This is an archived article that was published on sltrib.com in 2014, and information in the article may be outdated. It is provided only for personal research purposes and may not be reprinted.
Playing "Celtic punk" and naming your band after an osteopathic doctor who eschewed his medical practice to become a professional wrestler before going on to operate an alcoholic rehabilitation sanitorium are hardly conventional paths to mainstream success.
And yet, somehow, the Dropkick Murphys continue to attract more than just a passing following — a feat they hope to accomplish yet again at Monday's concert at The Complex in downtown Salt Lake City.
Perhaps they're successful on account of being so unconventional?
Actually, DKM's Matt Kelly suggested in an email interview, the Dropkicks are plenty conventional — they're perhaps just conventional in unconventional ways.
The drummer — or "drumsman," as he referred to himself — weighed in on the band's evolution over the years, drawing inspiration from the ultimate in conventional rock bands, AC/DC and — of course — memories of the difficulties involved in getting a pseudo-Irish band drunk in Utah. (Kelly prefaced his responses by noting that "all answers and opinions" were his and his alone.)
How has the band evolved since its initial formation? What's fundamentally changed between "Do or Die" and "Signed and Sealed in Blood"?
Well, having started off as a four-piece guitar/bass/drums/vocals combo, we added James Lynch on second guitar, and then a slew of adjustments, role-changing and additions left us with seven guys. We've been a seven-piece since 2000. Along the way, we've met more people, listened to more music and have spent time "honing our craft" so to speak. I guess that over the years we've learned how to write songs better and expand upon the different influence, ending up with a pretty varied style without sounding directionless.
What separates you from other Celtic rock/punk bands such as The Pogues or Flogging Molly?
Well, we're definitely a punk band first and foremost, and we take our influences from a lot of classic rock and whatnot that influenced classic punk bands, but we're also influenced by Irish, Scottish and American folk music. Great bands like the Clash and Stiff Little Fingers (and other bands like the Ruts or Rudi), whom we cite as big influences, were influenced by other ethnic music like ska and reggae. … Our "ethnic music" influence is stuff that's very much ingrained in our upbringing. The Pogues and Flogging Molly are bands made up of people from (mostly) a punk background, playing Irish folk music and giving it a good kick in the pants. We're a punk band who likes Irish folk and it's part of our punk rock noise (or something like that, hahaha).
[Vocalists] Ken Casey and Al Barr have been quoted as comparing the band's style to that of AC/DC, in terms of continuing to do the things you do well. How do you avoid self-parody and continue to challenge yourselves musically?
Well, doing things like the greatest rock and roll band around is keeping on the right track, wouldn't you think?! Haha. I agree with what they say. AC/DC has always stood for no-frills, stripped-down, tough rock and roll. They're the ideal as far as how we'd like to be perceived, and their music ain't bad either! I think for the answer to the second part, I'd have to say the key to us is variety. Since "Do or Die" and before, we've had slow acoustic ballads, songs influenced by old Boston hardcore, British Oi!, Irish folk, classic rock, etc. In each subsequent album, we've expanded on each of those themes, sometimes combining the styles. There is so much we can do within the wide parameters we set early on, I don't see there being too much trouble keeping things interesting.
It's going on two years since "Signed and Sealed" was released; looking back at it now, how do you feel about it? What stands out? Anything you'd have done differently?
I'm really, really happy with how it was approached, recorded and how it came out. The song "Rose Tattoo" has quickly become a crowd favorite, and "The Boys Are Back" gets an awesome response. We've played every song off "SSIB" live at one time or another, and they've all been received with enthusiasm, which is nice to see! As far as doing something differently, I don't think so. An album captures a moment in time, and for me, that was a particularly good one.
Is there a new album currently in the works? When can fans expect to see one?
We're throwing ideas around right now, to be fleshed out better towards the end of the year and recorded next spring … so we'll see!
Social activism seems to be a big part of the band's identity, from appearing on "Rock Against Bush" to supporting various unions to the charities and benefit shows in the aftermath of the Boston Marathon bombing; what spurred you to be such a socially conscious band, and what causes are you involved with currently?
Well, you've got to be critical of your civic leaders — GB II and Cheney made huge strides against personal freedoms of ordinary citizens, as well as power grabs for their [executive] branch. So we had no problem being on that compilation. And nothing much has changed — just the face of the POTUS, with no little or no change to acts that were put into place in Bush II's regime. I, as much as anybody, hate seeing bands getting preachy onstage, and that IS annoying … but if you can act by example, you can hopefully inspire people — and if not, at least you're doing something and putting your money where your mouth is. As far as the bombings, I believe it was our civic duty as a popular band to use our popularity to make a difference, and due to mostly our fans and supporters (and those of Bruce Springsteen, who did some vocals on a special iTunes single with us for the victims), we were able to raise hundreds of thousands of dollars for the Boston Marathon bombing victims. If people would like to know more about the band's charity work, we actually have a charity, started by Ken, called the Claddagh Fund. Check it out!
Conversely, you also are a band that doesn't take everything too seriously, as evidenced by "Kiss Me, I'm [expletive synonymous with drunk]" and the recent onstage decapitation of a Habs doll in Montreal. What inspires your oddball sense of humor?
I don't know man, we're only a band after all. Ball-busting is our real natural talent. I know a lot of Habs fans got bent out of shape about the doll decapitation — but we don't cry when their fans boo the American national anthem at games … which is a far greater insult and a sign of disrespect. I guess we're trying to import the art of "friendly banter" into North America — that's one thing the Brits and Irish have over us: They can tear into each other without getting really bent out of shape.
What can the fans of Salt Lake City expect to see when they show up to see you at The Complex on Sept. 22?
A different gig from last time! Old, new, borrowed and blue. We keep our set lists from the last 10-plus years on record, so when we come through a specific town, we can give a different show from the previous set. Sooooo in a nutshell … I don't know what to expect on the 22nd! Haha.
Do you have any specific memories of previous SLC visits that stand out?
Yeah, drinking a crapload of beers and not getting a buzz, and trying to explain to the guys in the German punk band Oxymoron why! That was interesting. Other than that, just great gigs with energetic people!
On a purely personal and unprofessional level, can I entreat you to play "Flannigan's Ball" at the show, on account of it being my favorite DKM song?
Hmmmm, maybe, man. As I explained above, it's a different set every night! You never know.
Twitter: @esotericwalden —
When • Monday, Sept. 22; doors open 7 p.m.
Where • The Complex, 536 W. 100 South, Salt Lake City
Tickets • $27.50 advance/$32 day of; Smith's Tix