Boys in the Better Land

Fontaines D.C. have rapidly ascended from the rain-slicked streets of Dublin to become one of the most electrifying forces in modern guitar music. Since their 2019 debut, the quintet has released four critically acclaimed albums, 'Dogrel', 'A Hero’s Death', 'Skinty Fia', and 'Romance', each a sonic pivot that defies easy categorisation. While their early work channelled the raw, motorik pulse of post-punk, their sound has since mutated into a rich tapestry that blends the brooding intensity of trip-hop, the jagged textures of nu-metal, and the soaring, melodic spirit of Irish folk.

More than mere musicians, they are the gritty poet-laureates of a changing Ireland. Their lyrics, often steeped in the influence of James Joyce and Patrick Kavanagh, weave humour, disillusionment, and romance into every track. Whether they are deconstructing the concept of "Irishness" from abroad or exploring the neon-lit surrealism of 'Romance', the band remains unafraid to shed their skin.

By prioritising artistic growth over commercial safety, Fontaines D.C. have done more than just capture the zeitgeist; they have redefined what a "rock band" can be in the 21st century, carving out a permanent place in the hearts of a global audience.

Formation & Early Years

The band members: Carlos O’Connell, Conor Curley, Conor Deegan, Grian Chatten, and Tom Coll, first met while attending music college at BIMM in The Liberties, Dublin. They initially bonded over a shared love of poetry, drawing inspiration from Beat writers like Jack Kerouac and Allen Ginsberg, as well as Irish literary giants including Patrick Kavanagh, James Joyce, and W. B. Yeats.

Lead singer Grian Chatten has a mixed heritage, with an Irish father and English mother. Born in Barrow-in-Furness, Cumbria, he grew up in the coastal town of Skerries, north of Dublin. Before forming Fontaines D.C., Chatten played in local indie bands Gun Runner and Thumbprint, taking on roles as drummer and guitarist/singer, respectively. His bandmates hail from across Ireland: Coll and Deegan are from Castlebar in County Mayo, Curley is from Emyvale in County Monaghan, and O’Connell grew up in Madrid, Spain.

The band’s name pays homage to Johnny Fontane, the singer and movie star from The Godfather, portrayed by Al Martino and godson of Vito Corleone. Originally called The Fontaines, they added the initials “D.C.”, standing for Dublin City, after discovering a Los Angeles band had already claimed the name, a nod to the city where their journey began.

Fontaines D.C. began their career by self-releasing singles, quickly building a reputation for their raw, literate approach to post-punk. In 2015, they were set to release their debut through music journalist John Robb's Louder Than War label, but plans shifted as the band refined their sound. In May 2017, they released the single 'Liberty Belle', followed by 'Hurricane Laughter'/'Winter in the Sun'.

'Liberty Belle' is a punchy, two-and-a-half-minute party starter that acts as Fontaines D.C.’s love letter to The Liberties, a historic working-class neighbourhood in central Dublin where some of the band members lived. The area, now something of a tourist hotspot thanks to the Guinness Storehouse, retains its gritty charm, which is captured in the song’s sharp, observational lyrics. The track even references a real pub on Francis Street called The Liberty Belle. Frontman and lyricist Grian Chatten has described the song as “a lament to the death of old Dublin, written by people who couldn’t afford the new one,” drawing inspiration from his walks to work, where he witnessed the city’s harsh realities: domestic violence, addiction, racism, and poverty. These experiences, both physical and psychological, shaped his worldview and are woven into the song’s narrative, giving it both authenticity and emotional weight. Chatten recalls childhood moments of confusion and protection, such as seeing a man asleep in a phone booth and being shielded from the truth by his father: “He’s just very, very tired of having / that same old boring conversation.” The song’s lyrics convey a surreal sense of desensitisation to everyday suffering, reflecting the complexity of life in the area while remaining colloquial and grounded in personal experience.

Following 'Liberty Belle', 'Hurricane Laughter' showcased the band’s ability to balance melancholy with energy, blending propulsive guitar riffs with Chatten’s poetic, almost spoken-word delivery. 'Winter in the Sun' demonstrated their talent for creating mood and atmosphere, pairing melancholic melodies with vivid storytelling. Together, these early singles established the blueprint for Fontaines D.C.’s signature sound: a fusion of post-punk urgency, Irish literary sensibility, and emotionally resonant narratives. 'Liberty Belle' in particular has become a staple of their live performances, a reminder of the band’s roots and the streets of Dublin that continue to inspire their music.

I'm Gonna Be 'Big'- Dogrel

After some initial releases, Fontaines D.C went into 2018 releasing more new music. Music which would end up on the band's debut album 'Dogrel'.

'Chequeless Reckless' was the first, and this was one of the first times that fans heard just how good Grian Chatten was at writing lyrics. 

“A sellout is someone who becomes a hypocrite in the name of money,” or so goes the opening line of ‘Chequeless Reckless’. Again, that almost throwaway comment from Chatten denounced an entire scene of meaningless musical drivel, establishing Fontaines as the first band in a very long time to have something of substance and importance to say. 

"Charisma is exquisite manipulation, and money is the sandpit of the soul”, particularly befitting of their attitude towards the music industry. 
There are no unnecessary frills when it comes to Fontaines D.C. What you see is what you get; the band are not out to fleece their audience of revenue, reach the top of the pop charts, or get lost in the all-encompassing world of arrogance.
Money is the sandpit of the soul, but it is also the downfall of most defiant young punk-adjacent groups like Fontaines. As soon as record executives, big cheques, and colossal appearance fees start getting involved, the music loses some of its integrity and virtually all of its relatability. The band are no longer writing about the everyman, they can no longer relate to that life. However, Fontaines have continued to write anthems for every man and expand to involve new ideas and sounds.

'Boys in the Better Land' came next, the song that for many was the introduction to Fontaines D.C. A story about Dublin and its characters. Including a taxi driver who is set in his ways and is a little apprehensive about the changing city around him, as well as the youth of the city who dream of an escape. It's one of the band's best songs even today. 

The better land that the band talks about doesn't really exist; it's a figment of youthful imagination, a desire to find something new, and explore the world.

“If you’re a rap star, porn star, superstar, doesn’t matter what you are, get yourself a good car and get out of here” – with its constant lust to ultimately hit the road leading to nowhere. Youth can be full of bluster and unfulfilled ambition, but it’s really the hope that kills you. The fact that there is no other side. The fact that we’re all just stuck here.

'Dogrel', the band's debut record, was released in April 2019, its title paying homage to  Doggerel, working-class Irish poetry 'poetry of the people' – that dates back to 1630 and was popularised by William McGonagall and later Ogden Nash.

The record received critical acclaim. The NME said that "Dogrel proves that early-days pinning as punk’s next great hope was perhaps premature – there's far more to Fontaines D.C. than your typical thrashed-out, pissed-off young rebellion." The Guardian gave the album a five-star review, hailing it as a "perfect debut" and commending Chatten for embracing the Dublin accent.

The Times said that "Shouty post-punk bands are making a surprise comeback in 2019, with this brutal but articulate Irish bunch emerging as one of the most captivating. Capturing the feeling of living in Dublin as it balances historical weight with financial upheaval, the singer Grian Chattan makes his statement of intent by announcing in a monotone rant on the opener, Big: “Dublin in the rain is mine, a pregnant city with a Catholic mind."

Critical acclaim for this record was deserved, it's eleven exceptional songs. From declaring statements, "My childhood was small, but I'm gonna be big," and “A sellout is someone who becomes a hypocrite in the name of money.”

Through to all conquering anthems 'Too Real' and 'The Lotts'. ‘Roy’s Tune’ and ‘Television Screen’ are even more widescreen, the former a beautifully expansive tale of young lovers trying to make it through the tumult of capitalist forces. As big-shot companies toy with the security and futures of the couple at its core, Chatten sings of evergreen eyes and the feel of cold winds against his skin, breaking off for a simple, earnestly-delivered question: “Hey love – are you hanging on?” It’s a question that countless young, placeless people could ask of themselves.

Ending with 'Dublin City Sky', an Irish drinking anthem that The Pogues would be proud of, proved that Fontaines D.C. didn't need all-consuming noise to get their point across. The track serves as a poignant, acoustic departure from the frantic energy of 'Dogrel', stripping away the distortion to reveal the raw, romantic soul beneath the grit. With its swaying waltz time and Grian Chatten’s weathered, Shane MacGowan-esque delivery, it functions as both a love letter and a bittersweet farewell to their hometown. By closing their debut with a traditional ballad, the band firmly rooted themselves in the long lineage of Irish troubadours, demonstrating a maturity and a command of atmosphere that extends far beyond the limitations of post-punk.

These offer some of the most poignant moments on the album, painting a vivid picture of their surroundings and their situation. The Irish Times put it best. 

 “As Britain flushes itself down the toilet, Ireland has been extolled as some kind of progressive utopia in the wake of recent referendums. The stark reality is that the Fontaines DC generation is adrift in a hyper-capitalist playground of extortionate rents and shameful levels of homelessness, and governed by a political elite who are chronically addicted to optics and spin. 'Dogrel' taps into Dublin’s rich humour and character. It is a cracking debut that attempts to reclaim the city’s soul.”

I'm finding it hard to think of a debut album in recent years that has had the same impact as 'Dogrel'. Wunderhorse's 'Cub' springs to mind, but even then, its impact is not as big. 

'Dogrel' is a clearly defined record; it's about Dublin but also about Fontaines place in Dublin, being proud of who they are and where they are from. Yet still looking away from home for some form of escape. At no point is Chatten’s Irish accent neutralised, stylised or forced; it continues to work naturally with the lyrics and penetrates the album throughout, from the pounding opening statement of ‘Big’ right up until the drunken poetic quality of ‘Dublin City Sky’, a song where the band connect with fellow countrymen. 

It's nothing short of a masterpiece. 

In 2019, the band toured 50 cities throughout Ireland, Europe, and North America. In January 2020, the band headlined the Rockaway Beach Festival, notable as being one of the only live events to happen in the UK that year. The band was also expecting to perform at the Glastonbury Festival in 2020, which was to have been the festival's 50th anniversary, but the event had to be cancelled because of the COVID-19 pandemic.

On 14 July 2020, Fontaines D.C. performed a live set from Dublin's Kilmainham Gaol as part of the live television series, Other Voices.

With the world on lockdown, Fontaines headed back into the studio to start working on their second album. 

We're All in the Running for 'A Hero's Death'

Writing a second album is difficult for any band. The saying is you get your whole life to write your debut, and six months to write the follow-up. Usually, when a band follows up their lauded, hype-building debut album in lightning-fast time, they do so to capitalise on the buzz and double down on any early promise.

Fontaines D.C did not do that, 'A Hero's Death' does not see the band attempt to emulate 'Dogrel'. Instead, it finds the band investigating how they got to this point, going back through the fragmented pieces of themselves that remained after the meteoric rise and huge tour that followed.

The songwriting on this record hits you in the face ''Dogrel' saw the band write character studies as vivid as those on the Arctic Monkeys’ debut, and were so good that they reset the bar for mainstream indie-rock bands. 

‘Dogrel’ opened with ‘Big’, a gargantuan, suitably titled statement of intent, a fast, frenetic punk song on which vocalist Grian Chatten proclaimed: “Dublin in the rain is mine,” before the Gallagher-sized kiss-off: “I’m gonna be big.” In contrast, ‘I Don’t Belong’, the first song from ‘A Hero’s Death’, is a sullen, downbeat rebuttal. “I don’t belong to anyone,” Chatten repeats over and over, more defeated than defiant.

This more mellow sound came from the circumstances surrounding the album; the band had begun to really burn the candle at both ends. Chatten said to the NME, "We weren’t really eating, and we were burning the candle at both ends."

Recalling week after week of self-medicating with whiskey just to plough through the next gig and get a decent kip afterwards. “It became a bit surreal as towns melted into each other and faces started to look a bit strange,” he explained. “It was a surreal environment we created for ourselves.”
This surrealism is at the heart of ‘A Hero’s Death’, the inner turmoil that festered in the wake of the band’s outward success spat out with venom. 

The album's title track is the strongest,t though, a catchy, straight-up pop-rock song – this is the clearest you hear the Beach Boys adulation that the band have cited when discussing the new album –the song contains Chatten’s new manifesto: “Don’t get stuck in the past / Say your favourite things at mass.” Among doo-wop backing vocals straight from the Brian Wilson songbook, he tells himself: “Tell your mother that you love her, and go out of your way for others.”

The self-interrogation hits its peak when Chatten notes that “happiness ain’t really all about luck” and bellows: “When you speak, speak sincere / And believe me, friend, everyone will hear.” In burning the candle at both ends, he warns, “we’re all in the running for a hero’s death”.

'Dogrel' was how the band fitted into their Dublin surroundings. On A Hero's Death', they question themselves in the world; it's the sound of your twenties, desperately trying to work out what the fuck is going on.

It was a shock to fans, and it did. The band turn the songwriting lens inward and examines the self. Taking fans down darker, murkier paths. 

According to lead singer Grian Chatten, the album's name was inspired by a line in a play by Irish writer Brendan Behan. Chatten said the album title is "an effort to balance sincerity and insincerity, but more broadly it's about the battle between happiness and depression, and the trust issues that can form tied to both of those feelings"

Comerrically the album did better than 'Dogrel'. Early statistics indicated that 'A Hero's Death' was projected to top the UK Albums Chart in its debut week, knocking off Taylor Swift's album 'Folklore' to number three, which had debuted at number one the week prior. However, after the publishing of the midweek chart, which stated that 'A Hero's Death' had outsold Folklore by over 10,000 copies so far in the week, Swift's marketing team chose to release the physical CDs of 'Folklore' three days before its original scheduled date.

It was sort of like a weird sense of being flattered because the idea that a massive corporation is afraid of losing face to a group of lads from Dublin is hilarious to me," Chatten said about the chart battle.

The album received a nomination for Best Rock Album at the 2021 Grammy Awards, while also garnering the band a nomination for the Brit Award for International Group at the 2021 Brit Awards and Album of the Year at the 2020 Choice Music Prize. It was also nominated for the Best Album Ivor Novello Award in 2021.

The album was released during the worldwide COVID-19 pandemic, delaying any shows prior to and following the release of the album. Originally, the band had a tour in Australia scheduled for November and December 2020, which was postponed, and a tour from March to July 2021 across Europe, which was also postponed.

Due to little improvement from the pandemic, the tour was delayed from October 2021 to March 2022. Included on this tour as the band's biggest show to date, a sold-out show at London's Alexandra Palace. Where they'd debut a new song. 

I Love You- Skinty Fia

During the delays that the COVID-19 pandemic had caused to the tour for 'A Hero's Death', the band reconvened in Dublin to work on plans for the third album. Chatten was inspired by an accordion gifted to him by his mother for Christmas, realising "that that was an interesting place for me to go on the next record" despite his lack of experience with the instrument.

They were also inspired by the Primal Scream album XTRMNTR (2000) and the drum and bass artist Roni Size, wanting to "[recreate] electronic sounds with guitars", according to guitarist Carlos O'Connell.

Recording for 'Skinty Fia' took place in 2021 in London with regular producer Dan Carey. The songs were written during the day, which Chatten deemed a healthy and structured process, and recorded at night to create a level of uncertainty.

The album was announced in January 2022, with the lead single 'Jackie Down the Line'

It's Fontaines D.C. writing a pop song, with a huge hook, spiky bass and a massive chorus. This is an arena-ready anthem that dips into totally new territory for the band. As a single though, it provides just a snapshot into what fans could expect from this record. This album is where Fontaines D.C. really show fans what they can do.

Second single 'I Love You' is the band's most political affair to date. Chatten puts himself on trial, dissecting his own worries before addressing Ireland’s young people. The five-minute centrepiece opens with a Stone Roses-style bass rumble that quickens and intensifies as he begins to pinpoint the failings of the unelected coalition of Fianna Fáil and Fine Gael that has formed the current Irish government since 2020, as well as nodding to Ireland’s growing housing issues and high rates of youth suicide. “Flowers read like broadsheets / Every young man wants to die”, he repeats over thundering drums.

It's a swirling, angry affair that does not just tackle the current climate, the band talks about the historical atrocities in decades past, including the decades of tragic brutality at the Tuam Mother and Baby Home in Galway”. 

The band do not shy away from the difficult subjects, but also highlights their sadness about moving away from their home. Fontaines really went to the next level on this song; it's written from a place of anger but also a place of sadness. Describing the song as being written from the perspective of an Irishman abroad who is “enjoying great personal success and a sense of cultural pride”, the subject “simultaneously metabolises deep disappointment, and swirling anger, at the current political climate as well as the country’s grimmest historical atrocities."

By honouring his generation’s rage, the track allows Chatten to shout back at his politically dysfunctional home, but also contemplate the pain of moving away from it; no matter how tormented this album gets, you can feel ‘Skinty Fia’s wounded heart beating throughout. The fight for a better Ireland deserves songs that mirror the depth of the crisis, and in its endlessly captivating glory, ‘Skinty Fia’ rises triumphantly to the task.

The album is full of interesting moments ‘The Couple Across The Way’ paints a heart-wrenching image of a deeply fractured relationship atop an accordion section, while the melody of ‘How Cold Love Is’ is deliberately circular and repetitive, its guitar riffs twisting around and stopping short to make way for intermittent moments of reverent silence.

‘In ár gCroíthe go deo’ was inspired by a story in The Irish Post about the late Margaret Keane, whose family planned to have the titular epitaph engraved on her headstone. Yet they were challenged by the Church of England on the basis that the Gaelic phrase could be deemed “political” without an English translation – and this song communicates the hurt that the band felt at that decision by assembling swarming group vocals into a fragile yet stunning climax.

This album was written in rather different circumstances than its predecessors. Fontaines D.C. and its members had left Dublin and moved to London. That sense of exile is portrayed throughout the whole album. The title was coined by the grandmother of bassist Conor Deegan III, translated as “the damnation of the deer”, used as a substitute for swearing. Chatten says it represents a culture that splinters and develops in different ways, just as his sense of Irishness has been both shaken and stirred by the process of leaving, and by the “microaggressions” he says he’s received in his new environment.

The notion of Irishness in London has a long tradition in music – from old folk songs to workers’ pub ballads through to the Pogues – and when Chatten sings, “I don’t want to see the Queen/I already sing her song” on Roman Holiday, he seems to be invoking the rebellious spirit ofhis forefathers.

It's an exceptional piece of work. Fontaines proved with this album that they were far more than just another guitar band; they marked themselves as one of the best bands of their generation.

As well as being well-received by critics, the album received fan acclaim too. It became the band's first number-one album in both Ireland and the UK. The album also garnered the band a win for the Brit Award for International Group at the 2023 Brit Awards and a nomination for Album of the Year at the Choice Music Prize for the year 2022.

To support the album, the band embarked on their biggest tour to date, taking their explosive live energy across the UK and Ireland, Europe, and the United States. The shows were a celebration of their growing influence, and the venues had gotten bigger. 'Skinty Fia' had given the band a lot more traction; more and more people knew about  Fontaines D.C. 

On the UK and Ireland leg of the tour, many fans were also introduced to Wunderhorse, who joined as the main support act following the release of their debut album 'Cub'. New and old fans of the band now had a new band to latch onto. It was a defining moment in recent years. Wunderhorse would go on to explode, and Fontaines D.C. have reached astronomical heights. 

Alongside tour dates, Fontaines D.C. had begun to be pushed further up festival line-ups. The band would play at both Glastonbury and Reading & Leeds in 2022. At Glastonbury, the band would serenade the Other Stage backed up with an orchestra. Dipping into all three albums to win the crowd over. 

At Reading, they performed to a much younger audience and received some help. A 16-year-old fan named Dexter joined the band on stage to perform the early single ‘Boys In The Better Land’.

The young lad had brought some cardboard, some pens and wrote a sign asking the band if he could play the song. His wish was granted, and you can well watch what happened.

With 'Skinty Fia', Fontaines knew how good they were, and the rest of the world did too. It's an exceptional record. This had propelled Fontaines D.C. to one of the biggest and best guitar bands in the world. In an interview with the NME, Chatten said, “Compared to our other albums, I’d rather be called ‘a band of a generation’ or accept another crazy accolade for [‘Skinty Fia’]… because you know what? This time, we deserve it.”

In 2023, new friends Arctic Monkeys had them as the lead support for their North American tour. This tour led to the band borrowing some equipment from Arctic Monkeys, which they'd use on album number four. 

Before that, though, in June 2023, Chatten released a debut solo album, 'Chaos for the Fly'. Recorded in two weeks with Fontaines D.C.'s regular producer Dan Carey, it sounds very different to the Fontaines D.C. records released previously. Yet it still received universal acclaim. 

You Were My 'Favourite' for a Long Time- Romance

After the biggest tour to date in April 2024, the band announced their fourth album 'Romance', and dropped their most jaw-dropping single release to date. 'Starburster'. 

No one expected this.

This was the sound of anxiety in everyday life. The world can be a lot sometimes, and Fontaines D.C. managed to distil this into a noxious soundscape. Inspired by a panic attack suffered by Chatten in London’s St Pancras station, ‘Starburster’ captures that shock of trying to grasp reality amidst all the chaos. The fuckery of what it is to be human in these bin fire times has always been central to the music of Fontaines, but they always seem to find the light.

 As bassist Conor Deegan says of James Ford-produced fourth album ‘Romance’, “We’ve always had this sense of idealism and romance. Each album gets further away from observing that through the lens of Ireland”. Now settled in London, the boys are searching for “where and what else there is to be romantic about.”

This sound was not new to Fontaines D.C. We'd heard the  Massive Attack trip-hop noir vibes first hinted at on ‘Skinty Fia’s title track, ‘Starburster’ is a pensive art-rock beast that fuses elements of electronica and hip-hop more akin to their fellow striking countrymen (and recent collaborators) KNEECAP. It's one of the band's defining moments, a song that changed things for Fontaines D.C. forever, the song that opened their biggest chapter to date.

The album’s second single, 'Favourite', marked a return to more traditional Fontaines D.C. territory, introspective, poetic, and steeped in nostalgia. Sonically, it’s indebted to post-punk greats like The Cure, combining shimmering guitar textures with a propulsive rhythm that feels both wistful and alive. Frontman Grian Chatten described the track as having “this never-ending sound to it, a continuous cycle that goes from euphoria to sadness. Two worlds that are spinning forever.” It’s a song about life’s impermanence and the beauty of embracing its challenges, no matter how cyclical or bittersweet they may be.

The accompanying music video deepens that sentiment. It’s an intimate tribute to the band’s shared history, weaving together archival footage from their childhoods with clips from a recent trip to Madrid, the hometown of guitarist Carlos O’Connell. The result is a moving visual portrait of friendship and memory, underscoring the band’s deep bond after years on the road.

Lyrically, 'Favourite' captures the fleeting nature of time and the disorienting speed of change: “Each new day, I get another year older,” Chatten laments, before observing, “Every time you blink, you feel a change.” The track touches on themes of working-class struggle and cultural displacement, the gentrification of once-familiar cities, the alienation of constant touring, and the homesickness that comes with watching Ireland evolve from afar. “Cities on return are often strange,” Chatten reflects, summing up that tension between belonging and loss that runs through much of Fontaines D.C.’s work.

It's a celebration of the past and all its learnings, and my personal favourite Fontaines D.C. song. One of those timeless affairs that feels both nostalgic and very much for the here and now. The biggest compliment I can give this song is that it feels familiar in sound but is still firmly a Fontaines D.C song. 

'Here's the Thing' mixed things up again. With a Deftones-like guitar anthem, unresolved emotions and squalling instrumentals. 'In the Modern World' is Fontaines at their most cinematic, lamenting the state of the world they are growing up in. Part glowing love song, part troubled revelation.

When talking about the album, Grian Chatten told Mojo that they decided to step away from their Irish-centric themes for the album as it would have been too difficult to "sound like Ireland" while crafting a futuristic and dystopian vision called Romance. According to Chatten, the songwriting process was, as usual for the band, a "constant process" that happened between touring. The "spiritual form" of the album first emerged when he wrote the track "In the Modern World". He compared the process to soundtracking a city for which he finally understood the "colour and the year and the atmosphere and the temperature" of. The album was influenced by several locations as well as "certain atmospheres at certain times", including Tokyo. Chatten stated, "We write a lot more based on visual references than musical references. It's easier to be original." The album was also inspired by Japanese manga and Italian cinema.

The Arctic Monkeys also played a huge part in this record, in 2023 the band supported them on their North American tour and were given some guitars. James Ford, who has produced all of the Arctic Monkeys records,s was also recruited to the producer's chair.

'Romance' received critical acclaim, with many critics claiming this was the best Fontaines record to date.

Shaun Curran, while writing for Record Collector, gave the album 4 stars out of 5, concluding, "It's startling to think how far Fontaines D.C. have travelled creatively in five years, through an agitated restlessness, a vivid imagination and courage to try the new." Curran also named 'Favourite' as the best song on the album, describing it as a "sound-of-the-summer" track where shoegaze meets the Cure. 

The Irish Times's Tony Clayton gave the album a 4.5 out of 5 stars, concluding the band's evolution through the album as, "It's all quite a remove from 'Boys in the Better Land', 'Liberty Belle', 'Too Real' and 'Big', but Fontaines DC rightly ask what the point is if you have to ask permission to evolve." The last track, 'Favourite', was also named as the best song with "irresistible jangly guitars and, perhaps, is a sign of what to expect on album number five"

Alexis Petridis, The Guardian's head rock and pop critic, named Romance as "album of the week" - giving the album 5 out of 5 stars - and surmised the impact as: "Romance is more straightforwardly approachable than any Fontaines DC album to date – you can easily imagine 'Desire' provoking an immense crowd into singing along. But it doesn't sacrifice any of the band's potency in the process: thrillingly, it still carries the same grimy, careworn, aggressive qualities as their previous work.

NME gave the album five stars, calling it "an album that charts the devastating duality of its title." They called Romance the band's "most considered and intricately crafted release yet"

The band gave fans their most diverse and yet most accessible release to date. A collection of immensely crafted pieces of guitar pop that takes into consideration guitar music from all eras and creates something that could only be made by Fontaines D.C.

On 21 February 2025, the band released a stand-alone single, 'It's Amazing to Be Young', which was recorded during the same sessions as 'Romance', but left off the album to keep it "concise". It was included on the deluxe version of Romance along with a second new track, 'Before You I Just Forget', written by guitarist Conor Curley.

'It's Amazing to Be Young' is a classic slice of indie pop and comes from the same soundscape as 'Favourite'. The song breathes an innocent euphoria over a kaleidoscopic indie guitar. 

Speaking to NME, bassist Conor ‘Deego’ Deegan III explained how the song was inspired by being “in the presence of a newborn child” – the child of guitarist Carlos O’Connell.

“I’m glad it got to see the light of day, because it's a special song to us. More so for the way it was written than the song itself, weirdly. It started life in the presence of Carlos’ newborn, and it’s just a message for her, you know.”

He continued: “It was really heartwarming. Sometimes, as people, we can be a bit cynical. The world around us can make you that way if you’re paying attention to it. Sometimes optimism feels like a necessary delusion, but with the birth of a new child, we were introduced to a really pure and deep beauty and hope that can’t be debated away by anyone jaded or even by ourselves.”

'Before You I Just Forget' is a much darker affair. A more blown-out sound than the previous single. When describing the song Connor Curley said "‘Before You I Just Forget’ is a song that started with a vision of this really blown out sound, something that heaved and shifted with new details, becoming apparent every time you would listen, like never being able to step in the same river twice, the song morphs and changes, finishing with an incredible string part by Grian."

The level of songwriting and musicianship on this record is nothing short of exceptional. Fontaines D.C. are making some of the most interesting music in the world right now. The band have made it to the mainstream, but they've done it on their own terms, not once compromising in style, sound or substance. 

'Romance' was a departure from the previous three records, but the Fontaines DNA still runs throughout. Their troubled view of the world remains, but this time, instead of snarling punk riffs, it's indie and shoegaze guitars, nu metal drums, pop-like melodies and lush orchestration. 

The band went out on the road with 'Romance' with their biggest UK and Ireland tour to date, with support coming from DIIV and Sorry. For the first time, the band had made the jump into arenas, which is where I expect them to stay for a long, long time.

The 'Romance' tour served as a global victory lap, charting a course through Europe, North America, and Australia. It wasn’t just a string of dates; it was a definitive milestone in the band’s evolution from underground cult heroes to undisputed international headliners.

Following a trail of sold-out signs across the globe, the group moved into their most ambitious summer to date. The itinerary was anchored by massive UK outdoor shows, most notably at Manchester’s Wythenshawe Park and a career-defining stand at London’s Finsbury Park.

Finsbury Park represented the band’s largest headline show to date, bolstered by a curated lineup of high-octane support: Amyl and the Sniffers, Kneecap, Been Stellar, and Cardinals.

There is a poetic symmetry to this location. The band’s first-ever London gig took place only a few hundred yards away at The Finsbury pub, a humble, aptly named starting point. While those early days of cramped stages are now in the rearview, the band’s ascent feels earned rather than manufactured. 

They last graced this park in 2022 as support for Sam Fender; returning with their own name atop the bill felt less like a lucky break and more like a destiny fulfilled.

Now four albums deep, Fontaines D.C. have assembled an eclectic, sharp-edged catalogue. They didn't come to coast; they came to conquer.

The setlist was a masterclass in curation, proving that four albums in, Fontaines D.C. have built a catalogue that is as sharp as it is eclectic. They wasted no time in seizing the crowd, kicking off with the frantic, nervous energy of 'Here’s the Thing' before sliding seamlessly into the sneering, mid-tempo cool of 'Jackie Down the Line'. In a move that showed supreme confidence in their current status, they didn't make the audience wait for the hits; 'Boys in the Better Land', the very track that ignited their initial spark, erupted just three songs into the night.

As the performance hit its stride, the set was peppered with essentials that charted their journey from Dublin's streets to global stages. 'Hurricane Laughter' provided a dose of brooding, post-punk intensity, while the anthemic 'Liberty Belle' brought a roar of nostalgia to close out the main set. Crucially, the newest material from 'Romance' didn't just fill space; fresh cuts like 'Before I Forget' and 'It’s Amazing to be Young' held their own against the established classics, cementing this era as the band's most stylistically bold to date.

The encore served as the final, cinematic punch, leaning heavily into the lush, dystopian atmosphere of their latest work. The title track 'Romance' set a haunting tone, followed by the sweeping 'In the Modern World' and the jagged, breathless delivery of 'Starburster'. Closing with their sprawling, poetic love letter to home, 'I Love You', the band left the stage looking every bit like a group operating at the absolute peak of their powers.

That high-voltage intensity carried through the summer. From the sprawling grounds of Wythenshawe Park to the historic walls of Cardiff Castle, and from Newcastle’s Exhibition Park to Belfast’s Boucher Road Playing Fields, every stop was a masterclass in modern rock.

Where do Fontaines D.C. go next? They have reached the summit of the guitar-music landscape. With four exceptional albums under their belt and a live show that grows more cinematic by the month, the "next chapter" seems written in the stars.

The transition to stadiums feels like a natural progression rather than a reach. With major festival headline slots at Reading & Leeds already pencilled in and Glastonbury 2027 feeling like an inevitability, one thing is certain: Fontaines D.C. refuse to stand still. They are bigger, bolder, and unapologetically forward-moving.

Thank you for reading 

Jack