Flogging Molly

Doc Roc Presents

Flogging Molly

Jon Snodgrass & Friends, Scott H. Biram

Sun Mar 11

Doors: 7:00 pm / Show: 8:00 pm

Cain's Ballroom

Tulsa, OK

$35.00 - $103.05

Tickets at the Door

This event is all ages


Advance $32.50

Day of Show $35
Door $35
Mezzanine (21+) $47.50

There is a $2 fee that applies to each ticket purchased at the Cain's Box Office.

VIP Merchadise Package $103.05 (ONLINE ONLY)

Details for the VIP Merchandise Package will be listed under the ticket type.  You will receive an email with instructional details regarding the VIP package 3-5 business days before the event. For any questions regarding the VIP Merchandise package, please click here.

No re-entry! No smoking! No refunds!

Support acts are subject to change without notice!

Flogging Molly
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).
Jon Snodgrass & Friends
Jon Snodgrass & Friends
The bespectacled Jon Snodgrass, the Ft. Collins, Co-based musician (by way of Missouri), has played a role in some of the most compelling indie punk/alt country releases to come out in the past few decades. In the early ‘90s, he formed Armchair Martian to channel his love for both Husker Du and Uncle Tupelo. The band put out a few albums, their last one in 2001, and many assumed the band would simply live on in memories, but to the surprise of many has resurrected to play a handful of shows in 2017.

Obviously not one to be tied down to monogamy when it comes to music, he also teamed up with Chad Price in the late ‘90s and co-founded Drag the River, another stellar country/punk hybrid that turned in a slew of LPs, EPs and 7”’s over the years. Snodgrass and Price continue to tour occasionally, last releasing an album in 2013.

His other side project, Scorpios, put out their second record in 2017, but he also has no problem going it alone when schedules don’t line up. He’s put out a number of solo records and splits writing with a wry sense of humor, his songs vacillating between sweet, sometimes somber affairs and at times straight up rock numbers. He’s just as happy, if not happier collaborating with friends like Cory Branan, Frank Turner, Chuck Ragan, Chris Wollard, Joey Cape, Stephen Egerton and Tim Mcllrath, among others.

With a career’s worth of stellar songs to his name and decades spent playing venues across the globe, Jon Snodgrass is usually just described as the guy with the glasses who plays self-described Country & Midwestern Music .
Scott H. Biram
Scott H. Biram
With the heart of a genuine Texas bluesman, the head (banging) of a Zappa and Lemmy disciple, and boots resting in the dust outside of town at sunrise, Scott H. Biram journeys through the harrowing human condition like no one else. A walk on the Biram side straddles the chasm between sin and redemption and The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.

Scott H. Biram conjured the words and music for The Bad Testament during mad alchemical sessions at his homemade studio in Austin, TX. Through stacks of amps, spools of cable, and a prodigious collection of microphones, he spread his technical wings wide, while never losing the immediacy honed from a life on the road. He added a drum kit and rustic vocal duet to his skill set (which already includes all guitars, bass, keyboards, vocals, and percussion on the album). And strip away the one-man band eccentricity, SHB is out-writing any meeting taker on Music Row. The man writes on a razor’s edge of aggression and deftness, thoroughly contemporary but steeped in the backwaters, back porches and back alleys of our collective musical heritage.

Many in the one-man band field find their groove and stay in it, but stay in a groove too long and it becomes a rut. SHB has the groove, but never falls into a rut. On “Set Me Free” and “Red Wine” the wandering country soul of Jimmie Rodgers and the laid-back cool of Merle Haggard ride well with SHB’s distorted punk; it’s the 2-sided jukebox hit at the honky-tonk behind the looking glass of CBGB’s. “Righteous Ways” and “Still Around,” mellower, but no less determined, sound right out of the Folkways canon. Speaking to eternities and charlatans, Biram’s freewheelin’ with an edgy take on the Newport Folk vibe. With its surprisingly melancholy organ and in the back of the pocket tattered soul, “Crippled & Crazy,” recalls The Band. The haunting harmonica-soaked ballad “Long Old Time” is a chilling taste of existential desolation, “It’s gonna be a long old time/ before I pay for the crime that I done.” This is one lost highwayman.

Fear not, though, Biram is still The Dirty Old One Man Band. His brand of unvarnished and unhinged aggro-roots remains as exciting as ever. “Trainwrecker” blasts down the two-laner with the breathless fervor of a redneck metal “(I’m Not Your) Stepping Stone.” Try NOT singing along in the best Nordic Doom Metal voice we all carry around buried within our darker selves. He’s downright blunt on the R-rated Boomhauer TX rant “Swift Driftin’”: “It takes a real piece of shit to be a real piece of shit/ You should really just be headed on your way.” Yet the stark acoustic guitar country blues is updated and self-aware – a profane reboot of personal heroes Leadbelly and Mississippi Fred McDowell. The instrumental “Hit the River” is a throw the devil horns slide guitar boogie right in that sweet Biram groove. And. It. Will. Not. Let. Go. It’s short, not-so-sweet, and leaves you panting for more.

Scott H Biram is THE one-man band. The master of the realm. Why? Because even though he’s one man, he ain’t one thing.
Venue Information:
Cain's Ballroom
423 N Main St.
Tulsa, OK, 74103
http://www.cainsballroom.com