Life has a peculiar way of unfolding in cycles. In North London, we find ourselves waiting to enter Finsbury Park; it's the most significant day and night in Fontaines D.C.'s career. Across the street, near Manor House station, there's the Finsbury – a cozy pub that features live music, DJs, and (delicious, we can vouch for that) pizzas. This is also where Fontaines D.C. performed their first London gig, before an audience of about 50 – a mix of friends, acquaintances, and those curious about the pizza menu.
The band’s remarkable rise to such heights reflects their ambition, perseverance, and clear focus. Fontaines D.C. have never settled for mediocrity, with each album cultivating its own unique creative universe. They are hard workers as well – during their last tour, Clash caught the Dublin band at this same park, opening for Sam Fender. While some artists might need a breather now and then, Fontaines D.C. is not among them.
We enter the park just as Blondshell finishes her set, and the American artist shines in the afternoon sun. Her greatness is no mystery – it stems from exceptional songwriting, the kind of hard-earned insight that resonates beautifully on recordings and even more so when played live to thousands at Finsbury Park.
There's a reason so many people arrived early. Firstly, the lineup is stellar – Been Stellar and Cardinals have also delivered great support sets, earning enthusiastic applause. However, the main attraction pulling the crowd is Kneecap.
The Belfast group, very much in the spotlight, is challenging authorities to share their message with the public, one performance at a time. Although Clash didn’t fully connect with their debut album, the film inspired by it is genuinely remarkable. Recent events have propelled Kneecap into the thick of the cultural debate.
In short – Kneecap’s bold, explicit backing of Palestine and denunciation of the Israeli military has ignited a backlash from the Hard Right, led to court appearances, and resulted in a Glastonbury set that was removed from BBC programming but made its way online thanks to a resourceful TikTok user named Helen. She’s a true legend.
Expectations are high for Kneecap right now – audiences are here for more than just music. Some are craving chaos and an explosive atmosphere; others lack avenues to voice their pro-Palestinian sentiments and want to see those sentiments reflected. Organizations face bans, peaceful demonstrations are labeled ‘hate marches,’ and daily death tolls climb. We’ve long crossed into a surreal reality, with Kneecap serving as focal points for dissent.
Throughout a powerful, enjoyable, and incisive set, Kneecap shows themselves to be effective messengers of their beliefs. Their performance is dynamic, intense, and often hilariously funny – mocking Keir Starmer as “a shite Jeremy Corbyn” is brilliantly immature, not least because both politicians are North London residents who could easily overhear it.
While Mo Chara acknowledges onstage that their actions might not lead to change, the experience of unity is crucial. Grian Chatten performs ‘Better Way To Live,’ and tracks like ‘H.O.O.D.’ are exhilarating bursts of rebellious joy. One could easily adopt a cynical viewpoint – without the current cultural conflict, Kneecap might not have gained such a massive following. But that’s mere speculation: we’re united here in this moment, and Kneecap are three bold individuals from Belfast trying to bring back the light. This is their time, and they’re thriving.
Amyl and the Sniffers catalyzed the Australian punk explosion and are now among the best live bands worldwide. Their goofy garage punk riffs, mixed with some Angus Young-style guitar theatrics, create a cacophonous blend. After nearly a decade, they personify a glorious eruption of sound. Amy Taylor is endlessly captivating – whether she’s strutting, dancing, or flexing, or sharing a genuinely humorous joke about meeting the pope, she delivers a trove of sharp retorts to the crowd. Their repertoire is faultless, featuring annoyingly catchy thrash tunes; their carefree attitude makes them the perfect introduction for the headliners.
Fontaines D.C. have gifted us a decade of remarkable music, from the edgy garage punk of their debut 'Dogrel' to last year’s 'Romance,' their first for XL. It’s been an adventure, one we’ve enjoyed experiencing alongside the band.
Now, live on stage at Finsbury Park, it feels like they genuinely deserve this moment. ‘Here’s The Thing’ serves as a fantastic opener, while ‘Jackie Down The Line’ retains its magnetic, poetic quality. ‘Boys In The Better Land’ is still a thrilling three-chord experience, and ‘Televised Mind’ buzzes with energy.
We could easily spend all day listing highlights. The Dublin band has been flawless for a decade
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Life has a peculiar tendency to progress in cycles. Here in North London, we are waiting in line to enter Finsbury Park; it's the most significant day and night for Fontaines.