It’s their first time in the city since their album party, last August, at Boilershop. A year on, and that very same album is now being played to festival crowds. They’ve continued on a steady incline since their 2019 debut, and now ‘Romance’ appears to have shot them exponentially higher, whilst elevating older tracks to more audiences.
Before they hit the stage, we have our special guests: post-punk four-piece, Crows, who bring an angsty, grungy set that spurs life into those that have spent hours basking in the lazy, Sunday sun. English Teacher soon follow with an experimental, fluctuating set which shows off both their high energy and slower numbers. Lead singer, Lily Fontaine, expresses her love for the main act, and jokes that she’s fine with them stealing her name.
“I wanna see you alone, I wanna sharp the stone / I wanna bounce the bone, I wanna mess with it”. A gentle, spoken version of ‘Starburster’ is sang quietly, luring us into the beginning of Fontaines’ set… Seconds later, the instantly recognisable, mechanical riffs of ‘Here’s The Thing’ start to play, the perfect opener to begin on an energetic high.
Equally as mesmerising as the music is the stage backdrop: imitating the neon-green and hot-pink colour scheme of ‘Romance’, and although the focus is on the new album (12 out of 21 tracks come from their latest release) song like ‘A Hero’s Death’ have us shouting fittingly shouting, in unison, “LIFE AIN’T ALWAYS EMPTY” and ‘Boys In The Better Land’ take us back to their gritty, post-punk roots.
Big screens make it easy to tell which bandmember is responsible for each incredible sound reaching our ears, but frontman Grian Chatten’s unique, swaggering stage presence is undoubtedly their charging force. Their tracks on their own brings the audience, but the execution ensures their music hits that little bit harder when they’re right in front of you.
‘Roman Holiday’, from ‘Skinty Fia’, is an indie-rock track that feels a bit Stone Roses in its chilled-out yet moving atmosphere, as they romance us to “Baby, come on get stoned, get stoned”. We’re also treated to ‘Before You I Just Forget’, from the deluxe version of ‘Romance’; a softer vulnerable track with layered instrumentation that evokes a multitude of emotions. ‘In The Modern World’ falls into the same category with its cinematic sound making it one that slows the movement down for a moment, just to take it all in.
In the wake of punk band Bob Vylan having their US visas revoked, and being dropped by their talent agency, and Kneecap being charged with terrorism offences for calling out the UK government’s complicity in genocide in Palestine, Fontaines thankfully show that they’re in no way deterred by attempts to silence artist’s protests.
“Israel is committing genocide. Use your voice” are the words shown on the screen as Grian Chatten shouts “free Palestine!”. Fontaines have gained considerable success with their latest album, and now they’re rightly using their elevated platform for good. Politics and music aren’t separate, and Fontaines have set the example that artists can put on the most captivating spectacle, show the very best of their abilities, and still join the fight for those who need it. It doesn’t have to be one of the other.
One of their most wholesome tracks, ‘Favourite’, is dedicated to Geordie singer-songwriter, Sam Fender, who recently played a string of shows at St James’ Park. ‘Favourite’ has also become one of their most popular due to its warm guitar riffs, but what it’s mainly done is become the band’s sweet centre, their most inner layer; reached after the glorious chants of ‘Boys In The Better Land’ and the trip-hop-rap of ‘Starburster’, until we’re presented with the sentimental heart that carries it all.
From ‘Dogrel’ to ‘Romance’, Fontaines DC have gradually tweaked their sound and now they’ve showcased the present whilst reaching into their roots, and combining them into memorable, hard-hitting live moments.