Tickets go on sale Friday, April 26th at 10AM at The Top Hat, online or by phone at 1 (800) 514-3849. General admission standing pit tickets, reserved stadium seating tickets and general admission lawn tickets are available. Shuttle and parking tickets for this event are also available for advance purchase here. All ages are welcome.
General Admission Pit: General admission pit tickets allow access to the standing room only section located directly in front of the stage.
Reserved Stadium Seating: Reserved Stadium seating tickets allow access to the reserved, stadium style seating section located just behind the main pit of the amphitheater.
General Admission Lawn: General Admission Lawn tickets allow access to the upper standing section of the amphitheater located just above the reserved stadium seating section.
Additional ticketing information and policies can be found here.
*Doors for this event have been moved to 5:30PM
Logjam Presents is proud to partner with Montana Trout Unlimited so that $1 from every ticket sold to KettleHouse Amphitheater events will go to the Blackfoot River Fund – a dedicated fund to conserve and protect the beautiful Blackfoot River. More info on the Blackfoot River Fund and its efforts can be found here.
All concerts are held rain or shine. Be prepared for extremes such as sunshine, heat, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather, tickets will not be refunded.
About Flogging Molly
The social and political awareness that drives Flogging Molly’s music is never more prominent than in their upcoming new release LIFE IS GOOD — a strikingly powerful album and it arrives at a strikingly key time. The sixth studio album by the renowned Celtic-punk rockers now in their 20th year is mature, well crafted, equally polished and almost aggressively topical. It is filled with rousing songs that are timeless in their sentiment, but directly related to today’s most pressing concerns: Politics, the economy, unemployment, planned boomtowns gone bust, immigration policies gone awry, and much more.
For singer and lyricist Dave King, it may be the lyrical couplet contained within the surging “Reptiles (We Woke Up”) that points toward the album’s central theme. “We woke up,” sings King, “And we won’t fall back asleep.”
“The thing is, there are things changing,” says King. “That’s why I wrote that line, ‘Like reptiles, we’ll all soon be dust someday.’ It’s quite scary, especially for somebody who has children these days — bringing up family in this environment of who’s welcome and who’s not welcome. I’m talking about the cultures in America and the UK — especially American immigration.
Life Is Good thus serves as a wake-up call to those who have simply stood by while far-reaching political decisions were made that had serious impact on them. And, significantly, it also serves as notice that the time for action is now.
And people are indeed taking action, adds King, which is a crucial point.
“I think especially with things like government — I think we all tend to fall asleep a little bit when it comes to other people that are making decisions for you. I think we should be the ones influencing the government to make these decisions. It’s a great thing that we’re now taking to the streets again. And it’s a positive thing.”
Imagery abounds on Life Is Good, and one of the most memorable images might be found in “Adamstown,” the saga of a planned community west of Dublin that came to a halt in mid-construction a decade ago when the Irish economy crashed — and left little more than a ghost town in its place.
“It had a huge negative connotation to it,” King says of the eerie, unfinished settlement. “But now it’s starting to turn again, people are starting to move there, businesses are starting to open, and there is hope.”
Thematically, hope and inspiration are a major part of “The Hand of John L. Sullivan,” a rollicking track about the legendary “Boston Strong Boy” who was the first ever heavyweight champion of gloved boxing from 1882-1892. Sullivan was a hero to many, and his story has a cultural significance that fits squarely within the story Flogging Molly want to tell with Life Is Good.
“He came from an immigrant family to Boston, and they brought their family over to try to make the best possible world for them,” says King. “We live in an environment right now where that doesn’t seem to be what should be allowed to happen, you know?
Recorded in Ireland and produced by multiple Grammy Award winner Joe Chiccarelli (U2, the White Stripes, Beck), Life Is Good is by any measure a formidable return from Flogging Molly, an assessment with which Dave King fully agrees.
“It’s been a tough few years for a lot of us in the band. Dennis (Casey, guitarist) lost his dad, I lost my mother, and there have been certain issues, pertaining to sentiment, in a lot of the songs. But we just try to do the best we can. We’ve always had fun getting together and coming up with the new songs, and it’s still that way.
Here we see what’s uniquely distinctive about Life is Good, as the gravity and weight of these themes never overshadow the sheer fun and exuberance felt in each song. For the message is delivered and built on the backs of boisterous and barreling live touring.
“We’re known for our live shows,” says Dave King. Writing albums has always been a vehicle for us — it’s been a means to get people onto the dance floor. And that’s kind of the way we’ve always approached it, no matter what.”
“The one thing we are is a positive band,” adds Dave King. “When people come and see our shows, it’s a celebration — of life, of the good and of the bad. And we have to take the good and the bad for it to be a life.”
FLOGGING MOLLY IS: Dave King (Lead Vocals, Acoustic Guitar, Electric Guitar, Bodhran), Bridget Regan (Violin, Tin Whistle), Dennis Casey (Acoustic Guitar, Electric Guitar), Bob Schmidt (Banjo, Mandolin), Matt Hensley (Accordion, Piano, Concertina), Nathen Maxwell (Bass Guitar), Mike Alonso (Drums, Percussion).
About Social Distortion
Here’s how you know you’ve made it in the music business: You’ve stayed strong for three decades on your own terms, on your own time, by your own rules, and over that time your influence has only grown. Each of your albums has been stronger than your last. You’ve been brought onstage by Bruce Springsteen, because he wanted to play one of your songs. You’ve seen high times and low ones, good days and tragic days, but every night you give 100%, and every morning you wake up still swinging.
This is the short version of the Social Distortion bio — the long version could be a 10-part mini-series. But over the past 30 years, the punk godfathers in the band have all but trademarked their sound, a brand of hard rockabilly/punk that’s cut with the melodic, road-tested lyrics of frontman Mike Ness. Their searing guitars and a locomotive rhythm section sound as alive today as they did in ’82, as do Ness’ hard-luck tales of love, loss and lessons learned. “The most common thing I hear is, ‘Man, your music got me through some hard times,'” Ness says. “And I just say, ‘Me too.'”
Hard Times And Nursery Rhymes (produced, for the first time, by Ness himself) is the band’s first record since 2004. For a band with a career spanning over 30 years, Social Distortion experienced a significant amount of firsts in 2011. For starters, Hard Times and Nursery Rhymes debuted at #4 on the Billboard Top 200 and was the highest debut that the band has yet seen. Hard Times was also the #1 Independent Album and the #2 Modern Rock/Alternative Album week of release. The band also made their late night television debut when they performed “Machine Gun Blues” on Jimmy Kimmel Live, and later played for Conan on Hard Times’ release date. Taking their successes to the road, Social Distortion played European festivals including Reading and Leeds for the first time. They also booked their first tours of Australia and South America. And finally, Social Distortion played Lollapalooza, Austin City Limits Festival, and Coachella – all of these for the first time.
Hard Times and Nursery Rhymes has Social Distortion’s key components — their patented mix of punk, bluesy rock n’ roll and outlaw country — while also stretching the boundaries of their signature sound. Social Distortion is a blend of potent power that appeals to all ages. They are honored to have been able to reach as many people as they have so far. “I write songs for myself, and I hope that other people will like them too,” Ness says. “I think every record you make is showing people what you’ve learned over the past few years. It’s showing people, ‘This is what I know.’ “
Now in their fourth decade, Ness and Social Distortion have officially achieved one of the most non-punk things possible: They’ve failed to burn out.