Experiencing Flogging Molly live is more than just attending a concert; it’s an immersion into a vibrant, high-energy celebration of Celtic punk that transcends mere performance. As I stood shoulder-to-shoulder with lifelong friends, arms linked, voices joining in a raucous chorus of “Hey, I may never leave this world! But if I ever leave this world alive!”, a wave of pure joy washed over me. On stage, the inimitable Dave King led the charge, transforming strangers into comrades in arms, fueled by music and camaraderie, and perhaps a touch of Irish spirit. My own journey with Flogging Molly began at 15 at the Float Tour, a baptism by fire into the exhilarating world of punk rock shows. The sheer exuberance, the infectious fun, the delightful chaos – it was an awakening that forged a lasting devotion. Ever since, their Salt Lake City stops have been sacred dates, and my unwavering advice to anyone within earshot is simple: experience Flogging Molly live at least once. Bad performance? An anomaly in their repertoire.
The anticipation for this hometown show, four years in the making, was palpable. My friends and I, including two Flogging Molly virgins, primed ourselves with Jameson and a Flogging Molly soundtrack, a spirited pre-game ritual.
Arriving at The Complex, we were greeted by the soulful, roots-rock sounds of The White Buffalo, who had already captivated the burgeoning crowd. The energy was high, fueled by anticipation and perhaps a bit too much drink for some – a cautionary tale unfolded as one overzealous fan succumbed to the potent combination, becoming a cautionary exhibit of the perils of unchecked enthusiasm at a Flogging Molly show. Indeed, the band’s Celtic roots and pub-infused sound often ignite a celebratory drinking culture amongst fans, sometimes with…unforeseen consequences.
However, this isolated incident did little to dampen the collective spirit. My own pre-show jitters were intensifying, a delightful cocktail of excitement and anticipation. This was it – Flogging Molly, my all-time favorite band, about to take the stage with my favorite people by my side. As the house lights dimmed and the opening strains of “There’s Nothing Left Pt. 1” from their latest album, Life is Good, resonated through the venue, reality crystallized: this was happening.
Dave King, lead singer for Flogging Molly. Photo: Lmsorenson.net
Dave King, Flogging Molly’s charismatic frontman, steps onto the stage, captivating the audience with his commanding presence. Photo: Lmsorenson.net
Dave King, beer aloft in a toast, swaggered onto the stage. The crowd roared back, a sea of raised fists mirroring his salute. The seven-piece ensemble, Flogging Molly in their full glory, took their positions. King, with a grin, introduced himself – an act of charming formality, utterly unnecessary – and then cajoled the audience into a unified clap as he launched into the opening lines of “The Hand of John L. Sullivan,” a potent track from Life is Good. As Mike Alonzo’s bass drum steadily intensified, King’s vocals soared, “I am the man with the plan to shake the hand of John L. Sullivan / Fighter till the end, legend he will be / and if any man should ask, if any man could carry / I am the man with the plan to shake the hand of John L. Sullivan!” And with that explosive release, the devil’s dance floor ignited. Mosh pits erupted, swirling vortexes of joyous mayhem, the kind you eagerly throw yourself into.
Fresh off the bat with a new album track, Flogging Molly’s set was a masterclass in live performance. Seamlessly transitioning into familiar anthems like “Swagger” and “Selfish Man,” King, ever the engaging frontman, playfully warned the audience of the set’s unpredictable nature, promising a rollercoaster ride through their extensive discography. And a rollercoaster it was, a thrilling mix of vintage classics and fresh cuts, beloved staples and cherished rarities, songs designed for crowd singalongs and deep-cut gems for the die-hard faithful.
My Flogging Molly show count is high enough to border on obsessive, granting me a peculiar ability to predict the setlist trajectory. King’s band member introductions became sonic breadcrumbs: a spotlight on banjo maestro Bob Schmidt signaled the imminent arrival of “Drunken Lullabies”; a nod to bassist Nathan Maxwell prefaced the bass-driven intro of “Saints and Sinners”; and a heartfelt tribute to his late mother invariably led into the poignant “Requiem for a Dying Song.” The inclusion of “Life in a Tenement Square” and the setlist return of “Swagger” were delightful surprises, but the true revelation was “Laura.” King himself acknowledged its antiquity, confessing its neglect in recent years, recalling its last live performance coinciding with my first Flogging Molly experience back in 2009. The setlist continued its relentless pace with cornerstones like “Float,” “Tobacco Island,” “Rebels of the Sacred Heart,” and, of course, “Devil’s Dance Floor,” each delivered with trademark intensity. The new track “Reptiles” slotted in perfectly, its anthemic chorus of “We Woke Up!” instantly resonating with the crowd, fueling even more fervent dancing.
Flogging Molly playing in SLC, asking audience members to clap along. Photo: Lmsorenson.net
Flogging Molly engages the Salt Lake City audience, creating a unified experience through music and participation. Photo: Lmsorenson.net
However, no rose is without its thorn. Flogging Molly’s widespread appeal has attracted a segment of fans that occasionally clashes with the ethos of the original punk rock faithful. The boisterous, overly-intoxicated contingent, whose moshing etiquette leaves much to be desired, can sometimes detract from the experience for those genuinely there for the music. Seriously, who starts a mosh pit during the acoustic interlude of “The Worst Day Since Yesterday?”
Thankfully, this particular show seemed largely devoid of such disruptive elements. Aside from a couple of overly-aggressive individuals in the denser parts of the crowd, the atmosphere was overwhelmingly positive, a collective of people genuinely losing themselves in the music, embracing the unbridled joy that defines a true Flogging Molly experience. This sense of unity reached its zenith during “If I Ever Leave this World Alive.” Navigating through the ecstatic crowd, I gathered my friends, locking arms, voices blending with the thousands singing along to the song’s powerful message of cherishing loved ones. The energy surged through the roof with their customary show closers, “What’s Left of the Flag” and “Seven Deadly Sins,” the venue erupting in the familiar “Ole” chant, demanding an encore.
The band obliged, returning to the stage with “Crushed,” another new track, its building intensity culminating in a crowd-wide crouch, bodies drumming the floor in unison before exploding upwards as the song reached its crescendo. The set reached its fitting conclusion, a symbolic full circle, as King announced their return to the very beginning, the first track from their debut album. The venue descended into glorious pandemonium as Flogging Molly unleashed “Salty Dog,” a final burst of energy to cap off another triumphant performance. Post-show, guitarist Dennis Casey and accordionist Matt Hensley lingered, graciously engaging with fans, signing autographs and posing for photos, extending the night’s magic beyond the stage.
Fans of Flogging Molly being bathed in blue light during the set. Photo: Lmsorenson.net
Flogging Molly’s performance in Salt Lake City, illuminated by vibrant blue stage lighting, creates an immersive visual experience for fans. Photo: Lmsorenson.net
Flogging Molly isn’t just a band; they are a live phenomenon, a must-see regardless of your familiarity with their music. Their live performances are unparalleled, consistently delivering an unforgettable experience. This Salt Lake City show was no exception. They tore through their classics with practiced precision, infusing new tracks with equal fervor. While my personal wishlist includes the revival of some deep-cut relics, the truth remains: any Flogging Molly show, any setlist, guarantees a phenomenal time. The devil’s dance floor awaits, and Flogging Molly are the masters of ceremony. –Eric U. Norris
