Fontaines D.C. delivered the goods, but we wanted more desire

Fontaines D.C. did exactly what they needed to satisfy their sold-out MTelus show, no more maybe slightly less. Since the release of their fourth album, Romance, the Irish post-punk band has absolutely exploded. Between blowing up on TikTok, opening for Arctic Monkeys, releasing their most sonically cohesive album to date, and a ringing endorsement from none other than Elton John, I and most of the 2,300 people were crammed into the venue long before the opener started. 

The night started with the New York band Been Stellar. Their atmospheric, early ’90s Smashing Pumpkins-esque sound made perfect sense to gear the crowd up for a very Romance-heavy set. Though they looked like recent winners of their high school’s battle of the bands (I have since learned they are older than I am), they played a tight and beautiful set. The crowd was an absolute sea of teenagers. And as annoying as it was to witness them try to inorganically force a mosh, it is beautiful to watch teenagers absolutely shit their pants over something. And at 9:01 when Fontaines D.C. emerged, that’s exactly what they did. 

Been Stellar

Now, don’t get me wrong—our Irish rock saviours, Fontaines D.C., played well. It was incredible to watch some of the more orchestral songs from Romance replicated perfectly live, and it was so fun to see Dogrel songs I’ve been listening to for five years. But there was certainly something missing. I was so ready to freak out to the punchy and powerful songs from their early albums and weep to beautiful melodic songs from Skinty Fia and Romance, but they lacked the energy to deliver what I was hoping for. 

Fontaines D.C. consists of Conor Curley, Conor Deegan III, Tom Coll Carlos O’Connell, and Grian Chatten. But they also tour with Cathal Mac Gabhann and Chilli Jesson. Even with seven people on stage, it really was all about the frontman Grian. He came out in sunglasses, a hat, and a coat and hardly even looked at the crowd let alone speak to them. One of the following things was happening: either he was doing a whole “rockstar” act where he was pretending he didn’t really care, he genuinely hates his newfound teenage fanbase, or they’re tired. Or considering how different this album is from the previous three, they’re just trying something new they aren’t as good at yet.

Whatever the reason, the set lacked connection and character. The strength of Fontaines D.C. is the band’s simple but powerful sound with the poetry of Grian’s lyricism. But very little of that translated to me at the show. People weren’t really dancing, though they did know all the words, and there was never a threat to my glasses. 

Fontaines D.C.

At one point, Grian stood with his arms outstretched in a way that said “I know you love me.” And I’ll take it a step further to say it meant he knew people would devour whatever they did on stage so they didn’t have to try that hard. It does feel rich for me to complain about them not putting on more of a show. Like when your boss is mad that you did the task you were assigned but weren’t happy while doing it. But here I am begging for any evidence that they wanted to be there. 

Fontaines D.C.

From a technical standpoint, seven people switched instruments in nearly every song on stage. It sounded good but there were points where the sound person just couldn’t keep up with the literal musical chairs and things got a little wobbly. And other than the ever-present lights, which I can now call “brat green,” there was very little visual interest on stage. 

It’s not all their fault. I was standing between a kid who learned “I love you” in sign language that day and a Gen X woman trying to film the show with her flash on. But it certainly didn’t help.

I’m sure Fontaines D.C. will catapult even further into superstardom, and they deserve it. I just hope the next time I see them they have the charisma and stage presence their music warrants. 

Photos by Julia Mela