Photos and Review by Jolene Rheault
CHARLOTTE, NC — There’s a specific kind of magic that happens when the scent of anticipation meets the skirl of bagpipes under the rafters of The Fillmore. Last Sunday, Charlotte became the front line for the Dropkick Murphys’ “For The People…In The Pit” tour. This wasn’t just another stop on the circuit; it was a celebration of the band’s 30th birthday—a family reunion where the “extended family” includes every fan packed tight against the barricade.
The night kicked off with Slugger, delivering a dose of 100% anti-fascist street rock that set the moral compass for the evening. They kicked the doors in with a raw, uncompromising set that left the front row breathless, proving that the spirit of rebellion is alive and well in the underground scene.
They were followed by Haywire, who brought a relentless, high-energy performance that kept the floor moving. They played with a “nothing-to-lose” grit, turning the stage into a whirlwind of motion that had the audience leaning in for more.
The Aggrolites soon took the stage, pivoting the energy to their unique brand of “dirty reggae”. Combining ’60s soul, ska, and early dub, they kept the good vibes flowing all show. Their set was a masterclass in infectious energy, charging through upbeat favorites that satisfied old-school reggae fans and contemporary ska kids alike.
The lights eventually dimmed and the Boston legends—Ken Casey, Tim Brennan, Jeff DaRosa, Matt Kelly, James Lynch, Kevin Rheault, and Campbell Webster—stormed the stage. The Dropkick Murphys are currently touring behind their 13th studio album, For The People, an unapologetic “counter-offensive” against the cruelty and division currently gripping the country. They instantly proved why they remain Boston’s rock ’n’ roll underdogs turned champions.
The “pit” in the tour’s title wasn’t just for show. Seeing Ken Casey lean over the barricade in his Boston Bruins jersey to scream lyrics directly into the faces of the fans is exactly what this band is about. Whether it was the traditional resonance of a banjo marked “MACHINE” or the silhouetted fury of the guitars under blue stage lights, the energy was electric.
When the opening notes of the double-platinum classic “I’m Shipping Up To Boston” hit, the floor turned into a sea of humanity. They closed the night with “Worker’s Song,” a fitting end for a band that has spent nearly 30 years advocating for human rights and fair contracts.
The Dropkick Murphys aren’t slowing down; they’re just turning the volume way back up. As Casey says, “This isn’t about me. I’m worried about what your future holds”. If the future sounds anything like Sunday night, we might just have a fighting chance.
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