Indianapolis, Indiana continues to cement its reputation as a destination for major events, and on Tuesday night, the Summer of Discontent Tour transformed the Everwise Amphitheater at White River State Park into a punk rock sanctuary. What might typically be a quiet weekday evening turned into a high-octane gathering of fans eager to thumb their collective noses at the current status of politicized America. Co-headliners Dropkick Murphys and Bad Religion brought together two distinct punk traditions—politically charged anthems and raucous Celtic pride—for a night that felt both rebellious and celebratory.

Opening the show was Hollywood’s own The Mainliners, a no-frills punk quartet who took the stage with unapologetic grit. Warming up a crowd eager for legacy acts is no small feat, but The Mainliners embraced the challenge, delivering a relentless set of high-speed riffs and shouted verses. With Cash Mathieu on vocals, Colin Sick on guitar, Adrian Morris on bass, and Jackson Fox on drums, their sound paid homage to classic American punk—fast, raw, and unpretentious. Tracks like “Thunderbird,” “Heavenly Dose,” and “No Man Tequilla” resonated with the blue-collar undercurrent of the evening, stirring the crowd and igniting the first circle pits of the night.

After a brief intermission, the amphitheater lights dimmed again, and Bad Religion took the stage amid fog and huge red logo backdrop. With a career spanning over four decades they’ve become what one fan shared with me, the thinking person’s punk band. Known for their blend of melodic precision and incisive lyrics. Frontman Greg Graffin, supported by Brett Gurewitz, Jay Bentley, Brian Baker, Mike Dimkich, and Jamie Miller, turned the venue into a punk rock lecture hall with lessons in defiance, skepticism, and melody.

Opening with “Recipe For Hate,” Bad Religion locked the audience into a tight, harmonic assault that spanned their entire catalog. Songs like “No Control,” “You,” and “Sorrow” had fans in a frenzy, while “21st Century (Digital Boy)” became a massive sing-along moment. Between songs, Graffin’s commentary on current events reminded everyone why Bad Religion remains as relevant today as they were in their early Los Angeles days. They closed their set with “American Jesus,” a defiant anthem that had every voice in the venue raised in unison and a large contingent circling in the pit.

The final stage change ushered in Dropkick Murphys, who immediately shifted the tone from reflective to celebratory. With a thunderous wall of sound, they launched into their latest single “Who’ll Stand With Us” from their new album For The People. The crowd, clearly well-acquainted with the new material, responded with the same fervor reserved for the band’s most beloved songs. Across the new release’s 12 songs, Dropkick Murphys—Ken Casey (vocals), Tim Brennan (guitars, tin whistle, accordion, piano, vocals), Jeff DaRosa (guitars, banjo, mandolin, vocals), Matt Kelly (drums, percussion, vocals), James Lynch (guitars, vocals), Kevin Rheault (bass) and Campbell Webster (bagpipes and Uilleann pipes)—imbue the same kind of joy one might celebrate with family and friends. And even when the moods are sad and pensive, it’s hard not to feel personally invested in the band’s emotional spectrum.

The band’s own press says it best. “Whether it’s politics, family, friends, or tackling everyday “life,” Dropkick Murphys continue to write music that regular people can identify with.” The evening’s setlist reflected that communal connectedness, with powerful renditions of “The State of Massachusetts,” “Johnny, I Hardly Knew Ya,” and “Rose Tattoo.” Early in the evening, Casey invited fans sitting on the lawn to join the fracas in the pit that quickly turned into an undulating mass with crowd surfers popping up and finding their way to the awaiting hands of the helpful staff in the barrier. The night of course reached its apex with “I’m Shipping Up to Boston,” a thunderous closer that turned the amphitheater into a sea of moshing, dancing, and unbridled joy.

As a first-time punk show attendee, I was struck by the diversity of the fanbase. The crowd was a vibrant tapestry of punk veterans, families introducing their kids to the scene, sports jersey-clad fans who knew every lyric, and wide-eyed concert newbies like myself. The atmosphere was communal—a massive, loud, and sweaty family reunion where everyone belonged.

The Summer of Discontent Tour delivered on all fronts: righteous anger, infectious celebration, and a reaffirmation that punk rock still has the power to unite, inspire, and challenge. To me, Bad Religion stood tall as punk’s intellectual conscience, while Dropkick Murphys ensured the heart and soul of the genre remained firmly rooted in the working-class struggle. Don’t wait though, the tour with this collaboration of great artists only runs until August 17.

For those in attendance on Tuesday night in Indianapolis, this wasn’t just a concert—it was a movement set to music. Were you there? I’d love to hear from you!