Author: smngrx01

Born from a dare in a Quincy barbershop basement, the Dropkick Murphys transformed from three-week preparation band into one of America’s most recognizable Celtic punk acts. The band was formed in 1996 in Quincy, Massachusetts and has evolved through multiple lineup changes while maintaining their signature blend of Irish traditional music and punk rock energy. They were initially signed to independent punk record label Hellcat Records; they released five albums for the label and built a reputation around New England and the East coast through persistent touring. With twelve studio albums released to date, the band has sold millions of records worldwide and achieved mainstream success, particularly with their platinum single “I’m Shipping Up to Boston.” Casey has been the band’s only constant member since the band formed, serving as the anchor through decades of personnel changes.

The band’s history spans nearly three decades of lineup evolution, beginning as a quartet and expanding to as many as eight members during their peak period. The current lineup consists of co-lead vocalist and bassist Ken Casey, drummer Matt Kelly, co-lead vocalist Al Barr (on hiatus from the band since 2022), rhythm and lead guitarist James Lynch, lead guitarist and multi-instrumentalist Tim Brennan, multi-instrumentalist and rhythm guitarist Jeff DaRosa and bassist Kevin Rheault. Their journey includes notable departures, including founding members leaving to pursue other dreams, personality conflicts, and natural musical evolution that has seen over a dozen musicians contribute to the band’s legacy.

Chart success came gradually for the Dropkick Murphys, with their breakthrough occurring during the 2000s. Their album “The Warrior’s Code” reached significant commercial success, largely due to “I’m Shipping Up to Boston” being featured in Martin Scorsese’s Academy Award-winning film “The Departed.” The album debuted at number 6 on the Billboard 200 – the highest position ever for a Dropkick Murphys album–and sold 43,259 copies in the U.S. in its first week. The band has received various accolades including recognition for their charitable work through the Claddagh Fund and their unwavering support for union labor, making all their merchandise in America with union labor.

Ken Casey

Kenneth William Casey Jr. stands as the sole remaining founding member and driving force behind the Dropkick Murphys’ remarkable journey from basement band to international Celtic punk icons. Casey was one of the original members, starting the band in 1996 with guitarist Rick Barton and singer Mike McColgan. Born April 15, 1969, Casey’s path to music was unconventional – he had never played an instrument before accepting the dare that led to the band’s formation. I was working in the laborers’ union and bartending at night, and a kid that I bartended with dared me to open for his band on three weeks notice; I’d never played music, just put a band together just for a laugh. This humble beginning would evolve into a career spanning multiple decades as the band’s primary songwriter, bassist, and co-lead vocalist.

Casey’s contributions to every Dropkick Murphys album have been substantial, serving as the band’s musical and business compass. He has appeared on all twelve studio albums from “Do or Die” (1998) through “Okemah Rising” (2023), initially as bassist and backing vocalist before transitioning to co-lead vocals alongside Al Barr. Following a workplace injury, Kevin Rheault, the band’s longtime stage tech and who filled in for other band members in the past, filled in on bass at the band’s live shows and has since become the band’s official bassist. Casey’s business acumen proved crucial to the band’s success, understanding merchandising and touring economics from early in their career. His working-class background, heavily influenced by his grandfather John Kelly, a teamster and union worker, shaped much of the band’s pro-labor stance and authentic blue-collar messaging that resonates in songs like “Boys on the Docks.”

Beyond music, Casey has established himself as a successful entrepreneur and philanthropist. Casey also founded the charity group The Claddagh Fund, owns two Boston restaurants, McGreevy’s (which closed in August 2020) and Yellow Door Taqueria, and runs his own boxing promotion called Murphys Boxing. In 2009, Ken Casey founded the charity organization, the Claddagh Fund which supports community-based non-profits with a focus on children and veterans organizations and programs that support alcohol and drug rehabilitation in cities across the country and around the world. His commitment to sobriety, having been sober for over 25 years, and his dedication to giving back to his community through various charitable initiatives reflect the values that have kept the band grounded despite their success. Casey has also ventured into film, appearing in the 2016 movie “Patriots Day” about the Boston Marathon bombing, demonstrating his continued connection to his hometown’s major events and his willingness to contribute to Boston’s cultural narrative.

Al Barr

Alexander Barr brought seasoned punk rock credentials and powerful vocals to the Dropkick Murphys when he joined in 1998, replacing founding vocalist Mike McColgan. He was also a founder and lead singer for The Bruisers, which he helped form in 1988 in Portsmouth, New Hampshire. Born January 21, 1968, in Hanover, New Hampshire, Barr’s musical journey began with his first band D.V.A. (Direct Vole Assault) around 1984, followed by 5 Balls of Power, before founding The Bruisers. The Bruisers had played many shows with Boston’s Dropkick Murphys, and when lead singer Mike McColgan quit the band in 1998 they asked Barr to be the new lead singer. Initially, Barr had mixed feelings about the Dropkick Murphys’ rapid rise, as they were taking gigs that previously would have gone to The Bruisers.

Barr’s integration into the Dropkick Murphys proved seamless and transformative for the band’s sound. The first album the Dropkick Murphys released with Barr as singer was 1999’s The Gang’s All Here. His powerful, gravelly voice became the defining sound of the band’s most successful period, appearing on nine studio albums including breakthrough releases like “Sing Loud, Sing Proud” and “The Warrior’s Code.” Barr’s contributions extended beyond vocals – he brought street credibility and punk rock authenticity that helped bridge the gap between the band’s Irish traditional influences and their punk rock foundation. His collaborative approach with Ken Casey created a dynamic dual-vocal attack that became the band’s signature sound throughout their most commercially successful years.

The Bruisers legacy remained important to Barr throughout his Dropkick Murphys tenure. The Bruisers were a punk band that pioneered the American streetpunk/oi! movement, formed in Portsmouth, New Hampshire in 1988. This background in the Oi! scene brought additional depth to the Dropkick Murphys’ sound and helped them connect with both traditional punk audiences and Celtic music enthusiasts. In February 2022 it was announced that Barr was forced to drop off of the Dropkick Murphys’ 2022 St. Patrick’s Day Tour and their 2022 summer tour in Europe to take care of his ailing mother, who is battling Lewy Body Dementia. This hiatus, initially temporary, has extended through 2024, with Casey taking over full vocal duties. Despite his absence from recent recordings and tours, Barr’s impact on the band’s catalog and their development into international stars remains immeasurable, and his potential return continues to be a subject of interest among longtime fans.

Mike McColgan

Michael McColgan stands as one of the most unique figures in punk rock history, serving as a founding member of the Dropkick Murphys before leaving at the height of their early success to pursue his childhood dream of becoming a Boston firefighter. McColgan was born in the Savin Hill area of Dorchester, Massachusetts, and attended Catholic Memorial High School in West Roxbury, Massachusetts. His musical interests developed through school choir participation, but his path took a dramatic turn when McColgan joined the U.S. Army in 1989 and served in 4th Battalion 82nd Field Artillery, Charlie Battery in the first Gulf War before becoming a founding member of the Dropkick Murphys in 1996. This military experience would later influence both his songwriting and his dedication to veteran causes throughout his career.

McColgan’s tenure with the Dropkick Murphys was brief but foundational, lasting from the band’s formation in 1996 until 1998. While McColgan was with the Murphys, they released one full-length album, Do or Die. His departure came at a crucial moment in the band’s trajectory, just as they were gaining momentum and industry attention. Mike left the band because he is no longer interested in being a member of this band or the movement of which we are a part, according to an official band statement. However, McColgan’s perspective was different – he had always planned to pursue firefighting, following in the footsteps of his uncle Kevin O’Toole, who became the subject of the Street Dogs song “Kevin J. O’Toole.” His decision to leave music for public service demonstrated his commitment to serving his community beyond entertainment.

After leaving the fire department in 2002, McColgan returned to music full-time with the formation of Street Dogs. McColgan in 2002 started a new band, Street Dogs, and shortly left the fire department to again pursue music full-time. Street Dogs featured several notable collaborations, including work with former Mighty Mighty Bosstones members and continuing relationships with his former Dropkick Murphys bandmates. The song “Stand Up” featured guest appearances by Ken Casey and Al Barr. In 2013, McColgan announced a new project, FM359, with Johnny Rioux and founding Dropkick Murphys guitarist Rick Barton, marking the first musical collaboration between McColgan and Barton since the original Dropkick Murphys lineup. McColgan’s post-Dropkick career has also included work as an EMT and continued advocacy for veteran causes, union rights, and social justice issues, maintaining the working-class values that originally defined the Dropkick Murphys’ message. His influence on the band’s early sound and political messaging continues to resonate throughout their catalog, even decades after his departure.

Rick Barton

Rick Barton’s journey as a founding guitarist of the Dropkick Murphys represents both the creative spark that ignited the band and the interpersonal challenges that can strain musical partnerships. Barton was previously a founding member and guitarist of the rock band, The Outlets and a founding member and guitarist for the punk band Dropkick Murphys. Before joining the Dropkick Murphys, Barton had already established himself in Boston’s music scene through The Outlets, which he formed with his brother David Alex Barton in the early 1980s. The Outlets attained success in the greater Boston music scene but failed to gain national attention when they signed with Restless/Enigma in 1985, despite modest critical acclaim including a recommendation from Billboard Magazine. This experience with both success and disappointment prepared him for the unpredictable nature of the music industry.

Barton’s contributions to the early Dropkick Murphys catalog were substantial, appearing on their foundational releases during the band’s formative years. With the Dropkick Murphys, Barton would record their debut EP, 1997’s Boys on the Docks along with their first two studio albums, 1998’s Do or Die and it’s follow-up album, 1999’s The Gang’s All Here. His guitar work helped establish the band’s signature sound, blending punk rock aggression with melodic sensibilities that would become their trademark. However, the intense touring schedule and personality conflicts began to take their toll. In 2014, Barton discussed his departure saying “Myself and Kenny ended up hating each other. We’ve since made amends, but you know, touring in a band for four straight years… that same old story.” His departure during the recording of “Sing Loud, Sing Proud” marked the end of the original Dropkick Murphys lineup.

Following his departure from the Dropkick Murphys, Barton initially stepped away from music entirely to focus on family and other pursuits. Barton would announce in 2000 that he was leaving the band and retiring from music to be with his family. However, music continued to call him back. Barton would unretire in 2007 and formed the punk rock band, Everybody Out!. His more recent musical endeavors have included reunion projects with former Dropkick Murphys bandmates, particularly the formation of FM359 with Mike McColgan and Johnny Rioux. This project allowed Barton to explore different musical territories, described as “non-religious gospel” and Americana-influenced material that demonstrated his growth as a songwriter beyond punk rock. Currently, Barton continues making music with his band Continental, which features his son Stephen on bass, representing a new chapter where his love of music intersects with family bonds. His reconciliation with Ken Casey and continued respect within Boston’s music community demonstrates how time can heal old wounds while preserving the creative contributions that helped launch one of punk rock’s most enduring success stories.

Matt Kelly

Matt Kelly has served as the rhythmic backbone of the Dropkick Murphys for over two decades, establishing himself as one of the most reliable and skilled drummers in Celtic punk. Matt Kelly is an American musician from Leominster, Massachusetts. He has been the drummer for the Boston Celtic punk group Dropkick Murphys since May 1997 when he replaced the band’s founding drummer Jeff Erna. Kelly’s musical foundation was built through formal training and diverse musical experiences during his youth. For the next six years Matt studied with drummer/educator Don Kirby at the Music Box in Fitchburg, Massachusetts. This classical training, combined with his participation in jazz, marching, and concert bands during high school, provided him with the technical versatility that would prove crucial to the Dropkick Murphys’ evolving sound.

Kelly’s integration into the Dropkick Murphys came at a pivotal moment in the band’s development, and his contributions have been consistent across their entire catalog of major releases. Kelly has appeared on every album by the band since their 1998 debut Do or Die. His drumming style combines punk rock energy with the precision required for traditional Irish music elements, creating the driving force behind songs that range from anthemic sing-alongs to complex folk-influenced compositions. Kelly also sings background vocals for the band and has not missed playing a show with the band for 22 years as of 2019. This remarkable attendance record demonstrates his commitment to the band and his understanding of his crucial role in their live performances. His drum setup reflects both his technical background and the band’s aesthetic preferences. Matt’s Kelly’s drum kit consists of an 8×12 rack, a 14×14, 16×16 floors, and a 20×22 kick. He mostly uses a 6.5×14 snare. His kit is emerald green acrylic, with custom wood badges with Celtic symbols on “claw style wood hoops”.

Beyond his musical contributions, Kelly has participated in some of the band’s most memorable moments and cultural events. Having been a Sox fan since childhood, Matt Kelly was in baseball heaven playing with DKM at Fenway. Just recently, Dropkick Murphys lead the 2018 Red Sox World Series Victory Parade through the cheering crowds of Boston’s tightly packed streets. His political views have occasionally differed from other band members, demonstrating the diversity of thought within the group. In January 2017, drummer Matt Kelly revealed he voted for Gary Johnson and criticised both Hillary Clinton and Donald Trump, while singer Al Barr supported Bernie Sanders. Kelly’s influences span multiple genres and eras, drawing inspiration from rock legends like John Bonham and Phil Rudd, as well as jazz masters including Art Blakey and Max Roach. This broad musical appreciation has allowed him to adapt to the band’s evolving sound while maintaining the driving energy that has made Dropkick Murphys concerts legendary experiences. His longevity with the band, second only to Ken Casey, has made him an essential element of their identity and a bridge between their punk rock foundations and their expansion into mainstream success.

James Lynch

James Patrick Lynch brought established Boston punk credentials to the Dropkick Murphys when he joined in 2000, transitioning from his successful run with The Ducky Boys to help fill the void left by Rick Barton’s departure. Lynch joined the band in 2000 to record the album Sing Loud, Sing Proud. He was previously a member of the Boston-based bands The Ducky Boys and The Pinkerton Thugs. Born July 29, 1979, Lynch’s musical foundation was built through his father’s guidance and his involvement in Boston’s vibrant punk scene. His connection to the Dropkick Murphys predated his membership, as The Ducky Boys had frequently toured and performed with them, creating a natural transition when the band needed a new guitarist. With Barton gone, the band added four new members which included former Ducky Boys guitarist James Lynch, who joined shortly prior to Barton’s departure.

Lynch’s guitar work has been featured on every Dropkick Murphys album from “Sing Loud, Sing Proud” (2001) through their most recent releases, making him one of the longest-tenured members of the band. His playing style combines traditional punk rock approaches with the melodic requirements of Celtic-influenced music, utilizing a setup that reflects both vintage preferences and modern reliability needs. Lynch runs his guitars through two Orange Rocker 30 thirty watt amp heads connected to 4×12 Marshall cabinets. His instrument choices include several Gibson models, with his primary guitars being Les Paul Standards and Customs that provide the rich, full sound that has become synonymous with the band’s guitar tone. When Marc Orrell departed the band in 2008, Lynch faced a decision about expanding his role. When Marc Orrell left the band in 2008, Lynch was asked to move up to lead guitar, but declined because he enjoyed his position in the band where he only played one instrument.

Lynch’s contributions extend beyond guitar playing to include vocals and songwriting, making him an integral part of the band’s creative process. His background with The Ducky Boys provided him with experience in Boston’s working-class punk scene, which aligned perfectly with the Dropkick Murphys’ authentic approach to their music and message. This saw the first appearance of James Lynch on guitar while on tour. O’Leary, still in high school at the time, was unable to tour, demonstrating his history of stepping in when needed, a trait that would serve him well in the Dropkick Murphys. The Ducky Boys connection also brought additional credibility to the Dropkick Murphys’ standing in Boston’s punk community, as The Ducky Boys were highly respected for their authentic street punk sound and loyal following. Lynch’s personal life includes marriage in Las Vegas following a Dropkick Murphys show, reflecting the intersection of his professional and personal worlds. His long tenure with the band through their most successful period, including the breakthrough success of “I’m Shipping Up to Boston” and their expansion into mainstream recognition, has made him an essential element of the Dropkick Murphys’ sound and identity.

Tim Brennan

Tim Brennan’s versatility as a multi-instrumentalist has made him an indispensable member of the Dropkick Murphys, capable of adapting to the band’s evolving needs across different musical roles. Multi-instrumentalist, Tim Brennan was recruited to replace Foltz and has been with the band ever since. Brennan joined the band in 2003, initially brought in to play mandolin, accordion, banjo, tin whistle, and guitar to replace departing member Ryan Foltz. His musical background allowed him to handle the traditional Irish instrumentation that gives the Dropkick Murphys their distinctive Celtic sound, while also contributing to their punk rock foundation. This versatility proved crucial as the band continued to expand their musical palette while maintaining their core identity.

Brennan’s role within the band evolved significantly when Marc Orrell departed in 2008, creating an opportunity for advancement that he embraced. In early 2008, Marc Orrell left the band. Thereupon Tim Brennan, who had been playing mandolin, accordion, banjo, tin whistle, and guitar for the band since 2004, replaced Orrell on lead guitar. This transition from multi-instrumentalist to lead guitarist demonstrated both his musical abilities and his commitment to serving the band’s needs above personal preferences. His promotion to lead guitar allowed the band to maintain continuity in their sound while bringing fresh perspectives to their arrangements. The addition of Jeff DaRosa to handle Brennan’s previous multi-instrumental duties ensured that the traditional Irish elements remained strong in their music.

Brennan’s contributions have been featured on numerous Dropkick Murphys albums from “Blackout” (2003) onward, including their most commercially successful releases. His lead guitar work has helped define the band’s sound during their mainstream breakthrough period, including the massive success of “I’m Shipping Up to Boston” and subsequent chart-climbing albums. The combination of his traditional music background with punk rock sensibilities has allowed him to create guitar parts that honor both sides of the band’s musical identity. His ability to seamlessly transition between electric guitar, acoustic instruments, and traditional Irish instruments during live performances has made the Dropkick Murphys’ concerts more dynamic and authentic. Brennan’s presence has also contributed to the band’s credibility within both punk and traditional music communities, as his multi-instrumental skills demonstrate genuine respect for the Celtic traditions they incorporate. His long tenure with the band and willingness to adapt his role as needed has made him a valuable team player in an organization that has succeeded through collaboration and mutual support rather than individual ego.

Marc Orrell

Marc “The Kid” Orrell brought youthful energy and impressive guitar skills to the Dropkick Murphys during a crucial period of their development, joining the band as a teenager and contributing to some of their most important albums. 17-year-old guitarist Marc Orrell was recruited in 2000 along with several other new members to replace Rick Barton and expand the band’s sound. Despite his young age, Orrell quickly proved himself capable of handling the complex demands of the Dropkick Murphys’ music, which required both punk rock aggression and the melodic sensibilities needed for their Celtic influences. His technical proficiency and willingness to learn allowed him to integrate smoothly into a band that was in the midst of expanding their musical horizons.

Orrell’s tenure with the Dropkick Murphys spanned their most significant period of growth and commercial success, appearing on key albums that established their national and international reputation. His guitar work was featured on “Sing Loud, Sing Proud” (2001), “Blackout” (2003), “The Warrior’s Code” (2005), and “The Meanest of Times” (2007). These albums included some of the band’s most enduring songs, including breakthrough hits like “I’m Shipping Up to Boston” and “Walk Away.” Orrell’s lead guitar contributions helped create the sonic foundation for the band’s expansion beyond their early street punk roots into more complex arrangements that incorporated traditional Irish instrumentation alongside their punk rock core. His work during this period helped establish the guitar sound that would become synonymous with the Dropkick Murphys’ most successful era.

The circumstances of Orrell’s departure in 2008 marked the end of an important chapter in the band’s history. In early 2008, Marc Orrell left the band. His departure necessitated significant restructuring within the band’s lineup, with Tim Brennan moving from multi-instrumentalist duties to lead guitar and Jeff DaRosa being brought in to handle traditional instruments. While the specific reasons for his departure have not been extensively detailed publicly, his exit came at a time when the band was experiencing tremendous success, suggesting that the pressures of touring and recording at a high level may have influenced his decision. Orrell’s contributions during his eight-year tenure helped bridge the gap between the original Dropkick Murphys lineup and their later incarnation as a mainstream success story. His guitar work remains an integral part of some of their most beloved songs and most successful albums, cementing his place in the band’s legacy despite his relatively young age during his tenure. After leaving the Dropkick Murphys, Orrell has continued his musical career in other projects, maintaining connections to Boston’s music scene and preserving the skills that made him a valuable contributor to one of Celtic punk’s most important bands.

Jeff DaRosa

Jeff DaRosa joined the Dropkick Murphys in 2008 as a multi-instrumentalist and rhythm guitarist, bringing experience from Boston’s punk scene and the ability to handle the traditional Irish instruments that are crucial to the band’s signature sound. The current lineup consists of co-lead vocalist and bassist Ken Casey, drummer Matt Kelly, co-lead vocalist Al Barr (on hiatus from the band since 2022), rhythm and lead guitarist James Lynch, lead guitarist and multi-instrumentalist Tim Brennan, multi-instrumentalist and rhythm guitarist Jeff DaRosa and bassist Kevin Rheault. His recruitment came at a time when the band needed to reorganize their instrumental responsibilities following Marc Orrell’s departure and Tim Brennan’s transition to lead guitar. Tim’s previous musical duties were taken over by Jeff DaRosa, former member of The Vigilante and Pinkerton Thugs.

DaRosa’s background includes work with notable Boston area bands, particularly The Pinkerton Thugs, which gave him credibility within the local punk scene and familiarity with the collaborative approach that characterizes successful punk bands. His experience with The Pinkerton Thugs provided him with the punk rock foundation necessary to fit into the Dropkick Murphys’ rhythm section while his multi-instrumental abilities allowed him to handle banjo, mandolin, and other traditional instruments that had been Brennan’s responsibility. This versatility has made him an essential part of the band’s live performances, where the seamless integration of traditional and modern instruments creates the dynamic sound that has made their concerts legendary experiences.

Since joining in 2008, DaRosa has appeared on multiple Dropkick Murphys albums including “Going Out in Style” (2011), “Signed and Sealed in Blood” (2013), “11 Short Stories of Pain & Glory” (2017), “Turn Up That Dial” (2021), “This Machine Still Kills Fascists” (2022), and “Okemah Rising” (2023). His contributions span both studio recordings and extensive touring, helping the band maintain their authentic Celtic punk sound while adapting to personnel changes and evolving musical directions. His role as both rhythm guitarist and multi-instrumentalist has allowed the band to preserve the layered arrangements that distinguish their music from simpler punk rock approaches. DaRosa’s integration into the band demonstrates the Dropkick Murphys’ ability to find musicians who can contribute to their collective identity rather than seeking spotlight-seeking individuals, reflecting the working-class values that have guided their approach throughout their career.

Kevin Rheault

Kevin Rheault’s evolution from behind-the-scenes contributor to official band member represents one of the most organic transitions in Dropkick Murphys history, demonstrating the band’s loyalty to their extended family and the importance of reliable support personnel in successful touring operations. The current lineup consists of co-lead vocalist and bassist Ken Casey, drummer Matt Kelly, co-lead vocalist Al Barr (on hiatus from the band since 2022), rhythm and lead guitarist James Lynch, lead guitarist and multi-instrumentalist Tim Brennan, multi-instrumentalist and rhythm guitarist Jeff DaRosa and bassist Kevin Rheault. Rheault had served as the band’s stage technician for years before circumstances thrust him into a performing role. His deep familiarity with the band’s catalog, stage setup, and performance requirements made him uniquely qualified to step into a musical role when needed.

The circumstances that led to Rheault’s transition from crew member to band member were both unexpected and necessary. In 2018, Ken Casey was involved in an accident on a building site and suffered severe damage to one of his vertebral disc which required surgery in May 2018 and caused him to lose feeling in his fingers and forced him to be unable to play the bass during the band’s shows until he fully healed. During this period, Rheault stepped up to fill Casey’s bass role for live performances, allowing the band to continue their touring commitments without compromising their sound or canceling shows. Kevin Rheault, the band’s longtime stage tech and who filled in for other band members in the past, filled in on bass at the band’s live shows and has since become the band’s official bassist.

Rheault’s official integration as the band’s bassist has allowed Ken Casey to focus more on vocals and stage presence while maintaining his role as the band’s primary songwriter and leader. This arrangement has proven beneficial for both Casey’s health and the band’s performance dynamic, as it allows Casey to move more freely on stage and engage with audiences without the physical demands of bass playing. Rheault’s background as a stage technician means he understands the technical requirements of live performance at a level that many musicians never achieve, contributing to the band’s reputation for consistently excellent live shows. His loyalty to the organization and willingness to step up when needed embodies the working-class values and mutual support that have defined the Dropkick Murphys throughout their career. His transition from crew to performer demonstrates that talent and dedication can be recognized and rewarded within organizations that prioritize character and reliability over traditional music industry politics.

Ryan Foltz

Ryan Foltz contributed traditional Irish instrumentation to the Dropkick Murphys during a crucial period when the band was expanding their Celtic influences and developing the sound that would define their most successful era. mandolin and tin whistle player Ryan Foltz joined the band in 2000 as part of the major lineup overhaul that followed Rick Barton’s departure. His expertise with traditional Irish instruments helped bridge the gap between the band’s punk rock foundation and their Celtic aspirations, providing authentic folk instrumentation that elevated their music beyond simple punk rock with Irish themes. Foltz’s musical background allowed him to contribute the mandolin and tin whistle parts that became integral to the band’s evolving sound during this transitional period.

Foltz’s tenure with the Dropkick Murphys was relatively brief but important for establishing their musical direction. He appeared on the landmark album “Sing Loud, Sing Proud” (2001), which showcased the band’s developing sound and new lineup. This album included collaborations with Pogues frontman Shane MacGowan and Cock Sparrer’s Colin McFaull, demonstrating the band’s growing credibility within both punk and Celtic music communities. Foltz’s traditional instrumentation provided crucial authenticity to these collaborations and helped establish the template for how the band would incorporate folk elements into their punk rock arrangements. His work during this period helped define the musical approach that would carry the band through their most commercially successful years.

After the Sing Loud, Sing Proud tour in early 2003, Foltz decided to depart the band, though he maintained some connection to their projects. Foltz would depart soon after (though he made an appearance in the music video for “Gonna Be A Blackout Tonight”, a song featured on the band’s next record). His departure coincided with other lineup changes, including the exit of bagpiper Spicy McHaggis, creating an opportunity for the band to restructure their approach to traditional instrumentation. Multi-instrumentalist, Tim Brennan was recruited to replace Foltz and has been with the band ever since. While Foltz’s time with the band was limited, his contributions during the “Sing Loud, Sing Proud” period helped establish the foundation for the Dropkick Murphys’ signature sound. His mandolin and tin whistle work provided a template for how traditional Irish instruments could be effectively integrated into punk rock arrangements without compromising either the energy of the punk or the authenticity of the folk elements.

Robbie “Spicy McHaggis” Mederios

Robbie “Spicy McHaggis” Mederios brought authentic bagpipe expertise to the Dropkick Murphys during their formative expansion period, contributing one of the most distinctive elements of their Celtic punk sound. bagpipe player Robbie “Spicy McHaggis” Mederios, whose nickname was inspired by a McDonald’s menu item while the band was on a tour in Scotland, would join the band as their new full-time bagpipe player replacing Joe Delaney, who played on their debut album, but could not tour with or commit full-time to the band. Mederios joined the band in 2000 as part of the major lineup changes that transformed the Dropkick Murphys from a four-piece punk band into a larger ensemble capable of incorporating traditional Irish instrumentation alongside their punk rock foundation.

The origin of his nickname reflects the band’s sense of humor and their connection to Scottish culture during their international touring experiences. His “Spicy McHaggis” moniker became part of Dropkick Murphys folklore, demonstrating how the band’s personality and cultural experiences influenced their identity beyond just their music. Mederios’s bagpipe skills provided the band with an authentic Celtic element that elevated their Irish-influenced punk rock to a new level of cultural credibility. His contributions were featured prominently on “Sing Loud, Sing Proud” (2001), where his bagpipe work helped create some of the most memorable moments on an album that established the Dropkick Murphys as leaders in the Celtic punk genre.

Mederios’s departure came during the early 2003 period when several band members chose to leave following the “Sing Loud, Sing Proud” tour cycle. After the Sing Loud, Sing Proud tour in early 2003, McHaggis decided to quit the band and was replaced by Canadian piper Scruffy Wallace. His exit was part of a broader restructuring that saw the band transition from their expanded early 2000s lineup to a more streamlined approach that would carry them through their commercial breakthrough period. While his time with the band was relatively brief, spanning approximately three years, Mederios’s bagpipe contributions helped establish the authentic Celtic sound that became synonymous with the Dropkick Murphys’ identity. His work during this period provided the foundation for how bagpipes would be incorporated into their arrangements going forward, even as different pipers would fill the role in subsequent years.

Jeff “The Shark” Erna

Jeff “The Shark” Erna served as the original drummer for the Dropkick Murphys, providing the rhythmic foundation during the band’s earliest incarnation and their initial transition from basement band to recording artists. Dropkick Murphys were originally formed in 1996 in Quincy, Massachusetts, initially consisting of lead vocalist Mike McColgan, bassist/vocalist Ken Casey, guitarist Rick Barton, and drummer Jeff Erna (who was replaced the next year by Matt Kelly). Erna was present during the band’s formation and their earliest live performances, including their legendary debut show that began as a dare and evolved into the foundation of a lasting musical career. His drumming provided the punk rock backbone that supported the band’s early development and their initial forays into combining traditional Irish music with punk rock energy.

Erna’s contributions to the Dropkick Murphys’ catalog were concentrated in their earliest recordings, establishing the rhythmic template that would influence the band’s approach throughout their career. Jeff played on everything up until Do Or Die, though I joined the band before “Boys On the Docks” or the split 7″ with the Anti-Heros came out, according to his replacement Matt Kelly. This means Erna’s drumming appears on some of the band’s earliest and most foundational recordings, including EPs and singles that helped establish their reputation in Boston’s punk scene. His work during this period provided the foundation for the band’s signature sound, creating the rhythmic drive that would support their evolution from simple punk rock into the complex Celtic punk arrangements that would define their later success.

After leaving the Dropkick Murphys, Erna continued his musical career with other notable Boston area projects. In 2002, former lead singer Mike McColgan formed the band Street Dogs. The first incarnation of the line-up would also feature Jeff Erna, the original drummer for the Dropkick Murphys. This reunion with McColgan demonstrated the lasting musical relationships that had developed during the early Dropkick Murphys period and showed that Erna’s departure from the band was not due to any inability to contribute musically. His work with Street Dogs allowed him to continue developing the punk rock drumming style that he had helped establish with the Dropkick Murphys, while also exploring different musical directions with McColgan’s more politically focused songwriting approach. Erna’s role as the original drummer makes him an important part of Dropkick Murphys history, as his early contributions helped establish the rhythmic foundation that would support the band’s evolution into one of Celtic punk’s most successful acts.

Joe Delaney

Joe Delaney provided bagpipe contributions to the Dropkick Murphys’ earliest recordings, helping establish the Celtic elements that would become central to their identity while maintaining other commitments that prevented him from becoming a full-time touring member. Joe Delaney, who played on their debut album, but could not tour with or commit full-time to the band, contributed to “Do or Die” (1998), the band’s first full-length album and their most important early statement. His bagpipe work on this album helped establish the Celtic punk template that would define the Dropkick Murphys throughout their career, providing authentic Irish instrumentation that elevated their music beyond simple punk rock with Irish themes.

Delaney’s contributions to “Do or Die” were crucial in establishing the band’s signature sound during their early period with Hellcat Records. The album was produced by Rancid’s Lars Frederiksen and represented the band’s first opportunity to present their vision on a major independent label platform. Delaney’s bagpipe work helped distinguish the Dropkick Murphys from other punk bands of the era, providing the Celtic authenticity that would become their calling card. His instrumentation contributed to songs that would become fan favorites and established the musical approach that would guide the band’s future development.

The circumstances that prevented Delaney from continuing with the band as a touring member necessitated finding a replacement who could commit to the extensive touring schedule that the Dropkick Murphys were beginning to embrace. bagpipe player Robbie “Spicy McHaggis” Mederios would join the band as their new full-time bagpipe player replacing Joe Delaney. While Delaney’s time with the band was limited to studio contributions rather than live performances and touring, his work on “Do or Die” provided the foundation for how bagpipes would be incorporated into the Dropkick Murphys’ arrangements. His early contributions helped establish the authentic Celtic sound that became synonymous with the band’s identity and influenced their approach to traditional Irish instrumentation throughout their subsequent career. Though his involvement was brief, Delaney’s bagpipe work on their debut album remains an important part of Dropkick Murphys history and helped establish the musical direction that would carry them to international success.

Scruffy Wallace

Scruffy Wallace joined the Dropkick Murphys as a Canadian piper during the early 2000s transition period, contributing bagpipe expertise during a crucial time in the band’s evolution toward mainstream success. After the Sing Loud, Sing Proud tour in early 2003, McHaggis decided to quit the band and was replaced by Canadian piper Scruffy Wallace. Wallace’s recruitment demonstrated the band’s commitment to maintaining authentic Celtic instrumentation even as they experienced personnel changes and evolved their musical approach. His Canadian background brought a different perspective on Celtic music traditions while maintaining the authentic bagpipe sound that had become integral to the Dropkick Murphys’ identity.

Wallace’s tenure with the band coincided with the recording and promotion of “Blackout” (2003), one of their most important albums in terms of establishing their mainstream appeal. Blackout, the band’s fourth album, was released on June 10, 2003. His bagpipe contributions helped maintain the Celtic authenticity that distinguished the Dropkick Murphys from other punk bands while supporting their evolution toward a more accessible sound that would eventually lead to breakthrough success with “I’m Shipping Up to Boston.” Wallace’s work during this period helped bridge the gap between the band’s earlier, more traditional Celtic punk approach and their later mainstream success.

While specific details about Wallace’s departure from the band are limited, his time with the Dropkick Murphys represents another example of the band’s ability to adapt to personnel changes while maintaining their musical identity. His contributions during the “Blackout” period helped establish the foundation for the band’s subsequent commercial breakthrough, and his bagpipe work provided continuity during a time of transition. Though his tenure was relatively brief, Wallace’s professional approach and musical contributions helped the Dropkick Murphys maintain their authentic Celtic sound during a crucial period of their development. His work demonstrates the importance of skilled traditional musicians in maintaining the cultural authenticity that distinguishes Celtic punk from simple punk rock with Irish themes.

Stephanie Dougherty

Stephanie Dougherty became an unofficial member of the Dropkick Murphys through her powerful vocal contributions and her role in the band’s touring operation, demonstrating how the band’s extended family often includes contributors who significantly impact their sound and success. The song was previously released the prior year on Face to Face vs. Dropkick Murphys with Kay Hanley as a guest vocalist. The re-recorded version featured vocals from Stephanie Dougherty (Deadly Sins). Her involvement with the band began through her work with the band Deadly Sins and evolved into a significant role that included both musical and business contributions during a crucial period of the band’s development.

Dougherty’s most notable contribution was her vocal work on “The Dirty Glass,” a song that became a fan favorite and showcased the band’s ability to incorporate female vocals effectively into their Celtic punk arrangements. Dougherty became an unofficial member of the band and would also join them on tour working their merchandise table until departing the band in 2009 (although she would return for random performances of the song following her departure). This dual role as both performer and merchandise coordinator demonstrated her commitment to the band’s success and her understanding of the various elements required to maintain a touring operation. Her work behind the merchandise table allowed her to interact directly with fans and contribute to the band’s financial success while also being available for special vocal performances.

Dougherty’s unofficial status within the band reflects the Dropkick Murphys’ approach to building an extended family of contributors rather than maintaining rigid boundaries between band members and support personnel. Her vocal contributions added a different dimension to their sound, particularly on songs that benefited from the contrast between male and female vocals. Her work ethic and loyalty to the organization made her a valued team member even beyond her musical contributions. Although she would return for random performances of the song following her departure, her decision to leave in 2009 marked the end of a significant chapter in the band’s history. Dougherty’s involvement demonstrates how the Dropkick Murphys have consistently attracted dedicated individuals who contribute to their success in multiple ways, reflecting the band’s working-class values and their appreciation for people who are willing to work hard in support of collective goals.

Notable Former Members and Contributors

The Dropkick Murphys’ extended history includes numerous other contributors who played important roles during specific periods or projects. Over a dozen people have been members of the band throughout their nearly three-decade career, with each bringing unique skills and perspectives that contributed to the band’s evolution. These include early contributors like Bill Close, who served as an original drummer during the band’s formation period, and various guest musicians who appeared on specific recordings or tours.

The band’s collaborative approach has also included significant guest appearances from established artists who helped elevate their credibility within both punk and Celtic music communities. Notable collaborations have included work with Shane MacGowan of The Pogues, Colin McFaull from Cock Sparrer, and Bruce Springsteen, among others. These partnerships demonstrated the respect that the Dropkick Murphys had earned within the music industry and helped introduce their music to broader audiences.

Additionally, the band’s extended family has included numerous touring musicians, sound engineers, and support staff who have contributed to their success over the years. Their commitment to working with union labor and supporting working-class values has attracted like-minded individuals who share their dedication to authenticity and hard work. This approach has created a stable foundation that has allowed the band to weather personnel changes while maintaining their musical identity and their connection to their Boston roots and working-class audience.

Check out more Dropkick Murphys articles on ClassicRockHistory.com Just click on any of the links below……

Complete List Of Dropkick Murphys Songs From A to Z

Top 10 Dropkick Murphys Songs

Complete List Of Dropkick Murphys Albums And Discography

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Dropkick Murphys Band Members article published on ClassicRockHistory.com© 2025

Toto reunited in the 2010s to help with bassist Mike Porcaro’s medical bills – but thanks to popular demand it became a fully-armed return to action. They released their 35th Anniversary: Live In Poland DVD in 2014, but as larger-than-live guitarist Steve Lukather entertainingly ranted to Prog, it had taken three attempts to get a concert movie onto the shelves.

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If there’s any guy out there who pulls no punches, it’s Steve Lukather. He’s on a rant about the Rock And Roll Hall Of Fame. “Our new stuff is everything the folk over at Rolling Stone magazine hate,” says the guitarist. “Let me tell you, I’m not expecting Toto to be inducted – even though we’ve collectively played on about 5,000 records, received 225 Grammy nominations and are featured on over a half a billion records sold.”

He continues: “I’ve played with 75 people that are in the Hall Of Fame. As Toto we’ve sold 35 million records ourselves, and they have the gall to trot out some guy you’ve never heard of from 1953 and vote them in!”

He’s not finished yet. “We’ll never be in there because it’s a personality issue. We’re considered a laughable footnote to these people. Well, guess what? My hall of fame is the fact that I’m a successful musician, and being asked by Paul McCartney and Ringo Starr to be part of the 50th anniversary of The Beatles. I get texts all the time from Ringo. So fuck everything else – I’m living it. My dream has come true.”

He’s in full battle mode and it seems rude of me to interrupt. Good job, then, that attention is suddenly switched to Toto’s recent live DVD, a superlative work of art filmed in Poland last year in front of a capacity crowd that appeared to know every word of every song.

Toto – On the Run/Child’s Anthem/Goodbye Elenore Medley (2013) [HD] – YouTube

Watch On

A couple of years ago they reconvened for a European tour, prompted by the illness of bassist Mike Porcaro, who’d developed Amyotrophic Lateral Sclerosis (ALS), a debilitating disease that attacks the central nervous system. The reunion had started off as a handful of US dates to help with Mike’s medical costs, but soon ballooned into a much larger situation, bringing Toto back to Europe, where they’d never fallen out of favour.

One balmy night at a suitably grandiose outdoor show in Verona, Italy, fans spotted a multi-camera film crew obviously there to capture the band in all their pomp-rocking glory. But no DVD ever found its way on to the market.

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The director got in a car accident and the tapes burned up. Can you believe that?

“A lawsuit over who owned it and stuff that our ex-managers did meant we had to shelve it,” Lukather explains. “Get this: on the day of the shoot, our managers hired a different lighting guy who didn’t know the show, and literally kept most of us in the dark. It was a decision made just minutes before we went on stage – we didn’t even know about it.”

Co-founding Toto keyboardist David Paich explains more. “The show had been woefully underlit, and we weren’t great on stage that night – bad moods, sickness, fatigue, the lot. We weren’t enjoying the show like we normally do. Also our presentation and appearance wasn’t quite up to snuff. We didn’t want to issue something that wasn’t right.”

That project joined an earlier one that never made it: “Funnily enough, we’d filmed another show back in 2010,” Lukather says. “But the director got in a car accident and the fucking tapes burned up. Can you believe that?”

Toto – Rosanna (35th Anniversary Tour – Live In Poland) – YouTube

Watch On

Fast-forward a couple of years to Poland’s 13,000-capacity Atlas Arena in the city of Lodz, a spacious and jam-packed venue in a country that Toto had never played before. “It was totally the antithesis of the other video – the perfect setting, actually,” Paich says. “The audience was great, and was with us from the very beginning. Before we even got on stage the audience was singing Happy Birthday to me. They knew everything about us.”

Indeed they did. The DVD is a revelation for a couple of reasons. Firstly, you can’t take your eyes off the footage – it’s so well filmed and edited. Secondly, the band is on tip-top form. What’s more, the song selections are off the chart. In a world where there’s a YouTube document of every performance you can imagine, constantly making you flick to another clip, this DVD will have you riveted to the screen for its entire length.

We didn’t go back and fix anything on the sound bed. There are a few wince-able moments from myself, I might add

Paich is delighted with the way the band are portrayed. “Contrary to popular opinion, it’s actually fun being in Toto – but it’s also very challenging; you can’t blink or fall asleep in this band for a second. It keeps you on your toes. I always like to say that when I die and go to heaven I want to play in Bruce Springsteen’s band, just so that I can relax for a moment!”

“The thing I dig is that it’s warts and all,” Lukather adds. “We didn’t go back and fix anything on the sound bed. There are a few wince-able moments from myself, I might add.”

He continues: “We’ve always had people say that we’re boring and faceless, but we’ve hung in there and taken our punches. This DVD is a great document of where we are now – we really enjoy playing together. We’re not phoning it in. Some guys shuffle on stage, walk off and take their paychecks, just like a bunch of miserable old fucks. We’re laughing, having a great time, and honoured to still be here. Actually, we’re enjoying this resurgence of success right now more than we ever did first time around.

“I tend to be my own worst critic, but I think as a band we’ve matured into older guys who still have fire left in ’em. We’re not trying to compete with the fastest gun in the West. We’ve grown into it; there’s a confidence that we’ve built up, and we’re feeling pretty good about it. I’m having a blast.”

The guitarist confirms Toto are eight songs into a new album. They’d wondered for some time whether it was worth returning to the studio after a decade away; but another backstage wrangle informed their decision. “We were up against someone who said they had ownership of us and that we owed them another album. We disagreed, and we got into a legal battle, which partly resulted in the shelving of the Verona DVD.

Perhaps God and our dead brothers have smiled upon us and said: ‘Let them have one more victory lap.’

“It finally came down to the fact that the easy way to deal with this is to make another record. We had never intended to do that for all the reasons that you might think. So we thought, y’know, let’s do one, but make it killer.

“We’re going about this in the old-school way,” he states. “We’re putting out product and playing in front of people – and winning over new people too. That’s the old grassroots way of doing it. It’s mainly a touring world nowadays.

“Perhaps God and our dead brothers have smiled upon us and said: ‘Let them have one more victory lap.’ We’ve earned it; we’ve taken all the knocks, and all these years later we’re still here. So anyone who says we haven’t paid our dues can kiss my ass.”

Derek’s lifelong love of metal goes back to the ’70s when he became a UK underground legend for sharing tapes of the most obscure American bands. After many years championing acts as a writer for Kerrang!, Derek moved to New York and worked in A&R at Atco Records, signing a number of great acts including the multi-platinum Pantera and Dream Theater. He moved back to the UK and in 2006 started Rock Candy Records, which specialises in reissues of rock and metal albums from the 1970s and 1980s.

An expanded, Super Deluxe Edition of Talking Heads‘ second album, More Songs About Buildings and Food, will include discs of studio outtakes and live recordings from the period.

The three-CD and one-Blu-ray set will be available on July 25 and marks the band’s first collaboration with producer Brian Eno, who’d go on to work with the group on their two follow-up LPs, including the pivotal Remain in Light.

The 1978 album also includes Talking Heads’ first Top 40 single, a cover of Al Green‘s “Take Me to the River” that reached No. 26.

READ MORE: The Best Album by New Wave’s Biggest Artists

The upcoming reissue features a disc of rarities, most of them previously unreleased, including alternative versions of the album’s 11 songs. You can hear “Found a Job” from the new set below.

More Songs About Buildings and Food marked a creative evolution for the New York City quartet, moving away from the spiky new wave art-rock of their 1977 debut, Talking Heads: 77, toward more rhythmic and soulful music.

They would expand this palette even more in the coming years.

What’s on Talking Heads’ ‘More Songs About Buildings and Food’ Reissue?

In addition to a 2025 remaster of the original album, the expanded reissue includes a CD of studio rarities; a CD of a concert recording from New York’s Entermedia Theater from Aug. 10, 1978; and a Blu-ray featuring hi-res, surround and Atmos mixes of the album, and video footage from the New York show and a performance at Berkeley from 1978.

You can see the track listing for the Super Deluxe Edition of Talking Heads’  More Songs About Buildings and Food below.

Talking Heads, ‘More Songs About Buildings and Food (Super Deluxe Edition)’ Track Listing
CD One: Original Album (2025 Remaster)
“Thank You For Sending Me An Angel”
“With Our Love”
“The Good Thing”
“Warning Sign”
“The Girls Want To Be With The Girls”
“Found A Job”
“Artists Only”
“I’m Not In Love”
“Stay Hungry”
“Take Me To The River”
“The Big Country”

CD Two: Rarities
“Thank You For Sending Me An Angel” (Alternate Version)
“With Our Love” (Alternate Version)
“Found A Job” (Alternate Version)
“The Good Thing” (Alternate Version)
“Warning Sign” (Alternate Version)
“Electricity” (Instrumental)
“The Girls Want To Be With The Girls” (Alternate Version)
“I’m Not In Love” (Alternate Version)
“Artists Only” (Alternate Version)
“The Big Country” (Alternate Version)
“Thank You For Sending Me An Angel” (“Country Angel” Version)

CD Three: Live At Entermedia Theater, New York, NY (August 10, 1978)
“No Compassion”
“Warning Sign”
“The Book I Read”
“Stay Hungry”
“Artists Only”
“The Girls Want To Be With The Girls”
“Uh-Oh, Love Comes To Town”
“With Our Love”
“Love Goes To A Building On Fire”
“Don’t Worry About The Government”
“The Good Thing”
“Electricity”
“The Big Country”
“New Feeling”
“Pulled Up”
“Psycho Killer”
“Take Me To The River”
“Found A Job”
“Thank You For Sending Me An Angel”

Blu-Ray
Audio: Hi-Res Stereo, 5.1 & Atmos Mix of original album (2025 Remaster)

Video: Concert Footage
Live at Entermedia Theater, 1978
“Uh-Oh, Love Comes To Town”
“The Girls Want To Be With The Girls”
“The Good Thing”
“Take Me To The River”
“Found A Job”
“Thank You For Sending Me An Angel”

Live At Sproul Plaza (Berkeley), 1978
“The Big Country”
“Warning Sign”
“The Book I Read”
“Stay Hungry”
“Artists Only”
“The Girls Want To Be With The Girls”
“The Good Thing”
“Uh-Oh, Love Comes To Town”
“Psycho Killer”
“I’m Not In Love”
“Pulled Up”

Jason Bonham has added a string of North American shows on a tribute tour to Physical Graffiti, the chart-topping 16-times-platinum Led Zeppelin LP powered by his late father John Bonham. See a complete list of dates and cities below.

Tickets for late summer dates by Jason Bonham’s Led Zeppelin Evening go on sale this Friday, May 30. The tour begins in Omaha, Nebraska, and ends in Vancouver, British Columbia, with stops in Oklahoma City, Denver, Anaheim and Seattle along the way. For more information, head over to Bonham’s official website.

There are four remaining previously announced Jason Bonham’s Led Zeppelin Evening dates, including tonight’s show in San Diego. They conclude at the Greek Theatre in Los Angeles on Saturday.

READ MORE: Ranking All 92 Led Zeppelin Songs

Bonham’s next 22-stop leg, also called “An Evening with JBLZE Celebrating 50 Years of Physical Graffiti,” will again feature every song from the album, along with other Led Zeppelin classics like “Whole Lotta Love” and Stairway to Heaven.”

“This is my favorite Led Zeppelin album of all time,” Bonham said in an official statement. “I can’t wait for people to come out and see these shows and celebrate this extraordinary record with us.”

The younger Bonham filled in for his father with Led Zeppelin at 1988’s Atlantic Records 40th Anniversary Celebration Concert and 2007’s Ahmet Ertegun Tribute Concert, the latter of which spawned the Celebration Day concert film and multiplatinum album. He’s also played with Jimmy Page, Paul Rodgers, Joe Bonamassa and Sammy Hagar. Bonham’s Led Zeppelin-themed solo shows began in 2010.

‘An Evening with JBLZE Celebrating 50 Years of Physical Graffiti’ Tour
8/1 – Omaha, NE @ Steelhouse Omaha
8/2 – Oklahoma City, OK @ The Criterion
8/3 – San Antonio, TX @ The Aztec Theatre
8/5 – Albuquerque, NM @ Kiva Auditorium
8/7 – Vail, CO @ Gerald R. Ford Amphitheater
8/8 – Denver, CO @ Paramount Theatre
8/10 – Park City, UT @ Snow Park Outdoor Amphitheater at Deer Valley Resort
8/12 – Flagstaff, AZ @ Pepsi Amphitheater
8/13 – Tucson, AZ @ Rialto Theatre
8/15 – Lincoln, CA @ Thunder Valley Casino Resort
8/16 – Napa, CA @ Blue Note Napa Summer Sessions at Meritage Resort
8/17 – Redding, CA @ Redding Civic Auditorium
8/19 – Monterey, CA @ Golden State Theatre
8/21 – Anaheim, CA @ Grove of Anaheim
8/22 – Alpine, CA @ Viejas Casino & Resort
8/23 – Bakersfield, CA @ Dignity Health Theater
8/25 – Salem, OR @ Oregon State Fair
8/26 – Jacksonville, OR @ Britt Music & Arts Festival
8/27 – Boise, ID @ Morrison Center for the Performing Arts
8/29 – Spokane, WA @ Martin Woldson Theater at The Fox
8/30 – Seattle, WA @ Paramount Theatre
8/31 – Vancouver, BC @ Orpheum Theatre

Denis Leary Doesn’t Understand Why Led Zeppelin Won’t Reunite

Styx‘s first LP since 2021’s Crash of the Crown has been confirmed. Their avian-themed Circling From Above concept album is set for release on July 18 on streaming sites.

Compact disc and vinyl copies are available to purchase now on StyxWorld.com. See a complete track listing and listen to the advance single, “Build and Destroy,” below.

Tommy Shaw, an avid birder, took a lead creative role. He said many of the songs took on a personal dimension. “You’re writing about your experiences in your life and things that you love and enjoy, or things that were hard to go through and that sort of thing,” he told UCR. “So you’re just really just writing a book in little sections like that.”

READ MORE: The Best Tommy Shaw Styx Songs

Shaw had early worries that Styx’s label representative might not be on board. “But he says, ‘Oh, we’re birders!'” Shaw later admitted. “It was kind of risky to say this thing’s gonna be about a bird. But there was so much enthusiasm and it’s like, you know, sometimes in life things just go your way – and this went our way.”

Sessions for Circling From Above were just as organic as the writing process, Shaw said. All of the songs on the 41-minute, 13-song album were written by some combination of Shaw, producer Will Evankovich and singer/keyboardist Lawrence Gowan.

“I guess we just stumbled upon a way of doing it,” Shaw told UCR. “Will and I, we’ve been writing songs together for you know for 10, 15 years. When we get one that we like – Will’s a lot more organized than I am, but he’ll put it on a hard drive. So we had amassed a whole bunch of songs.”

Styx will support Circling From Above on a lengthy run of summer dates with Kevin Cronin of REO Speedwagon and former Eagles guitarist Don Felder. Styx is rounded out by founding guitarist/vocalist James “JY” Young and bassist Chuck Panozzo, along with longtime drummer Todd Sucherman and bassist Terry Gowan.

A concept video for “Build and Destroy” is due later today. “That little melody, I kept singing ‘Build and Destroy,'” Lawrence Gowan said in an official statement. “Even though we don’t sing over that part, I kept thinking that would be a good title. It’s thematic. The melody feels like a little Star Trek or Twilight Zone thing — just a small tag that reinforces the title.”

This is Styx’s third new album in just eight years. Evankovich also produced their two most recent LPs before becoming an official member in 2022.

Styx, Circling From Above’ Track Listing
1. “Circling From Above”
2. “Build and Destroy”
3. “Michigan”
4. “King of Love”
5. “It’s Clear”
6. “Forgive”
7. “Everyone Raise a Glass”
8. “Blue Eyed Raven”
9. “She Knows”
10. “Ease Your Mind”
11. “The Things That You Said”
12. “We Lost the Wheel Again”
13. “Only You Can Decide”

Ghost leader Tobias Forge sang a cover of Queen’s signature track “Bohemian Rhapsody” as Brian May and Roger Taylor watched.

Forge’s performance – which also featured Opeth guitarist Fredrik Åkesson and the Eric Ericson Chamber Choir – took place during the annual Polar Music Prize ceremony in Stockholm, Sweden Tuesday night.

Queen collaborator Adam Lambert delivered versions of “Who Wants to Live Forever” and “Another One Bites the Dust’ while Swedish vocalist Erik Gronwall, formerly of Skid Row and currently with Michael Schenker, sang “Stone Cold Crazy.” Videos can be seen below.

READ MORE: Top ’70s Queen Songs

“When we started our band… we had ambitions, but never dreamed of the journey that was to follow,” Taylor said in a press release before the ceremony. “We were fortunate in the fact that our four wildly different personalities came together to achieve a wonderful chemistry.”

He added: “The Polar Music Prize is exceptional in the fact that, unlike other awards it recognizes the entirety of an artiste’s career. What an honor to be included in the glittering cavalcade of previous laureates. True Olympian company indeed.”

May said: “In this special moment, I contemplate how that younger Brian May in 1974 would have felt if he knew that we would be living this kind of dream 50 years in the future.”

Watch Tobias Forge Perform Queen’s ‘Bohemian Rhapsody’

Watch Adam Lambert Perform Queen’s ‘Who Wants to Live Forever’

Watch Adam Lambert Perform Queen’s ‘Another One Bites the Dust’

Watch Erik Gronwall Perform ‘Stone Cold Crazy’

Queen Albums Ranked

Gallery Credit: Eduardo Rivadavia

More From Ultimate Classic Rock

Rod Stewart has confirmed that his Faces bandmate Ronnie Wood will perform with him at this year’s Glastonbury festival, which will take place in late June.

“Woody, I do [speak to] a lot,” Stewart said on a recent episode of That Peter Crouch Podcast. “Just recently, ’cause we’re gonna do Glastonbury together.”

The last time Stewart performed at Glastonbury was in 2002, while Wood appeared at the festival with the Rolling Stones in 2013.

READ MORE: How Rod Stewart Survived the ’80s

Stewart is scheduled to perform at the festival on June 29. Other big names who will appear during the multi-day event include John Fogerty, Neil Young, Alanis Morissette, the Libertines, Nick Lowe, Weezer and more. (Complete lineups for each of the festival’s days can be viewed on their website.)

New Music From Faces

Another of Stewart’s Faces bandmates, Kenney Jones, recently spoke about new music from the band. In an interview with The Telegraph, Jones said they’re working on “about 11 tracks,” but that fans shouldn’t expect a new album to come out this year.

“Everyone’s doing different things,” he explained. “We do little snippets [of recording] here and there. Then all of a sudden, the Stones are out [on tour] again, Rod’s out again.”

In the meantime, there is a documentary about Faces currently in the works, one that uses archival footage from handheld video cameras given to the band members in 1972.

“It’s never been seen,” Jones said, “and there’s some rude bits in there!”

Rod Stewart Albums Ranked

From soulful early records to that huge disco hit to five volumes of the Great American Songbook, there isn’t a genre he hasn’t tried. 

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

Stopgap cash grab by the record company or the result of artist indulgence that can’t be contained within the usual confines of a single LP? The double album has been both throughout its long and inflated history.

As the list below of the Top 35 Double Albums, chosen by UCR’s staff, shows, two LPs are regularly better than one, particularly when it comes to the most legendary artists. (The Beatles, the Clash, Bob Dylan, Jimi Hendrix, the Rolling Stones and the Who arguably were never better than on their double albums.)

Many of the greatest records in rock and pop history are double albums. This is often because of their nature — creative outpouring can lead to new ideas being explored in innovative ways — and other times, they’ve arrived at the peak of an artist’s career. So, given the freedom and opportunity to expand the playing time of their music, artists leap at the chance.

READ MORE: Top 100 Live Albums

The summary features personal statements and career-encapsulating inventories,  concept albums and stories of the creators’ journeys to that point; they share a belief that expression shouldn’t be limited by time, length and expectations. The best of these albums could never be as fully realized as they are in this twice-as-much form.

The list below includes live albums, sometimes the most defining works of an artist’s career, but it does not include compilations. In some cases, the entire concept of the double album is turned inside out, because great music doesn’t have to follow rules.

Top 35 Double Albums

When twice the amount of music really matters. 

Gallery Credit: Michael Gallucci

More From Ultimate Classic Rock

Guns N’ Roses delivered a cover version they’d never played live before during their 31-song show at the Etihad Arena in Abu Dhabi Tuesday night.

The band performed the New York Dolls’ “Human Being” – which appears on GNR’s 1993 covers album “The Spaghetti Incident?” – towards the end of the concert, which by then had already contained the tour debuts of Misfits’ “Attitude” – sung by Duff McKagan – and the Live Like a Suicide track “Reckless Life.”

Later, Axl Rose and company presented the tour debut of 2023’s “The General” before playing the G N’ R Lies track “Used to Love Her” for the first time since 2018. Videos of those two tracks, plus “Human Being,” can be seen below, along with the full set list.

READ MORE: What to Wear to Guns N’ Roses 2025 Tour

Guns N’ Roses’ Because What You Want & What You Get Are Two Completely Different Things tour features new drummer Isaac Carpenter, who replaced Frank Ferrer in March.

The road trip began in April, with current bookings running until on the Wacken Open Air festival on July 31. No North American dates have yet been announced.

Watch Guns N’ Roses Perform ‘Human Being’ For First Time

Watch Guns N’ Roses Perform ‘The General’ in Abu Dhabi

Watch Guns N’ Roses Perform ‘Used To Love Her’ in Abu Dhabi

Guns N’ Roses – Etihad Arena, Abu Dhabi, U.A.E., May 27 – Set List

1. “Welcome to the Jungle”
2. “Bad Obsession”
3. “It’s So Easy”
4. “Live and Let Die”
5. “Mr. Brownstone”
6. “Slither”
7. “You Could Be Mine”
8. “Chinese Democracy”
9. “Estranged”
10. “Yesterdays”
11. “Absurd”
12. “Double Talkin’ Jive”
13. “Perhaps”
14. “Hard Skool”
15. “Attitude”
16. “Reckless Life”
17. “Knockin’ on Heaven’s Door”
18. “My Michelle”
19. “Rocket Queen”
20. “Patience”
21. “Civil War”
22. “Sweet Child o’ Mine”
23. “Coma”
24. “November Rain”
25. “Wichita Lineman”
26. “Don’t Cry”
27. “Human Being”
28. “The General”
29. “Used to Love Her”
30. “Nightrain”
31. “Paradise City”

Every Guns N’ Roses Song Ranked Worst to Best

Multiple narratives emerged when compiling the above list of Guns N’ Roses Songs Ranked Worst to Best. All entries by Eduardo Rivadavia except where noted.

Gallery Credit: Eduardo Rivadavia

More From Ultimate Classic Rock

Megan Moroney was raised in Douglasville, Georgia, a town just outside Atlanta, and she carries the sound and sentiment of the South in every song she writes. Though she was born in Savannah on October 9, 1997, it was during her upbringing in Douglasville that she began her musical journey, taking piano lessons and being immersed in a household where music was a constant presence. She attended the University of Georgia, majoring in accounting, but it was there that her connection to music was fully reignited, performing and opening for artists like Jon Langston while still in school.

Her early career received a meaningful boost when she interned for Kristian Bush of Sugarland, who later became a mentor and producer. After graduating, Moroney made the critical decision to move to Nashville in 2020, where she leveraged her connections to co-write with established songwriters and begin recording. That same year, she released “Wonder,” her debut single, and followed it up in 2022 with the extended play Pistol Made of Roses. The EP included “Hair Salon,” which garnered buzz and laid the groundwork for the breakout that was about to come.

Her career changed dramatically in 2022 with the release of the single “Tennessee Orange.” Produced by Kristian Bush, the song struck a chord on streaming platforms and social media, quickly propelling her into the national spotlight. The track’s success led to a recording contract with Arista Nashville. When Arista Nashville was shut down by its parent company, Moroney transitioned to Columbia Records Nashville, maintaining momentum without losing any of the audience she had gained.

Moroney’s debut full-length album Lucky was released on May 5, 2023. The album blended her sharp, often witty songwriting with emotionally resonant storytelling. Lucky debuted in the Top 40 on the Billboard 200 and helped define her image as a country artist with a strong narrative voice. The album included “Tennessee Orange,” which peaked at number 10 on the Billboard Hot 100 and topped the Country Airplay chart, and “I’m Not Pretty,” which became another fan-favorite single, peaking at number 37 on the Billboard Hot 100.

A deluxe edition of Lucky was released later that year, featuring additional tracks that extended the album’s life and showcased her growing songwriting confidence. By the end of 2023, Moroney had emerged as one of country music’s most compelling new voices, drawing comparisons not through stylistic mimicry but through her ability to command attention with just a pen and a melody. She backed this up with a steady touring schedule that included The Pistol Made of Roses Tour and The Lucky Tour—each reinforcing her connection with audiences through sold-out shows and singalong anthems.

In July 2024, Moroney returned with her sophomore album Am I Okay?. The record marked a creative step forward, debuting at number nine on the Billboard 200 and showcasing her evolution both thematically and musically. Singles from the album included “No Caller ID,” which charted at number 58, and the title track “Am I Okay?,” which peaked at number 39 on the Billboard Hot 100. The album solidified her ability to deliver both emotional ballads and hook-driven country-pop with equal finesse.

In November 2024, Moroney released Blue Christmas…Duh, a holiday EP that added a playful and nostalgic seasonal twist to her growing discography. It was a continuation of her strategy to stay creatively engaged with her audience even outside of major album cycles. The release was well-received and complemented her growing reputation as one of the genre’s most reliable and prolific new talents.

Her accolades came quickly. In 2023, she won the Breakthrough Female Video of the Year at the CMT Music Awards for “Tennessee Orange,” and in 2024, she took home New Artist of the Year at the Country Music Association Awards. She also received nominations from the Academy of Country Music, the American Music Awards, Billboard Women in Music, iHeartRadio Music Awards, and the People’s Choice Country Awards—each a confirmation that the industry was taking notice of her rapid ascent.

Moroney’s charm lies in her authenticity—whether she’s spinning heartbreak into humor or narrating her own emotional contradictions with striking self-awareness. She’s been described as the “Emo Cowgirl” for her blend of vulnerability and defiance, but more than a nickname, it speaks to how she’s carved out a space for herself where emotional complexity is a strength. That duality—sensitive yet bold—has helped her resonate with younger listeners and longtime country fans alike.

Outside of music, Moroney has been vocal about staying grounded amid fame. She has made it a point to stay connected with her fanbase through social media and honest conversations about self-worth, heartbreak, and ambition. Her openness about navigating personal growth in public has made her a relatable figure at a time when many artists are tightly managed and image-driven. That vulnerability isn’t a gimmick—it’s an extension of her songwriting, and it’s why her music has gained such a loyal following so quickly.

As of 2025, Moroney continues her Am I Okay? Tour across North America, drawing larger crowds and receiving increased attention from the press and streaming platforms. Her live performances are marked by a sense of camaraderie with the audience, often turning personal confessionals into full-room catharsis. With each show, she proves her growing impact on the country music landscape isn’t just a product of viral success—it’s grounded in talent, tenacity, and timing.

With only two full-length albums to her name, Moroney has already built a reputation that typically takes years to develop. She’s shown she can navigate label changes, release cycles, and media scrutiny without compromising the artistry that brought her this far. Her work ethic, combined with a clear sense of identity, suggests that her best music still lies ahead.

In a genre known for its storytelling, Megan Moroney has emerged as a sharp new voice capable of blending humor, heartbreak, and honesty. Her trajectory is defined not just by hits but by her ability to create music that feels lived in, not manufactured. As she continues writing and performing, Moroney represents not only the future of country music but its vibrant, emotionally complex present.

Complete List Of Megan Moroney Songs From A to Z

1. 28th of June – Am I Okay? – 2024
2. All I Want for Christmas is a Cowboy – Blue Christmas…Duh – 2024
3. Am I Okay? – Am I Okay? – 2024
4. Another on the Way – Lucky – 2023
5. Bless Your Heart – Am I Okay? – 2024
6. Blue Christmas – Blue Christmas…Duh – 2024
7. Break It Right Back – Am I Okay? – 2024
8. Christmas Morning – Blue Christmas…Duh – 2024
9. Fix You Too – Pistol Made of Roses EP – 2022
10. Fix You Too (with Kameron Marlowe) – Lucky – 2023
11. Georgia Girl – Lucky – 2023
12. Girl in the Mirror – Lucky – 2023
13. God Plays a Gibson – Lucky – 2023
14. Hair Salon – Pistol Made of Roses EP – 2022
15. He Made Me Do It – Pistol Made of Roses EP – 2022
16. Heaven by Noon – Am I Okay? – 2024
17. Hell of a Show – Am I Okay? – 2024
18. Hope You’re Happy – Am I Okay? – 2024
19. I Know You – Am I Okay? – 2024
20. I Love Me – Pistol Made of Roses EP – 2022
21. I’ll Be Fine – Am I Okay? – 2024
22. I’m Not Pretty – Lucky – 2023
23. Indifferent – Am I Okay? – 2024
24. Kansas Anymore – Lucky – 2023
25. Keep the Flowers – Pistol Made of Roses EP – 2022
26. Lucky – Lucky – 2023
27. Mama I Lied – Am I Okay? – 2024
28. Man on the Moon – Am I Okay? – 2024
29. Miss Universe – Am I Okay? – 2024
30. Mustang or Me – Lucky – 2023
31. Never Left Me – Twisters: The Album – 2024
32. No Caller ID – Am I Okay? – 2024
33. Noah – Am I Okay? – 2024
34. Nothin’ Crazy (with Mackenzie Carpenter) – Lucky – 2023
35. Reasons to Stay – Lucky – 2023
36. Sad Songs for Sad People – Lucky – 2023
37. Sleep on My Side – Lucky – 2023
38. Tennessee Orange – Lucky – 2023
39. The Girls – Am I Okay? – 2024
40. Third Time’s the Charm – Am I Okay? – 2024
41. Til It All Goes South – Pistol Made of Roses EP – 2022
42. Traitor Joe – Lucky – 2023
43. Why Johnny – Lucky – 2023
44. Wonder – Non-album single – 2021

Albums

Pistol Made of Roses EP (2022): 6 songs

Lucky (2023): 16 songs

Am I Okay? (2024): 17 songs

Blue Christmas…Duh (2024): 3 songs

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Complete List Of Megan Moroney Songs From A to Z article published on ClassicRockHistory.com© 2025