Don't get me wrong, this place is great and I'm glad that there are still drive ins. The screen is sometimes dark but manageable and its only apparent when there is a dark scene in the movie. There are times when the walking attendant says something, which is nice, but at times they are nowhere to be seen. Its funny, no matter how many times we go there's always quite a few people that do it and not care about anyone else around them. The problem with that is their trunk door is sticking up blocking your screen. On top of that, they will lift up their trunk so they can sit in the back. Be aware though, there are some rude people who will park in front of you (mainly suvs) and face backwards. The parking lot is not flat, the parking spots are slightly tilted upwards so your car is aiming up at the screen. Now, you just pay for 1 ticket and its for 1 movie. It used to be that 1 ticket allows you to watch both movies but this changed a few years back. Paddy’s Day anthem that was never meant to be, wrapped up a tour of the complete Dropkick experience – a band whose renewed mission is to be deep, dark and gleefully dumb as all in one night.Its a great place to watch a drive in movie. And set closer “Kiss Me, I’m Sh!tfaced,” a St. The new “Dig a Hole” is a cold, dank, yet oddly joyous ode to burying Nazis which became a cathartic, amazing experience live. Band classics “Rose Tattoo” and “I’m Shipping up to Boston” (the latter also penned by Guthrie) slammed like they always do. Even with all of the loud, jagged moments, the duet with Wyatt on “Never Git Drunk No More” (a rumination on the struggles of sobriety that both singers have dealt with) featured genuinely pretty vocals from Casey.īut those rough edges were the best part of the night. And, along with the messages inherent in Guthrie’s lyrics, Casey took several opportunities to celebrate union workers, military members, first responders and even “good” cops who might be among the listeners (much more than the vague lip service you might hear at an average radio-friendly country show). Throughout the show, the new songs hit as well as the old favorites – again, these are absolute rock songs, not old dudes sitting in chairs strumming away (although one audience member enjoyed a good-natured, back-and-forth heckling with Casey about liking the “old stuff” better. After honoring Guthrie by playing his version of “This Land is Your Land” as walk-up music (eliciting a sweet, respectful sing-along from the crowd), the anthemic, resilient “Ten Times More” led off the set, with Casey pacing the stage, slapping hands with the audience and generally enjoying the hell out of being Ken Casey (and, really, who wouldn’t). Ahern mostly played the role of acoustic troubadour, but with an edge befitting the headliner and a pro-labor message to match, including the sing-along “I Drive a Truck.” Wyatt also came out and joined him on “The Older I Get.” Wyatt, accompanied by her electric guitar player, came out and performed her own set, including country rocker “Neon Cross,” the new song “Fugitive” and a swampified cover of Dax Riggs’ “Demon Tied to a Chair in My Brain.”ĭropkick Murphys may no longer be the scruffy young punk legends out of Quincy, and they may have packed only acoustic instruments and opted to leave the bagpipes at home, but bandleader Ken Casey hit the stage with enough energy to make longtime fans forget about what wasn’t there. Openers Jesse Ahern and Jaime Wyatt helped warm up the frozen crowd. No matter what, this was gonna be a rock show. And the idea of a “seated” show evaporated into the cold, snowy Denver night the instant that lead singer/chief agitator Ken Casey stomped onto the Paramount Theater stage. The record itself, backed by Guthrie’s kindred, rebellious spirit, hit as hard any anything the Murphys have ever done – fast, loud and abrasive when necessary. Couple that with an all-acoustic, reserved seat-only tour, and concerns only grew. There was a fear amongst longtime fans that Dropkick Murphys’ recent album, This Machine Still Kills Fascists, a collection of unpublished Woody Guthrie songs released in September, would shave some of the edge off the legendary Celtic punk band.
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