By photojournalist Daniel Hernandez
On a balmy Saturday night in Clearwater, Florida, The BayCare Sound was alive with a blend of youthful energy and seasoned punk enthusiasm as Dropkick Murphys stormed the stage for yet another memorable performance that spanned an impressive nine of their albums. The evening of March 8, 2025, was a gathering of generations, where age seemed irrelevant in the face of collective love for spirited Celtic punk music and a solid circle pit. It turned out that the venue removing all seating was the correct decision after all with this rowdy crew raging through town.
The night kicked off with excellent opening acts, Teenage Bottle Rocket and The Menzingers who played quite the extensive setlist themselves deserving of their own review, each warmed up the crowd with infectious punk anthems. They were the kindling and the flints for what would become an exhilarating musical firestorm lit by Dropkick Murphys. Although I am sure that the fans would have loved to see singer Al Barr, who is currently and understandably in hiatus taking care for his mother Dropkick remained a force to be reckoned with led by Ken Casey.
As the stage lights dimmed for the final act, the excitement began to crescendo into raucous cheers, signaling the entrance of the headliners. As the lights strobed and the band took the stage, they wasted no time before tearing into their set with “Captain Kelly’s Kitchen,” instantly igniting an exuberance that didn’t wane for the rest of the night. “The Boys Are Back” aptly followed, an anthem that reverberated through the warm night air as the crowd sang along with a passion that felt as if it could shake the very ground beneath our feet.
Dropkick Murphys effortlessly managed to keep the adrenaline pumping through songs like “Smash Shit Up” and “Climbing a Chair to Bed,” their energy matched by the fans who braved to dance in the pit without abandon. “Queen of Suffolk County” and “Bastards on Parade” added a touch of narrative flair, while “Blood” and “Barroom Hero” highlighted the band’s knack for storytelling using music as a medium.
Two standout moments of the show were the band dedicating the night’s show to a fallen fan whose parents were in attendance along with their rendition of “The Fields of Athenry,” during which both longtime fans and those newly tuning in were stuck in an entranced state of attention, swaying in unison to the haunting melody. It was a song that fostered a sense of unity, underscoring the night’s communal spirit.
The choice of covers, including “Which Side Are You On?” and “The Irish Rover,” paid homage to the band’s influences and roots, drawing appreciative roars from the audience. While fan favorites Rose Tattoo” and “The State of Massachusetts” were triumphant peaks in the set, stirring singalongs and triggering crowd surges that could be felt if not heard across the bay.
As the concert barreled towards a fitting end, and once Ken Casey had utterly shut down a political heckler, the encore closed out with the classic “I’m Shipping Up to Boston” which sent electric penultimate eruption through the venue before “Worker’s Song” closed the night on a note of rallying solidarity reminding us that we are all still in this together.
Throughout the night, the band displayed an impressive level of stamina and passion that the crowd in attendance returned in kind, exemplifying why Dropkick Murphys remain a Celtic Punk Powerhouse. The event was not only an evening of music but a celebration of community, tradition, and the cathartic power of punk. In Clearwater that night, young punks and old shared a legacy tied together by melody, memory, and unyielding spirit. As it turns out, Punks not dead after all!
