WARREN — March came in like a lamb weather-wise, and it came in with a dropkick music-wise.

Dropkick Murphys on Wednesday filled Packard Music Hall as part of the band’s 2024 St. Patrick’s Day tour. The entire floor was general admission, which allowed for more ticket sales than a seated event, and JAC Management called it a record-setting crowd for a concert at the venue.

With singer Al Barr still on hiatus with the band, it was up to founder and frontman Ken Casey to handle nearly all of the lead vocals (although bassist Kevin Rheault sang lead on a cover of AC/DC’s “T.N.T.”).

Casey was the perfect toastmaster for a crowd that didn’t need much encouragement, and he’s a brave man. Those green Adidas tennis shoes he was wearing must have extra adhesive as he would stand with one foot on the platform at the center of the stage and the other foot on the barricade in front of the crowd, straddling the pit between them. He shook hands with fans while he sang and often aimed the wireless microphone at those up front during the 90-minute performance.

The set was filled with punkish energy, but there also was accordion, tin whistle and even bagpipes to keep the band’s Celtic influences prominent in the mix.

Dropkick Murphys could create a party atmosphere on a black, empty stage, but Wednesday’s show included some pleasing technical elements.

Video accompanied many of the songs. Brawling Boston Bruins footage played during “The Boys Are Back.” “Good as Gold” included images of LP and 45 labels for releases by Ramones, Minor Threat, Gang Green and other punk and rock icons.

Two camera operators at the soundboard captured images throughout that were projected on the same screen. The stage was bathed in red for “Rose Tattoo” and filled with emerald light during the encores of “Going Out in Style” and “Shipping Up to Boston.”

However, the volume — which was so loud it verged on distortion at times — could have been taken down a couple notches without muting the energy of the show.

About two-thirds of the way through the 23-song set, the band played “Dirty Old Town,” a Ewan MacColl song popularized by The Pogues. With a photo of Pogues’ lead singer Shane MacGowan, who died in November, projected behind him, Casey said if it wasn’t for The Pogues, Dropkick Murphys wouldn’t exist.

Dropkick Murphys took a traditional approach to “Dirty Old Town.” The same can’t be said for Ireland’s The Scratch, which started the night with a half-hour set that included a cover of “Sally MacLennane.”

That rousing Irish ditty, sure to be heard anywhere serving green beer later this month, was turned into a grungy, dissonant dirge by the foursome. The slowed-down cover seems destined to be used as the soundtrack for a massacre scene in an Irish gangster movie.

The Scratch generated plenty of energy with largely acoustic instrumentation, and Dropkick Murphys’ Tim Brennan came out early and played a song on accordion with the band.

If the opening act echoed Dropkick Murphys’ Irish influences, middle act Pennywise covered the punk side. Pennywise has been around for 36 years, and lead singer Jim Lindberg, guitar player Fletcher Dragge and drummer Byron McMackin were part of the band’s creation. Bass player Randy Bradbury is the “rookie,” joining in 1996.

The band played a 45-minute set of anti-authority, pro-worker anthems, mixing in its cover of “Stand by Me” along with the Beastie Boys’ “Fight for Your Right.”

There is a downside that comes with being around since the late ’80s. When the band was hit by full stage lights at the start of its set, Lindberg urged the crew to lower the wattage — “We’re too ugly for those bright lights.”