fields of Athenry. Set during the Great Famine of the 1840s, the lyrics feature a fictional man, who stole food for his starving family and was sentenced to transportation to the Australia’s penal colony at Botany Bay. Casey asked the crowd if they were “Ready for Hardcore”, and with the answer a resounding YES, the band kicked things up a notch for the Citizen CIA. Taking a moment to thank their road crew and Alkaline Trio for joining them on the tour, DKM took things back to the start, with the first song the band ever wrote, 1996’s Barroom Hero, reminiscent of first-generation Oi! Punk bands including such as Sham 69 and Cock Sparrer. 2011 track The Hardest Mile brought with it stunning three-part harmonies from James Lynch, Jeff DaRosa and Kevin Rheault (on Lead Guitar, Mandolin and Bass Guitar respectively). Rose Tattoo, the lead single from the band’s eighth studio album ‘Signed and Sealed In Blood’ (2013) was a highlight, with the crowd fully committing to a rousing singalong. Trekking back through the band’s back-catalogue to 2003 penultimate Hellcat Records-released album ‘Blackout’, Casey dedicated the raucously fun Walk Away to a couple in the crowd celebrating their Anniversary. Offering somewhat of a Public Service Announcement from the approximate “48.5 million Americans who haven’t lost their minds”, Dropkick Murphys drove home the reality of the next four years of their political landscape on Going Out In Style, echoing the sentiments of the song’s Funeral Parlour music video, which features cameos from Fat Mike (NOFX) and The Living End’s Chris Cheney. Ever the Frontman of motivation, Casey willed the crowd “to finish strong” with another ‘Signed and Sealed In Blood’ cut, Out Of Our Heads, allowing Jeff DaRosa and Tim Brennan to team up for some stunning Banjo and Piano Accordion goodness. Rounding out the main set, Casey implored the crowd to wrap their arms around their mates, as the band ripped into an energetic rendition of Kiss Me, I’m Shitfaced – a statement which probably wasn’t a far stretch for many liquored-up punters down on the floor at The Fortitude.
Following a LOUD all-in “Let’s Go Murphy’s” chant, the band returned to the stage, with iconic DKM track, and absolute crowd favourite I’m Shipping Up to Boston, which features lyrics from American folk music legend Woody Guthrie. Frequently used by the likes of the Boston Bruins and Boston Red Sox as pump-up anthems during games, the crowd definitely needed no invitation to let rip in the pit. Finally, closing out the night with Worker’s Song, penned as a tribute to the working-class people the world over, the Dropkick’s have undoubtedly left a mark on all collective memories this evening. As the lights come up and the band bid farewell, Casey revisited the barrier one more time, hi-fiving punters and throwing out setlists left and right.
Offering a marathon of fan favourites and deeper cuts from their extensive back-catalogue, this show and indeed, this tour, showcased Dropkick Murphys’ perfect balance between their Celtic origins – and like all good punk rock – the struggles of the ‘everyman’, seamlessly blending fast-paced punk energy, with evocative traditional folk musings. Underpinned by their drive to still be at the top of their game some 28 years into their career, Dropkick Murphys are still ready for more – and the sneaky mention of their return to Australian shores in 2025, is one that shouldn’t be missed. Is it time for another pint?
With thanks to Dallas Does PR
