Formed in 1996 and one year away from their 30th anniversary, Dropkick Murphys are back in business with their 13th album, “For the People,” following a hiatus of two albums dedicated to Woody Guthrie. With “For the People,” the Boston band continues its festive yet always provocative formula...
Before we begin the interview, how are you?
Tim Brennan: That's a good first question, no one has asked that yet. But yes, I'm doing very well. We arrived yesterday, but I'm feeling the effects, even though for James, this is his normal state (smiles).
James Lynch: No, but I'm fine. It's a difficult time when you're aware of what's going on.
Honestly, sometimes it feels like it's not normal to be normal and to have fun and enjoy yourself because of everything else that's going on...
Tim, we met in 2016 and during the interview, we discovered that you're a hockey fan. So all our questions are about that sport...
Tim: ... I love that sarcasm (laughs).
Dropkick Murphys is a 24/7 job! ...
More seriously, your recent news is the release of your new album “For the People” last summer. First question: weren't you afraid of how your thirteenth album would be received and a kind of superstition?
Tim: That's interesting because we hadn't thought about it: thank you (smiles)! Fortunately, we weren't aware of it, but it's incredible to think that this is our thirteenth album. If you had asked me to guess how many albums the band had released, I wouldn't have been able to answer, let alone come up with that number.
James: But the band has been around for so long...
Tim: There's no celebration of what we've done.
James: ...and no anticipation of what will happen next. We only care about the present moment. It's funny because when music becomes your full-time job, there's no separation: it's a 24/7 job!
I like to think we're on the right side of history!
In light of recent political events in the United States, was it essential for you to start your album with a unifying track like “Who'll Stand With Us”?
Tim: I think it's important! The band has obviously been through a lot politically. But perhaps because of the band's success, or the fact that we're from Boston, a lot of people aren't aware that there's a political connection. So there was a moment of surprise for some of our fans, but I like to think we're on the right side of history!
And it was very important to have a unified song to open this new album, which is coming out at such a politically charged time.
James: There's also some criticism from people who aren't aware of the band's history and who ask us to shut up and just sing. That's part of the message—a reminder of what the band is and what it has always been—the first album was about workers' rights, and nothing has changed since then.
You share several tracks with guest artists. Is this a way of showing that you are not alone in your social and political struggles?
Tim: I like to think so (smiles)! It's a wonderful feeling, and we're happy to invite our friends above all, but I suppose they share our convictions...
On the one hand, you invite a legend like Billy Bragg, and on the other, you seem to want to showcase young bands like The Scratch and The Mary Wallopers. Is this a way of building bridges between generations to unify the struggle?
James: We've always worked with people we like, artists we're fans of: that's something that's always been common to the band. It's funny—I hadn't thought about it until now—but things may seem different because of the current climate in the world. But it's not that different from what we've always done. I think if it surprises some people, it's because of the current context.
Your guests are also all from the British Isles. Is this also a way of showing the global scale of the problems and injustices you denounce?
James: I'd like to say that was the intention, but as James said, Billy Bragg is someone the band has always loved. We had the pleasure of meeting him and playing a few songs with him two and a half or three years ago.
We had a great time—he's such a nice guy—and it was obvious that we should ask him to join us.
As for our friends in The Scratch, we toured with them for two years. They're a great band.
And then, regarding The Mary Wallopers, I don't know if we've ever met them? We're huge fans.
But that's a good question. The links with Irish bands are pretty obvious because it's part of who we are. But honestly, I don't know if there's anything directly related to the fact that they're Irish or British bands...
That was the second part of my question. With that in mind, do you know any French artists you could invite to participate on the next album?
Tim: We could invite Gojira to play their music on one of our songs and we would add our Irish instrumentation to it.
That would be great!
Tim: Definitely (smiles)!
We're happy to have Al Barr on one song, and the audience is excited about his return.
Still on the subject of guests, we were surprised to see Al Barr appear as a guest on the track “The Vulture Circle High.” Is there any chance we'll see him back as a permanent member of the band soon?
Tim: There's always a chance! It's a situation that needs to be taken day by day: Al is handling it perfectly well, his mother seems to be doing well, his family too... We're happy to have him on one song, and the audience is excited about his return.
This new album is our return to business!
On songs like “The Big Man,” “Kids Game,” and “Fieding For The Lies,” you don't use traditional instruments. Is this to reinforce the power and anger of these tracks?
Tim: We've always had these kinds of more direct songs, whether it's in terms of the guitars and drums as opposed to the Irish elements. When we write these songs, we know very quickly what they're going to sound like. And often, songs that don't have Irish instrumentation have that hard-hitting effect.
James: And following those albums about Woody Guthrie, we also wanted to remind people that the band has always been like this, even though we strayed from that with those albums dedicated to Guthrie.
There's some confusion about that: it was a change, it was our little vacation where we could try something new. And this new album is our return to business!
Tim: I also like to think that by making these albums dedicated to Guthrie, it makes us sound harder.
“The Big Man” pays tribute to Fletcher Dragge of Pennywise. Is this an opportunity to remind people of the importance of your punk roots, which can sometimes get a little lost behind the festive image of most of your songs?
Tim: Yes, I think that's part of it. And the other part is that we tour a lot with Pennywise, and Fletcher is a guy whose reputation precedes him. And I'm not going to deny what he did because it's a sensitive issue, but he's one of the coolest guys we've ever met. And it was obvious that we wanted to remember him...
James: And that comes back to the message of the album, which is that you always have to find a moment to laugh.
Tim: There are lots of political memories, but we also need these kinds of memories that allow us not to take ourselves too seriously (smile).
We make music for fun.
You mentioned in part the impact of your albums on Woody Guthrie, which perhaps makes your sound harder. In that respect, “Kids Game” is somewhat reminiscent of Motörhead. Was that intentional, and what does that band represent to you?
Tim: We like lots of other bands that are even heavier, but I can't say whether Motörhead was on our minds when we wrote that song, but it must have been...
James: To understand our surprise at hearing your question, you'd be amazed at how little thought we put into writing our songs. Going back to what I said at the beginning of the interview, since the band became a full-time job, our lives are totally devoted to art because that's what we do all day long...
Tim: ...and especially when you're in a room, writing songs, coming up with the music, maybe at times we notice that it sounds like this or that band, but most of the time, we make music for fun without any other thoughts, let alone the ones you mention...
There's very little thought that goes into our compositions, they just come as they come.
Basically, you do what you have to do without thinking too much about it.
Tim: That's right! And every time one of us asks that question, another one will answer that he's thinking too much (laughs)! You know what I mean? So yes, there's very little thought that goes into our compositions; they just come as they come, while we avoid responding.
James: There's also a large group of people who contribute to the songs, whether on the road, on tour, backstage... There must be between five and seven people who contribute something at any given time. We have different tastes, we have different ideas. We might get to a certain point in the song and Tim might say it should go in one direction, while I might see it going in another... It's great to have so many people, so many influences...
Tim: Yes, it's a really good thing. For example, I'll come up with a piece of music where I'm particularly inspired by something without telling anyone. And when everyone has had their say and incorporated their ideas, the piece in question will no longer resemble what I originally proposed. And it's good to know that even if a composition starts from a specific point with direct inspiration, it will end up somewhere else.
You mentioned composing while on tour. We're not artists, so we don't realize the impact that a tour can have in terms of camaraderie within a band and the repercussions on composition.
Tim: It's hard to write when you're on the road, and I don't know how many bands actually do it.
But what is certain is that these experiences on the road have a huge influence on the music...
Regarding touring and the harder side of your music, you are very often invited to metal festivals. How do you explain the strong connection you have with this musical style and its audience?
Tim: We talk about it a lot among ourselves...
James: ...and we have no idea. The first time we had this experience was at a metal festival in the early 2000s: there was Megadeth and Motörhead...
Tim: ...and we all wondered what we were doing there, we didn't belong in that world (smile).
James: It was incredible, but it's more true in Europe than in the United States. In the United States, the metal community doesn't accept us as well. And that's one of the reasons we love coming here, especially to festivals. I don't know if our music really resonates with the metal community, I have no idea, but we love this community that we feel attached to, we feel at home... .
Tim: But it's definitely more the case in France and Germany, and being accepted like that by this community in Europe is something incredible.
Without transition, the lyrics of “Chesterfiels And Aftershave” pay tribute to Casey's grandfather. On “Turn Up That Dial,” “I Wish You Were Here” also saw Al Barr pay tribute to his father. Is it important for you to keep the memory of your loved ones alive?
Tim: Absolutely! Most of us are Americans of Irish descent, and funerals are a big deal (smiles). Family is obviously very important. But I think it's an easy subject to write about, and that's true for everyone.
What do you say to those who think that this melancholy isn't really compatible with the spirit of rebellion that you convey in most of your songs?
Tim: I don't know. Like I said, family is very important to us, and no one laments like the Irish. I think these things are incorporated because we play Irish music.
You won't find guys more normal than us: we're just regular guys in an extraordinary situation!
Is there a connection with the fact that no one drinks like the Irish either?
Tim: It's possible. I think the two are related (smiles).
James: The main thing to know is that you won't find guys more normal than us: we're just basic guys in an extraordinary situation! Our music and lyrics resonate with what's going on around us, in our daily lives, the climate of the world... Our spectrum will depend on what I had for breakfast, who we're touring with, what's going on in our personal lives...
You have a knack for making anger festive and indignation endearing thanks to the good humor of your music, which blends with the demands of your lyrics. Do you think this alchemy reinforces the impact of your denunciations?
Tim: Yes, I think so! The funniest people I've ever met are in this band. So humor plays a big part in what we do. As I said before, we don't want to take ourselves too seriously, even when we're talking about political issues.
James: Everything we do is filtered through a human lens.
I wouldn't be in the Dropkick Murphys if I didn't have that love for the Pogues.
Finally, we can't fail to mention your tribute to Shane MacGowan. Can you tell us how important this artist is among your influences?
Tim: I don't think his importance is overestimated for most of us. For me, it changed my life: I wouldn't be in the Dropkick Murphys if I hadn't had that love for the Pogues. That's what made me pick up strange instruments and start playing them.
I don't think Shane MacGowan's influence on the band can be disputed. And working with him was incredible. As a die-hard fan of the Pogues, having a connection with them or with him was something incredible...
You've made two albums paying tribute to Woody Guthrie. Would an album like that be possible to pay tribute to Shane MacGowan and the Pogues?
Tim: That's a good question. I think one of our concerns has always been what to do with The Pogues because they're one of our main influences. That's a really good question. We've done covers of The Pogues in the studio but also on stage... It's a really good question because... I don't know...
James: It would be a totally different experience. Woody Guthrie's music was meant to be transferred...
Tim: ... That's a very good point!
James: The message of Woody Guthrie's music is universal, but that's the case with folk music in general.
That's why you can hear hundreds of different versions of the same folk song by different artists. Shane MacGowan has a very particular style, and well...
Tim: That's why you don't hear many artists covering his songs, because there's nothing worse than a bad Pogues cover. For various reasons, their songs are very difficult to cover, and that's because of Shane MacGowan: the way he sings is so specific that it's hard to cover him...
And finally, what are your expectations for this album released this summer? When you're called Dropkick Murphys, with such a career and thirteen albums under your belt, do you still have expectations?
Tim: Most of our expectations are based on the audience's appreciation: we hope they like it enough to sing along with us again at concerts. Other than that, I don't think we have too many expectations.
It's important for a band like ours to keep a certain dynamic and not become antiques who only play their old songs.
In that regard, given your discography, you have a huge number of songs to choose from when putting together a setlist. Ultimately, how much space is given to new songs?
Tim: That's another good point. We play 25 songs per concert. There's always room for new songs. But the problem is with the older songs: why play this one and not that one? It's really hard to reflect our entire discography.
James: There's a lot to say when you're a band like ours that's been touring for about thirty years. It's important for a band like ours to keep a certain dynamic and not become antiques who only play their old songs.
You tour a lot, how do you manage to keep a balance with your private life?
Tim: You're a very thoughtful guy and your questions are very good... It's complicated (laughs)!
But maybe the fact that Dropkick Murphys is a family helps you overcome this complicated situation?
James: Exactly! I was 20 when I joined the band, I'm 46 now. I grew up doing nothing else, my life has been built around it and I haven't had a year without that big circle on the calendar to signify that I'd be on tour. Our lives have been built around what we do as musicians. My whole family knows we won't be there for birthdays, births, deaths... We do what we can. Most of us know we have to find a balance between touring and staying at home. But when we're at home, we have the luxury of not having to work from 9 to 5. When we're at home, it's 24 hours a day!
Tim: Which is another problem (laughs)!
Thank you very much and see you soon...
Tim: See you very soon, as we'll be playing at the Adidas Arena on November 15... Thanks again for this interview!
And thanks to Loloceltic for his contribution...