Article Contributed by Dan Ward
Published on 2026-03-08
Photos by Dan Ward
The Irish are coming to Chicago and they plan to rock the town. Tell a friend in Chicago you are going to see Dropkick Murphys and the reply will be some form of expletive. Tell them that Slugger and Haywire are on the same bill and they will break out their phones trying to score tickets. Then add in the Aggrolites joining them and the show is sold out—now watch the envy glow in their eyes. Then inform them that you also bought them a ticket (because that is what friends do) and you just got your food and beer paid for the whole evening.
Whoever came up with this lineup is an absolute genius. First, Slugger is a serious street punk band; young and energetic they bring that raw, nerve-questioning attitude that makes you think. Then add in Haywire, a relatively new band, yet they have the advantage of life experience that allows them to speak of self-valuation—something we could all learn a little from. Then the well-established Aggrolites bring the wisdom of over twenty years playing together to remind us all to enjoy life. Finally, the main event: Dropkick Murphys celebrating thirty years as an unapologetic Celtic punk band that is as genuine as Boston is American. This was a concert not to be missed.
Slugger, the California punk Oi! band, takes the stage first. The lead singer paces like a caged tiger ready to pounce at any moment. Their music is harsh with lyrics that emote betrayal, confusion, and angst. Suddenly I understand Oi! music. This music is the product of the disenfranchised—a generation that has been told “just do what the last generation did,” yet the results are not the same.
Songs like “Humboldt Ave,” “What Future,” and “Politician” portray the harsh reality for modern youth. A college degree will guarantee success—but it doesn’t. Work hard and you will advance—but you don’t. Trust that older people will look out for you—but you stagnate. The lyrics could be a rebroadcast of any day’s news.
The band plays tight. The chords and lyric lines are there, but they are not meant to make people comfortable. They are meant to express frustration—and it works. The fans pump fists into the air and the mosh pit begins. Energy pent up from confusion is expended here with sympathetic others. The set is short, but the crowd needs a break.
Next up is the other band from Boston on tonight’s bill, Haywire. The band uses a recording of “Sweet Caroline” to set the mood before dropping “Boston Boot Boys” like a hammer. Austin Sparkman rouses the fans with “Poser Disposer” and “Clocktower Place,” delivering hard lyrics with conviction.
The band has collaborated with Dropkick Murphys to produce a split that includes “New England Forever.” Haywire is joined by Ken Casey during the song and the crowd goes wild. Ken and Austin change up the lyrics to “Chicago Forever” to rave acceptance.
Haywire, via Austin, promotes a different message than Slugger. The latter points to anguish with world events and the personal effects, while the former promotes self-healing and recognition of our place and importance. Austin inspires the crowd with his own life story and implores them to do their own thing—but know the risks and don’t get hurt. He sends out “Love Song” and “Always by Your Side” as musical proof of the band’s commitment to positive health and support.
Haywire really interacted with the crowd, bringing crowd surfers up on stage for snapshots with Austin and the band. Austin himself surfed out into the crowd and sang most of the set from the forward stage extension. Some bands touch fans philosophically—this band gets out there and lifts them onto the stage. They end an amazing set with “Like a Train,” a song that lives up to its name.
The third band brings pure happiness and joy. The Aggrolites have been around since 2002 bringing their retro-style reggae to the masses. Jesse Wagner (vocals/guitar) and Roger Rivas (keys) began the band back in 2002 and have created a sound that is Jamaican via Motown with a special twist of SoCal—very much their own.
Jeff Roffredo (bass) and Ricky Chacon (guitar) bounce around the stage like teenagers on a weekend when the parents aren’t home, jumping and skipping but never missing a beat. The joy with which they play and interact is palpable. Drummer Alex McKenzie sets a steady thump to keep the band in line, all while never breaking a sweat.
They start off with “Funky Fire,” a blazing tune that gets the whole Salt Shed jumping. Jesse reaches out to the crowd like he is singing to each person individually. Roger stands behind the keyboard with signature sunglasses jamming along and clearly having a great time. The band breaks into “Reggae Hit L.A.” and the fans love it.
This band brings real energy to their set, constantly playing to the audience. They have a new release out in June and, judging from the crowd’s reaction as they send out “Till the Wheels Fall Off,” the new record is going to be great. The band closed with two stunners: Frankie Valli’s “You’re Too Good to Be True” and Nancy Sinatra’s “These Boots Were Made for Walkin’.” I am in awe as the fans all join in on these classic tunes. Absolutely fun.
Dropkick Murphys’ set starts with a dark stage as a single light illuminates Campbell Webster (bagpipes and Uilleann pipes). The lone piper cuts through the darkness as the fans begin to roar. Ken Casey’s voice booms from off stage asking if we are ready for Dropkick Murphys, and the din from the crowd becomes deafening.
The band breaks into “Barroom Hero” as they enter the stage. Kevin Rheault (bass) appears in silhouette with his signature hair backlit as the opening strains of “State of Massachusetts” rip through the Salt Shed. Ken’s voice is like a sledgehammer as he retells the story of a single mother’s failings, conveying the pain as if it were his own.
“Caps and Bottles” follows as Jeff DaRosa (guitars, banjo, mandolin, vocals) jumps out onto the forward stage. He plays furiously on the banjo before launching into a trust fall into the crowd. The fans buoy him up while he continues to play during a full crowd surf.
The band breaks into one of their most recognizable songs, “The Boys Are Back.” James Lynch (guitar and vocals) leans into the vocals while tearing up the guitar. He looks every bit the Boston mariner with his guitar strung low and a pirate’s beard.
Ken powers through “Johnny I Hardly Knew Ya,” “The Gang’s All Here,” and “Gonna Be a Blackout Tonight,” interacting directly with the fans. Tim Brennan (guitar, tin whistle, accordion, piano, vocals) plays his accordion like a man possessed.
The band detours with some covers, starting with “School Days Over” (Ewan MacColl cover) and moving into the Irish classic “Finnegan’s Wake.” Matt Kelly (drums, percussion, vocals) pounds out a relentless rhythm as the band sends out “Kids Games,” “Caught in a Jar,” “Boys on the Docks,” and “Never Alone.”
Next comes some of the band’s signature political commentary. Unlike many groups, Dropkick Murphys have never shied away from their opinions—they have been part of the music since day one. The band delivers “The Hardest Mile,” “Who’ll Stand With Us?” and “First Class Loser” with conviction.
This band has a pure American heart, and Ken asks all veterans to raise their hands. He thanks them for their service before singing a heart-wrenching version of “The Green Fields of France” (Eric Bogle cover). The song is old, but its message remains as powerful today as it was a century ago.
The band closed out this portion of the show with “Citizen I.C.E.,” a reworking of their song “Citizen CIA,” and another song from the Troubles, “The Man Behind the Wire.”
The fans have been very receptive, but now it is time for the favorites. They break into “Rose Tattoo” and the Salt Shed explodes with gleeful cheering. “Worker’s Song” gives way to the iconic Dropkick anthem “I’m Shipping Up to Boston.”
The set closes with “The Big Man” and a short rendition of “My Way.”
This has truly been a show of epic proportions. The fans have been worn out by pure adrenaline. The musicians have given their all, and an adoring fan base has soaked it all in. Look for new music from all the bands—and look for them near you in concert.
