In a blaze of green neon, Fontaines D.C.’s fourth LP, Romance, tumbled down to Earth in August, ushering in a majestic new era for an act ready to level up in all aspects of its career.
In the months that have followed, the groundswell of adoration behind the Dublin band has felt formidable: A cursory scroll through TikTok will show videos of young fans mimicking the five-piece’s space-grunge aesthetic, clad in baggy, brightly colored sportswear while belting out the band’s songs from the heart of the mosh pit. Fontaines D.C.’s story has been one of resolve, of growing in confidence and spirit and always trying to stand taller than before.
This sea change in the band’s global popularity has signaled a crossroads for the group in more ways than one. Upon release, Romance charted at No. 97 in the U.S. – the band’s highest entry to date on the Billboard 200 – while earlier this month, the group was nominated for two Grammys (best rock album; best alternative music performance for lead single “Starburster.”) Fontaines D.C. has invested the resources afforded by a new deal with seminal label XL Recordings (FKA Twigs, King Krule) into exploring the depths of its creativity, expanding on the gnarly, tender guitar anthems of the band’s first three records by leaning into elements of pop and nu-metal.
Fontaines at Alexandra Palace on Nov. 22, 2024.
Pooneh Ghana
When the band first emerged onto the festival touring circuit with 2019 debut Dogrel, Fontaines D.C. often looked uneasy on stage, permitting only the briefest of smiles. Frontman Grian Chatten would grasp the air, stare into the middle distance and swing his feet in small, lolling circles — vibrating with discomfort and nervous energy, barely muttering a word to his audience. The feeling remained, though, that these early shows were only speed bumps on the road to somewhere else.
Five years on, as Fontaines D.C. headlined the first of two nights at London’s Alexandra Palace on Nov. 22, the chat may have remained at a minimum, but elevated stage production added to a rich, ubiquitous feeling of a band in its imperial phase. The addition of touring member Chilli Jesson on keyboard and backing guitar, too, only deepened the songs’ darkness.
These were the very best moments from the night.
There’d Better Be a Mirrorball
When Fontaines D.C. last graced Alexandra Palace in October 2021, the band performed underneath a single, pale white spotlight. Tracks from third LP Skinty Fia received their live debuts, but the group rarely switched up its stage lighting to befit the mood. On Friday, however, Fontaines D.C. went for a striking set dressing – all gilded drapes and hanging tapestries. At one point, a supersized heart decoration of the distorted Romance artwork – a nod to Whipping Boy’s Heartworm LP cover – was gently backlit, casting the illusion of a mirrorball.
Songs for Cosmic Contemplation
Humid air, loud guitars, weighty bass notes: When the band delivered heart-rending tracks such as “A Hero’s Death” or “I Love You,” something like an invisible current could be felt in the room – thousands of people basking in the same phenomenon. A stirring live debut of Romance highlight “Desire” showcased that the band’s harmonies are luxurious and transcendent, but often it was the singular, enduring vitality of Chatten’s searing vocals that stood out.
Musical Fireworks
The emotional wallops came when least expected. The blindingly brilliant “Bug” has seemingly struck a chord with Fontaines D.C.’s Gen Z followers: When the band played the track mid-set, friends held each other aloft, while one particularly giddy person let off a pink flare mere meters from the stage – an unexpected move that gorgeously contrasted the lofty interior of Alexandra Palace’s 185-year-old Grand Hall. Similarly, the way that bassist Conor Deegan whistled throughout “Roman Holiday,” face pushed close to the mic, had a determined intensity to it.
Curley’s Star Turn
“Sundowner,” written by guitarist Conor Curley, showcased his lead vocals on a Fontaines D.C. track for the first time. When performed live, his voice is husky and immaculate, accompanied by Chatten on the acoustic guitar, wearing a pair of bug sunglasses. The song’s reflective mood, meanwhile, felt heightened by trippy lens flares playing out across the venue’s screens.
We Go Again
Owing to a technical issue, the band abruptly stopped playing “Starburster” just as it was getting started. A few minutes later, the group returned to the stage and rattled through an “extra song,” 2019’s “Too Real,” before trying “Starburster” over once more. Yet as the track’s punchy choruses burst to life, replete with Chatten’s hip hop-esque delivery, it became clear that not even a brief technical hiccup could puncture the show’s triumphal atmosphere.
