This summer I curled up around a Guinness at a crowded bar in Galway. I had just made my way down from a friend's wedding in Donegal. I sat chatting and sipping with my girlfriend as a Fontaines D.C. song came on over the speaker. We sat and listened together. Taking the scene, setting, and sounds in. It felt like a romanticized version of what I had hoped for Ireland to be, of what I think a lot of Americans romanticize Ireland to be. Irish music playing loud, Guinness being sipped, wooden bars and paint chipped walls. I looked around to see the bartender singing along to herself.Ā
It seems almost impossible not to contextualize Fontaines D.C. as an Irish band. I understand that art should be judged on its own, or whatever. But theyāre an Irish band and that means something.
It makes me think about James Joyceās āDublinersā, about Patrick Radden Keefeās āSay Nothingā, about the solidarity Ireland shares with Palestine, about the lyrics to āIn The Modern Worldā in which Grian sings, āSeems so hard just to beā with noticeable anguish in his voice. A line that could sum up a lot of Irish history. A country simply trying to be.
Irish artists have always found a way to speak directly to the human experience in a way that feels tender, tangible, and current. And Fontaines D.C. are no exception to this, especially on āRomanceā, an album, filled with hope, angst, nostalgia, disillusion, love, and a modern, justified, sense of anger. But maybe Iām romanticizing things.Ā Ā Ā
England Get Out of Ireland & Free Palestine