With newer, lesser-known songs dominating the early part of a two-hour-plus set at the Calvin Theatre, The Saw Doctors seemed almost to be serving as an opening act for themselves.

The Irish rock band opened with a brand new, social commentary tune, "Hazard," a mid-tempo song that rocks as hard as anything they've done. Built on a simple but catchy four-note riff by guitarist Leo Moran, the song was driven into the hearts of the crowd by drummer Eimhin Cradock with a machine-like powerful backbeat. They then launched into the ska bounce of "Will It Ever Stop Raining!"—appropriate due to the downpour outside. Moran then took over lead vocals from singer Davy Carton for the fan favorite (although with the Saw Doctors, that description could fit about a dozen tunes) "Tommy K."

With just two dates behind them on current U.S. tour, the Docs were lively and clearly hitting their stride. But they made the audience wait a bit for their usual frenzied release, playing largely new material for the first 45 minutes.

The band grouped the British bounce of "She Loves Me, She Loves Me Not," with the several newer songs, such as "Songs and Stars" and "Someone Loves You," among others. But they also mixed in a few older tunes, such as the sing-along sea-chanty feel of "Never Mind the Strangers," featuring a nice dual solo by Moran on guitar and keyboardist Kevin Duffy on accordion. The band seemed trust the Northampton audience with being able to absorb a lot of newer material early on, secure in the knowledge they would be rewarded with a solid string of old favorites and hits later in show.

The band teased the crowd with that possibility, as bassist Anthony Thistlethwaite strapped on his saxophone for the anthemic "Sing a Powerful Song." But the band then went back to more recent material with the love ballad "Indian Summer."

Slow songs, such as "Share the Darkness, also held sway early on. This probably only served to load the crowd with pent-up energy to be released once band open their vault of fist-pumping, shout-along melodies.

This happened shortly thereafter, as a tremendous swell of feedback gave birth to the swaying "Green and Red of Mayo." This crowd-pleaser was followed another one, the jaunty but not often played "Macnas Parade."

After the dark tones of "Be Yourself," Moran took over lead vocals again for "Galway and Mayo."

The anthem-fest continued with "To Win Just Once," which had served (in this state) as the unofficial song of Red Sox Nation, until the team won two championships in past decade. The audience took over some vocal duties, faithfully singing the first part of "Clare Island." Thistlethwaite pulled out sax again for the middle section of this song, delivering a soulful solo and driving audience into near-hysteria.

The Docs then got jiggly, if not jiggy, with the reggae-flavored "I'll Be On My Way."

"Taking the Train" featured a minor chord motif topped with Moran's sinewy and sonorous riffs. "Joyce County Ceili Band" and a slower version of the arch-eyebrowed insinuations of "Bless Me, Father" further stoked the fires of the fandom.

The regular set ended with maybe the most popular of the band's live songs, "N17".
The band never makes audience wait long for encores, reappearing just two minutes after they left the stage. The encore led off with an a cappella doo wop version of the beautiful ballad of first love, "Red Cortina," showcasing the group members' impressive harmony skills.

The Docs then closed out night in rocking fashion with "I Useta Lover," a chunkier "That's What She Said" (with a one-verse detour by Duffy into "Will You Still Love Me Tomorrow"), "Why Do I Always Want You?" and "Hay Wrap." The evening ended on a poignant note with the ballad, "I Hope You Meet Again, featuring the multiple-talented Thistlethwaite on an obligato guitar solo and Moran switching to bass. Morphing the song into the coda of The Beatles' "Hey Jude," the band departed the stage as the crowd "na-na-na-na'd" themselves into the night.

Chicago-based AM Taxi opened with an energetic set, mostly of post-punk rockers. The band's midwestern hipster looks belied their no-nonsense and driving sound.