Partying with The Pogues and Dropkick Murphys

If there was any doubt that CityFolk knows how to throw a Saturday night party, last night’s lineup put that to rest. From ska and indie rock discoveries to Celtic punk legends, the festival grounds at Lansdowne turned into one big, fist-pumping celebration.

The Pogues headlined the night with a set that was as heartfelt as it was rowdy. Formed in London in the early 1980s, the band carved out a place in music history by blending punk rock energy with traditional Irish folk instrumentation. Though they rose to international fame with their late frontman Shane MacGowan, the band’s legacy is carried forward by founding members Spider Stacy, Jem Finer, and James Fearnley.

Stacy, now handling lead vocals and his trademark tin whistle, proved more than up to the task, his raspy voice cutting through the cool Ottawa night. Accordion master Fearnley was a force of his own, still lifting his instrument above his head to the delight of fans. Finer, meanwhile, stayed more in the shadows, letting his hurdy-gurdy do the talking. The set’s emotional high point came when the band performed The Parting Glass, the traditional ballad they also sang at MacGowan’s funeral—a tribute that visibly moved the crowd. Guest vocalist Lisa O’Neill brought her own fire to the set, her spirited take on Dirty Old Town adding another layer of depth to the evening.

If the Pogues delivered the soul, Dropkick Murphys brought the fury. The Boston-based Celtic punk outfit has built their career on gritty working-class anthems, mixing punk riffs with Irish pipes and banjos. Never ones to shy away from politics, the band has made headlines over the years for their outspoken criticism of the current US administration and right-wing extremism—a stance that has won them both controversy and respect. Last night, their set was pure adrenaline.

Frontman Ken Casey owned the stage (and the small thrust that pushed him into the sea of fans), leading the crowd in shout-along renditions of I’m Shipping Up to Boston and Rose Tattoo. In a rare and powerful moment, they also performed The Green Fields of France, a haunting ballad about the cost of war that they had only played live once before. Its lyrics felt especially timely, and the audience responded with reverent silence before erupting back into chaos.

The rising star of the night may well have been Catbite, a ska band out of Philadelphia who look and sound like they’re ready for bigger stages. Lead singer Brittany Luna commanded attention with charisma and power, but the whole band radiated joy. Their set was polished, infectious, and, for many in the audience, a discovery moment—myself included. Catbite is now firmly on my playlist.

Over on the Fasken tent stage, the night started strong with Loviet, originally from Nova Scotia and now based in Toronto. With her 90s-flavoured indie-rock-meets-alt-pop sound and a commanding stage presence, she had the tent bouncing early. She’s an artist with star potential written all over her. Following her, Celeigh Cardinal, the 2020 Juno Indigenous Artist of the Year, stunned with what may have been the most powerful voice of the entire festival. Though I only caught part of her set, her blend of soul, folk, and storytelling was unforgettable.

All told, Saturday night at CityFolk was the festival at its best: mixing legacy acts, political firebrands, and future stars into one seamless celebration of live music. Tonight, the festival wraps up with Canadian party band Down With Webster—and with Mark Carney known to be a fan, all eyes will be watching to see if he makes a cameo appearance.

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