On a clear summer evening in Manhattan, the Summer of Discontent Tour rolled through The Rooftop at Pier 17, bringing with it a dose of Punk, Celtic folk, and rebellion. With the East River, Brooklyn Bridge, and a setting sun and a glowing full moon like a second stage backdrop, Dropkick Murphys, Bad Religion, and The Mainliners gave New York City a triple threat of grit, melody, and meaning.
The Hollywood, California punkers, The Mainliners, kicked off the evening with a short but rowdy set, which had a cover of “That Woman’s Got Me Drinking” by Shane MacGowan and The Pogues. Those who showed up early raised their cups in recognition. Their final song, “No Mas Tequila,” is a catchy, drunken singalong in the making.
Bad Religion stormed the stage next, proving yet again why they remain icons of punk. The 24-song setlist was a masterclass in precision and fury. Tracks like “Recipe for Hate,” “Supersonic,” “Modern Man,” and “21st Century (Digital Boy)” showed off their lyrical sharpness and timeless energy. Greg Graffin’s vocals were as cutting as ever, while the band moved like a well-oiled political machine. “American Jesus” closed the set with a roar as sunset fell, and the crowd that knew every word.
Then came Dropkick Murphys, and the pier might as well have been a Boston pub. The band surged into “Who’ll Stand With Us?” and didn’t let up for 20 songs. Standouts like “The State of Massachusetts,” “Barroom Hero,” and “I’m Shipping Up to Boston” turned the crowd into a bouncing, beer-slinging mass. But it was “Bury the Bones” that truly cut through the show. Ken Casey started with a friendly New York and Boston rivalry, which gave us the choices of ragging on the Yankees to Donald Trump. The crowd picked the latter, of course, as a somber, defiant anthem that called for unity in our current chaos for a video wall montage of what’s going on from ICE raids to political injustice all over this country we all call home.
Their encore brought fists in the air and voices lost in unison, ending the night with “The Big Man” as the city lights blinked approval, and some tourists watched from the bridge from behind the stage. From start to finish, it was a show that leaned into nostalgia while staying urgent and alive.
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