Once scrappy post-punk poets, they’re now one of the biggest bands in the world. As they release new album Dopamine Chamber, fans including Kneecap and Shame explain their sensational rise

When Irish rockers Fontaines DC emerged in 2019, they were a bunch of post-punk poets making abrasive guitar music at a time when Dance Monkey, Drake and The Greatest Showman reigned supreme. But today, as their fifth album Dopamine Chamber is released, the quintet are looking towards a 2027 filled with gigs in UK stadiums, US arenas and headline slots at big European festivals – plus rumours of topping Glastonbury’s Pyramid stage. It’s quite a trajectory.

Their rise has been strangely traditional for a time when social media has culture in a chokehold. Ever more ambitious albums, the support of radio and institutions such as the BBC, and a lot of touring have all played parts. Beyond that, “fact is, they’re one of the best bands in the world,” says fellow countryman Mo Chara, one third of Kneecap.

(XL)
This is a beguiling, endlessly inventive and frequently astonishing fifth LP from a group at increasing ease with being the best band of their generation

Fifteen centuries ago, the Byzantine archbishop Theophilus of Adana did first-hand business with the devil for his own superficial betterment. Today, we just blindly tick a little box marked “accept terms and conditions” or let high-street snake oil merchants inject poison into our faces. The Faustian pact has become as depressingly banal as it is endemic and destructive – and unlike Theophilus, we can’t rely on the Virgin Mary to save us now. In the midst of headlines about AI destroying humanity, the idea of listening to music submerged in precisely this shade of doom might sound like, well, hell. If anyone can thread that poisoned needle, it’s Fontaines DC.

When the Dublin band introduced their last album, 2024’s Romance, it came with a surprise new look. Their uncoordinated jeans and shirts had been replaced by neon hair, shiny trousers and bug-eyed sunglasses that split the difference between Korn and the Prodigy. As they faced up to having traded their anonymity to become arena fillers, it wasn’t hard to read this look as a sort of protective cosplay, a cybergoth Sasha Fierce for five fairly low-key Irish lads trying to make peace with leaving their roots behind. Newly melodic and lavishly produced, Romance made no bones about the band’s ambitions and became their first platinum-certified album.

Ahead of the Irish alt-rockers’ highly anticipated fifth album, Dopamine Chamber, we count down their potent, occasionally political, catalogue

A single inspired by the birth of bassist Conor Deegan’s daughter, It’s Amazing to Be Young is a lovely example of Fontaines DC operating in euphoric mode, a relatively recent addition to their emotional mood board: “Sometimes,” offered frontman Grian Chatten, “optimism is a necessary delusion.”

A selection of winners and notable finalists in the awards celebrating the art of music photography, which saw 24,500 images submitted from 42 countries

Oasis, Macca and Radiohead made Help a smash for War Child in 1995. A new reboot packs comparable star power – and was partially produced from a hospital bed

When Kae Tempest was asked to contribute to a new track by Damon Albarn, which would also feature Fontaines DC frontman Grian Chatten, Tempest says he jumped at the chance. It wasn’t just the artists involved, nor the fact that it was for a new compilation benefiting War Child, called Help(2): a sequel to the charity’s hugely successful 1995 compilation Help. After seven solo albums, Tempest had begun thinking about working with others, and so the night before the recording session, he and Chatten repaired to Albarn’s studio and wrote their verses together, “responding to each other”. It seemed to work really well, he says: “A true collaboration.”

Nevertheless, he concedes, the actual recording of Flags proved to be quite the baptism of fire. “Johnny Marr was on guitar, Femi [Koleoso] from Ezra Collective was drumming,” he laughs. “Plus, there was a children’s choir.”