No.1 Party Anthems: Fontaines D.C. – I Love You

To kick off this new segment, I thought it would be best to begin with a song that carries a powerful yet misunderstood message from a band  steadily gaining global recognition: ‘I Love You’ by Fontaines D.C., an Irish post-punk band formed in Dublin in 2014. This was the second single for the band’s tertiary album “Skinty Fia”, translating to the damnation of the deer in Irish. ‘I Love You’ serves as a powerful anthem (see where we are going with this) that will almost certainly make a crowd go wild. This song is often misinterpreted as a love letter to a person rather than to the country itself, but, to put it simply, that’s exactly what it’s about. 

The song opens with a hauntingly beautiful bass riff, accompanied by Grian Chatten’s poignant opening line, “I love you, I love you, I told you I do.” At its core, the song reflects an individual struggling with a complex relationship with their homeland. The line about opening the window but not the door highlights the government’s refusal to support the youth in Ireland, seemingly encouraging young people to emigrate instead.

In my opinion, the most striking moment of this song is the bridge:

Selling genocide and half-cut pride, I understand  

I had to be there from the start, I had to be the fucking man  

It was a clamber of the life, I sucked the ring off every hand  

Had ’em plying me with drink, even met with their demands  

When the cherries lined up, I kept the spoilings for myself  

‘Til I had thirty ways of dying looking at me from the shelf  

Cloud-parting smile I had, a real good child I was  

But this island’s run by sharks with children’s bones stuck in their jaws  

Now the morning’s filled with cokey’s tryna talk you through it all  

Is their mammy Fine Gael, and is their daddy Fianna Fáil?  

And they say they love the land, but they don’t feel it go to waste  

Hold a mirror to the youth, and they will only see their face  

Makes flowers read like broadsheets, every young man wants to die  

Say it to the man who profits, and the bastard walks by  

And the bastard walks by, and the bastard walks by  

Say it to him fifty times, and still the bastard won’t cry  

Would I lie?

This section of the song is significant as it delves into the complexities of grappling with one’s identity, or the absence of it. The listener is compelled to confront the pain associated with Chatten’s initial experiences of fame. The lines about “sucking the ring off every hand” and being “met with their demands” illustrate the pressures and moral compromises that often accompany success. This theme is underscored by the poignant reference to Judas: “Till I had thirty ways of dying looking at me from the shelf,” which alludes to the thirty pieces of silver for which Jesus was betrayed. This clever imagery captures the depth of betrayal and sacrifice intertwined with fleeting fame.

Additionally, when Chatten states, “this island’s run by sharks with children’s bones stuck in their jaws,” he likely refers to the mass graves found at mother-and-baby homes, particularly in Tuam, County Galway. This dark chapter has left a stain on the country’s history, reinforcing the love-hate relationship depicted in the song. Chatten cleverly references the two major political parties in Ireland, Fianna Fáil and Fine Gael, intertwining them with the country’s tumultuous history: “Is their mammy Fine Gael, and is their daddy Fianna Fáil?” The two houses of government aren’t in harmony to run the country, and neither are the homes in Ireland, alluding to the fact that divorce was only legalised in Ireland in 1996, which emphasises the deep-rooted connection between church and state, that has gradually eroded the core of Irish politics and society.

The brilliance of this song lies in the way different sections mirror each other. For example, Chatten contrasts “the gall of Fine Gael and the fail of Fianna Fáil” later in the song.

Moreover, Chatten skillfully draws connections with lines such as, “makes flowers read like broadsheets, every young man wants to die, say it to the man who profits, and the bastards walk by,” which directly connects to the line, “And I loved you like a penny loves the pocket of the priest, and I’ll love you ‘til the grass around my gravestone is deceased.” This illustrates how love and hate for his country have slowly consumed him and those around him. 

The overall album ‘Skinty Fia’ is thematically significant to the song as the idea of “Irishness existing in England and becoming a new kind of culture in general”, as said by lead singer Grian Chatten in an interview with Rolling Stone. This sense of exploration of identity reflects the deep longing and nostalgia that is so prevalent throughout the album. 

Each track delves into the intertwining of cultures, showcasing how the Irish diaspora navigates its roots while adapting to new surroundings. The poignant lyrics and evocative melodies highlight the struggle of embracing a dual identity, laden with both pride and melancholy. The album skillfully combines personal stories with broader cultural themes. It serves as a strong tribute to the complexities of belonging. It celebrates the beauty of heritage while also addressing the challenges of displacement. Through “Skinty Fia,” listeners are invited on a journey that is as much about personal reflection as it is about collective cultural experience, revealing the profound emotional depth that underpins modern Irish artistry.

In conclusion, ‘I Love You’ by Fontaines D.C. transcends being just an anthem; it serves as a powerful reflection on love, identity, and the complex relationship with Ireland’s history. The song captures the conflicting emotions of pride and sorrow, encouraging listeners to engage with its deeper themes. ‘Skinty Fia’ as a whole solidifies Fontaines D.C.’s significance in contemporary music, as it challenges us to embrace our roots while acknowledging the struggles that come with them.