There’s a special kind of energy that hits a big arena when the Dropkick Murphys storm the stage, and on a cold December night in 2019, the Wells Fargo Center felt more like a Boston pub bursting at the seams than a massive Philadelphia venue. It wasn’t just a concert—it was a celebration, a rowdy, heart-pounding gathering where thousands of people showed up ready to shout, stomp, and sing like they were part of the band. The Murphys have always had this magnetic ability to make every show feel communal, but something about this night felt particularly charged. Maybe it was the timing, just before the holidays. Maybe it was the crowd, who seemed to know every word to every song. Or maybe it was simply the Murphys themselves, firing on all cylinders and delivering a performance that hit like a freight train from the very first note.
What stood out immediately was how tight and confident the band sounded. With two decades of battle-tested touring behind them, they play with the swagger of a band that knows exactly who they are: part punk fury, part Celtic heartbeat, and entirely built for live mayhem. The Wells Fargo Center was packed, but somehow the show felt intimate, like the band was playing directly to every single person in the building. You could see it in the smiles, the clenched fists, the raised beers—everyone was locked in.
They opened with “Cadence to Arms,” the perfect rallying cry, a song that has kicked off countless shows, yet somehow feels brand-new each time the pipes ring out. The arena lit up immediately. Without a second’s hesitation, the band slammed into “The Boys Are Back,” and the entire floor turned into a bouncing mass of bodies. This was the Murphys doing what they do best: turning a venue into a thunderous sing-along.
By the time they got into “Prisoner’s Song,” it was clear the band wasn’t pacing themselves—they were coming out swinging. Ken Casey prowled the stage like a man trying to find the person in the crowd yelling loudest so he could out-shout them. And the Philly audience wasn’t shy. Every chorus was a battle to see whether the band or the fans could be louder.
“Johnny, I Hardly Knew Ya” hit with its usual fierce momentum, the kind of stomp-and-shout anthem that makes even the seats in the rafters feel like a dance floor. It was followed by “Blood,” a newer but no-less-ferocious explosion that showed the Murphys still know how to write songs that punch straight through the chest.
One of the things that makes Dropkick Murphys shows so fun is the ability to blend raw emotion with full-throttle chaos. “Going Out in Style” blended both perfectly, and you could feel the sense of camaraderie in the room as thousands of fans belted the lyrics like they were reciting a toast.
Then came “The State of Massachusetts,” a guaranteed eruption at any Murphys show. The unmistakable intro riff set the crowd ablaze, and the band leaned into it with a grin, knowing exactly the reaction they were about to unleash. That was followed by “Citizen C.I.A.” which kept the pace frantic and fierce, a reminder that underneath all the bagpipes and Celtic flair, the Murphys are still, unapologetically, a punk band.
Because it was December, “The Season’s Upon Us” fit the mood perfectly. It’s one of those rare holiday songs that feels both festive and honest, capturing the chaos of family gatherings while keeping the Murphys’ trademark snarl intact. The crowd treated it like an anthem rather than a novelty, and that’s part of the charm.
Back to the heavier material, “Out of Our Heads” came barreling in, followed by “Rose Tattoo,” a modern classic that hit with real emotional weight. The whole arena swayed and sang. It’s the kind of song people get tattooed on themselves for a reason—it’s personal, it’s raw, and when shouted by 15,000 people at once, it’s something else entirely.
The band then ripped through “I Fought the Law,” paying homage to The Crickets with a version that sounded grittier and meaner than ever. At this point the show had reached the point where the crowd just didn’t want it to end. Every song felt like it could’ve been the closer—and then, finally, the moment everyone knew was coming arrived.
“I’m Shipping Up to Boston.”
If the Wells Fargo Center had a roof left by this point, this song would’ve blown it clean off. It’s one of those songs that transcends the band itself—a cultural phenomenon, a sports arena staple, a movie soundtrack juggernaut—and hearing it live is still electrifying no matter how many times you’ve heard it. The floor shook, the balcony swayed, people lifted each other on shoulders, beers flew in the air, and the Murphys looked like they were having just as much fun as the crowd.
What made the whole night work, though, wasn’t just the hits. It was the connection. The Murphys know how to make an arena feel like a hometown bar, and that’s not easy. There were moments when the crowd sang louder than the band, moments when the band locked eyes with fans and laughed, moments when the bagpipes and guitars fused into a sound that felt ancient and rowdy all at once. You don’t get that from many rock shows anymore.
By the time the final notes of the night faded, people weren’t just cheering—they were buzzing. It felt like everyone in the building had shared something, a rowdy tribal ritual powered by distorted guitars, pipes, and pounding drums. The Murphys aren’t a band you just listen to live; they’re a band you experience. And this night was a reminder of exactly why they have one of the most loyal fanbases in rock.
Setlist – Dropkick Murphys, Wells Fargo Center, December 2019
Cadence to Arms
The Boys Are Back
Prisoner’s Song
Johnny, I Hardly Knew Ya
Blood
Going Out in Style
The State of Massachusetts
Citizen C.I.A.
The Season’s Upon Us
Out of Our Heads
Rose Tattoo
I Fought the Law (The Crickets cover)
I’m Shipping Up to Boston