It has been a busy few years for Fontaines D.C. Since bursting onto the music scene in 2019 with their debut album Dogrel, the Dublin band have released a string of critically acclaimed albums, including 2020’s A Hero’s Death and 2022’s Skinty Fia. Combining muddy guitar sounds with frontman Grian Chatten’s cynical lyrics and steely exterior, Fontaines have cemented themselves as the gritty Irish punk band this century has been missing. 

With this in mind, the recent release of 2024’s Romance is likely not what fans were expecting. Although the record maintains their signature punk style, Fontaines incorporate an entirely new sound into their music which is heavily reminiscent of the Britpop and 90s alt-rock years. These influences are particularly prominent in the hit single ‘Starburster’, a punchy, aggressive number that is the musical equivalent to a panic attack. The band’s new sound is also evident in the spiky ‘Here’s the Thing’, in which Chatten experiments with his range, hitting anxiety-induced falsettos. 

Some fans may perceive the shift as an identity crisis for the band, yet this is hard to believe: in fact, Fontaines have never seemed as comfortable as they currently do in their Romance era. Chatten himself has described the album as “neon and ridiculous,” and festival season saw the Dublin quintet reflect their vibrant new music through their stage presence, with Chatten frequently donning neon green tracksuits and guitarist Carlos O’Connell dying his hair a shocking pink. Despite trading their usual muted colours in for the complete opposite, Fontaines have adopted that 90’s Britpop ego that makes their album seem like a natural evolution for the band. This charming confidence alongside their energy-fuelled songs on Romance elevate them as future stadium stars.

Romance is particularly striking in its ability to be both hopeful and cynical at the same time, and this is best reflected in the most lyrically thoughtful tracks. The title track sees Chatten at his most brooding, as he asks, “Maybe romance is a place / For Me / And You.” Yet, this endearing question is accompanied by an ominous piano melody and murky, distorted guitar which emphasises the doom surrounding the singer’s sense of hope. The track ‘In the Modern World’ sees a similar contradiction take place, as the singer contemplates feeling numb and alive at the same time. The dreamy quality of this track fuels its romanticising of the world, whilst Chatten’s lyrics do the opposite: “I don’t feel anything in the modern world.” This contrast is thought-provoking and engaging, perhaps acting as the epicentre of all Chatten’s emotions explored on the album.

However, the most intricate and loveable track comes at the end of the album. The nostalgic ‘Favourite’ sees Chatten look back on his past with a fondness, with an unforgettable guitar riff that is more playful than aggressive. This song is the most hopeful on the album, and by closing the album with it we are left with a sense of possibility that leaves us feeling fulfilled.

Fontaines D.C. prove romance really is a place: in between Chatten’s brooding we see these glimpses of hope that Fontaines haven’t shown us before, and this has made us fall in love with them even more. 

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