Live Review: Fontaines D.C. @ Riverstage, Brisbane

There’s something electric about seeing a band at the height of their creative evolution. Fontaines D.C., fresh off the release of their fourth album Romance, have taken their post-punk roots and doused them in something moodier, more theatrical, and undeniably magnetic.

Currently in Australia on tour for their Romance tour, the band warmed up with a set at the chock-a-block Perth Festival, before taking the timezone-shifting flight east to Brisbane’s Riverstage.

Fontaines kicked off their Brisbane set with their latest work’s self-titled track Romance. With a riff that resembles a slower counterpart to Metallica’s Enter Sandman complete with eerie xylophone and the wickedly glow of the green stage lights, there was a quiet adrenaline through the crowd, as if entering a haunted funhouse. 

Fontaines D.C.’s latest album Romance very much embodies a darker, aggressively cathartic sound, yet there is still that good old D.C. dark charm threaded through. Released just shy of a year ago under their new label XL Recordings, the 11-song project debuted at number 2 on the UK charts, scored slots on 12 major “best albums of 2024” lists, and was formally recognised for their efforts by taking home the Album Award at the Rolling Stone UK Awards in 2024. For Australian fans following along, the group also had two singles in the triple j Hottest 100 of 2024, with singles Starbuster and Favourite. 

By the end of their first song, an instrument switch took place for all stringed members, as the drums kicked in and lead singer Grian Chatten began raising his hands and urging crowds to get amongst it. The cheers spilled over into the cool bassline of Skinty Fia single Jackie Down The Line.

Sticking to their new Romance aesthetic, the five-piece had stuck with fun fits and hues, although it left you wondering how they were faring in the Brisbane summer heat - Chatten was wearing a very fun metallic silver windbreaker, and bassist Conor “Deego” Deegan was donning a proper leather motorbike jacket. Alas, they kept their persistent cool throughout the set. 

Shining red and blue lights danced over the stage for the third song of the night; anyone across the river in Southbank would have thought that a major arrest may have been going down at Riverstage, as the band strummed through Televised Mind, as well as past hits Roman Holiday and Big Shot. 

A very cinematic moment occurred after several newer releases were played, where a lone bat cut perfectly across the sky above the front of the mosh (can bats be paid actors?). This was idyllic timing, with the band playing their latest single, It’s Amazing To Be Young. This new track only came out on 21st February, and is one of Fontaines’ happiest songs, based around the child-like wonder observed within guitarist Carlos O’Connell’s daughter. 

When Boys In The Better Land kicked off, Chatten pulled out a tambourine for the intro, giving the song a distinct Oasis-like feel. The energy in the crowd spiked as punters sprinted down the hill to get deeper into the mosh, and hands flailed in all directions. Even the opening band Shame could be seen dancing from the left-side balcony. Several people busted entire bottles of water like champagne in the middle of the mosh, and it truly showed the lasting value of Fontaines D.C.’s now six-year-old debut. 

It was truly a then-and-now comparison to see this older hit that leaned more into that unabashed tongue-in-cheek Irish wit to what the boys literally describe as their favourite song - new track Favourite. 

Favourite saw a wave of people climbing onto shoulders, while one injured crowd-goer in the pit managed to clap his crutches in the air in triumph. It was a genuinely wholesome moment; the kind that echoes the same fuzzy joy you feel right after counting down into a new year.

And then Fontaines D.C. exited the stage. 

The crowd breathed like an organism as people went in and out of the crowd, some going to leave and some ready for a big encore. Roadies took over the stage for a good few minutes prepping gear under the blue light. Mind you, the unofficial lead single Starburster from their latest album hadn’t received a play yet.

In true Australiana style, the crowd built up momentum with DJ Otzi’s Hey Baby, which is how you know the patrons are antsy for more. The novelty tune kept crescendoing, with beat-timed clapping and a roar so fierce that even Shame, perched up on the balcony, looked on as if the crowd were the real show. 

The band returned by popular demand. “We have a couple more for you”, Chatten said, launching into four more songs. 

Following single In The Modern World, Romance’s Desire had a special energy to it. It was much like listening to Gregorian chants, hearing the opening verses of the song live for the first time. This, coupled with the ‘ye olde’ signature Fontaines font made it feel like we were watching thousands of years of Celtic history unfold under red lights. Despite the positioning away from the Catholic Irish narrative on their newest vibrant dystopian album, the Irishness crept through in its own ways. 

With that unanimous connection with Ireland put in place, the crowd started singing I Love You before a chord even played from the band, and somehow guessed correctly. The ode to the Celtic nation kept us all warm and well looked after, guiding us into the final song of the evening, Starburster. Green and magenta sliced up the hill, as the broodier number got serious headbanging faces out once more. 

Like the final breath of the show, we all inhaled in unison to the chorus’ iconic gasp. 

While Fontaines D.C. may change their aesthetic with every new album, there’s a sense that they’re not changing for others. They’re cool not because they’re trying to be or because they want to impress the pseudonalities in the crowd, but because they care about their art enough that it’s an immediate effect.

They didn’t do anything particularly different or crowd-pleasing during each song - there was no talking up the crowd (probably more so due to Riverstage’s air-tight schedule runtime), and no shoeys or showpony tricks.

It was still a miraculous gig regardless, because just having such an up-and-coming international act here in the prime of their latest album release was enough to garner tickets. And just like that, “Gone is the day, gone is the night, gone is the day”.