There’s something deeply satisfying about a band that knows exactly who they are. After nearly three decades in the game, Dropkick Murphys have delivered For the People, an album that feels both quintessentially DKM and remarkably mature — like finding an old friend who’s gotten wiser with age without losing any of their fire. Let me be honest: I’ve spent considerable time with this album since getting my hands on a pre-release copy and there isn’t a single song I don’t like.
That’s rare these days.
For the People captures everything that makes Dropkick Murphys so damned good: Celtic folk punk atmospherics, straight-up punk ethos, and enough bangers to fuel a proper Boston bar fight (even at their mature ages).
The album opens with “Who’ll Stand With Us?”, a working-class anthem that cuts straight to the bone. This is classic DKM territory: Irish-American consciousness wrapped in punk energy, with an urgency perfectly calibrated for our current political climate. The song frames class warfare for what it actually is, asking hard questions about what happens when billionaires and corporate interests disrupt and dismantle society. It’s the kind of opener that could kickstart any show, with pipes soaring over driving rhythms.
What strikes me most about this album already is its focus on looking back — not just via nostalgia, but with the kind of clear-eyed reflection that comes with age and experience… without being boring or preachy. “Chesterfields and Aftershave” is an emotionally driven song, a tribute to frontman Ken Casey‘s grandfather that pulls at every heartstring. The specificity of details — the Nova, 1975, sitting with chips and a soda — creates such vivid imagery that you can practically smell the cigarettes and cologne. It’s a song about losing the person who believed in you when you couldn’t believe in yourself and the way Casey’s voice carries the weight of that loss is genuinely moving.
The guest appearances throughout the album feel organic rather than forced.
Billy Bragg‘s collaboration on “School Days Over” makes perfect sense; it’s a traditional folk song about young men transitioning from education to dangerous coal mining work. The Mary Wallopers bring their distinctive Irish voices to “Bury the Bones”, which might just be my favorite track on the record. It’s a rallying cry for the common man that speaks directly to current American politics, with a haunting metaphor about being “on the right side of the ground where they bury the bones”.
Perhaps the most significant guest appearance on the album is original DKM lead singer Al Barr‘s return on “The Vultures Circle High”. Having stepped away from the band to care for his ailing mother last year, Barr’s voice growling delivery adds weight to what’s essentially a deathbed confession. It’s good to hear him alongside his bandmates again, even briefly. Hopefully, we will see a full time return in the future.
Moving right along, the album doesn’t shy away from harder edges, either. “The Big Man” is an awesome tribute to Pennywise‘s Fletcher Dragge who showcases DKM’s punk credentials, while “Fiending for the Lies” delivers, perhaps, the band’s most pointed social commentary yet. The track is a dark meditation on how society has become addicted to misinformation, with people literally craving lies over truth. The song captures something essential about our current moment: the way manufactured chaos keeps people divided while the powerful profit from the confusion.
There’s also remarkable emotional range here. “Kids Games” looks back at arrested development and the consequences of never growing up, while “Streetlights” reflects on Casey’s father’s death when he was only eight. The way these personal stories weave together with broader social aspects create a rich tapestry of universal storytelling.
The album closes with “One Last Goodbye”, a tribute to Shane MacGowan of The Pogues that serves as both celebration and lament. The Irish Gaelic section, performed by The Scratch, adds authentic Celtic feel, while the lyrics capture MacGowan’s profound impact on countless musicians and fans throughout his career. It’s a fitting end to an album that’s very much about legacy: what we leave behind, who shaped us, and how we honor those who came before.
Musically, the band sounds as tight as ever.
The interplay between traditional Celtic instruments and punk rock energy remains Dropkick Murphys’ secret weapon. Whether it’s the accordion on “Longshot” or the pipes driving “School Days Over”, every element serves the songs rather than showing off superfluously.
But what makes For the People so special is how it balances personal with political; these are songs about real people facing real problems: workers being exploited, families dealing with loss, communities struggling against forces beyond their control. But they’re also songs about resilience, solidarity, and finding meaning amidst the chaos.
The album’s title isn’t just a slogan; it’s a declaration of values. In an era when many bands seem afraid to take a stand, Dropkick Murphys remains unafraid to speak for the working class, to call out social injustice, and to demand reform from those in power. They do it with the same Celtic punk fury they’ve always possessed, but with a wisdom that comes from years of fighting the good fight.
For the People feels like the work of a band that has found its voice completely. It’s quintessential Dropkick Murphys, but it’s also their most cohesive and emotionally resonant work in years. In a world that often feels designed to divide us, here’s a band still fighting to bring us together. And in times like these, that might be the most punk rock thing of all. Besides catching the new album live at the For the People… In the Pit Tour with The Aggrolites and Haywire starting next month on the 9th. See details below and see you there!
Dropkick Murphys – “Chesterfields and Aftershave” official video
Track listing:
- Who’ll Stand With Us?
- Longshot
- The Big Man
- Chesterfields and Aftershave
- Bury the Bones
- Kids Games
- Sooner Kill ‘Em First
- Fiending for the Lies
- Streetlights
- School Days Over, feat. Billy Bragg
- The Vultures Circle High, feat. Al Barr
- One Last Goodbye “Tribute to Shane”, feat. The Scratch
Stream ‘For the People (Expanded Edition)’ album:
Cover photography by @Chezphoto / Riley Vecchione
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Disclaimer: All views presented in this album review are those of the reviewer and not necessarily those of Top Shelf Music.
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