It’s been common throughout history for immigrant communities to group together, recreating a nostalgic image of home to cope with the strange and unknowable. With this in mind, it’d be easy to assume that any issues Fontaines D.C. had with Ireland would have faded away. But while the band enjoy Irish pubs and have Irish friends, they’ve resisted slipping into a rose-tinted view of their home country.

We’re talking to him, along with lead guitarist Carlos O’Connell, in a pub in deepest darkest South London. It’s just across the way from producer Dan Carey’s studio, where the band have been working all day, along with rapper Slowthai. Grian complains of callouses from too much tambourine playing as he orders his Guinness. It’s midweek, and the pub itself is almost completely empty, although an ominously advertised pub quiz is supposedly starting in an hour’s time. Better get on with it, then.

“I grew up in Madrid, so in many ways, I was an outsider when I moved to Dublin anyway,” he continues. “I looked at the city through the window my Irish family showed me, and that’s always felt a part of me. But in the same way, when we moved to London, no matter where in London or what our lifestyle is, we’re always looking at this city through the lens of an Irish person. This city to us is impacted by the history made by Irish people, and the attempts to crush that by the English, so no matter how welcoming or unwelcoming London is, I already have preconceptions about this place. The flipside of that is that there is a very strong Irish community here that we entered London through. We didn’t just arrive as five lads who didn’t know anyone – we were surrounded by Irish friends.”

When immigrating to a new country, communities don’t just group together out of shared nostalgia, but also at times against a host nation that can seem at best disinterested, and at worst openly hostile, to their existence. Areas of North London, including Cricklewood, Kilburn, and Camden Town, saw waves of Irish immigration throughout the 19th and 20th centuries. These immigrants brought their culture with them, still clearly seen in historic Irish pubs, including the Dublin Castle and the Boston Arms (located below The Dome, where Fontaines recently played) and the London Irish Centre in Camden Square.

Despite the huge Irish population in England and the historic British rule of the country, understanding of Irish history and culture within Britain is still frustratingly low. “Even the most ostensibly woke people would struggle to put the line on the map between Northern Ireland and the Republic. Some of them probably don’t even know there is a line,” Grian says with visible annoyance. “The conversation just feels so underdeveloped, and I don’t know why that is.”

“I’ve met people, liberal people, who actually think Ireland is in some way part of the UK and don’t see why that would be offensive to say,” says Carlos. “This country is built in a way that there’s no ownership taken over its mistakes – if you want to be generous and call them mistakes. It colonised half the world! How can it not teach the actual history of what happened? There’s so much injustice in taking this attitude of ‘leave the past in the past’, which is fine if you know your past, but you can’t just forget it because it doesn’t paint you in a good light.”

This bubbling anger is present throughout ‘Skinty Fia’, but nowhere more so than on opening track ‘In ár gCroithe go deo’. The title is Irish for “in our hearts forever”, a phrase a family wanted to be inscribed on a gravestone in a Church of England graveyard. After a legal battle, they were told that the inscription would not be allowed without a translation lest it is seen as a “political statement” due to “the passions and feelings connected with the use of Irish Gaelic”. Despite feeling like a ruling from the height of the Troubles, this was a decision made in 2020.

“They don’t want to teach this in schools, but by rule and regulation, they’re still discriminating against Irish people? It’s very telling.” Grian shakes his head as if in disbelief. “We’re not foregrounding our Irishness as an intentional aspect of our makeup as a band; it’s just a reality. This energy is very real to us and to people in Ireland. There’s a righteous anger there, and why shouldn’t we harness it as a colour in our palette? It helps me engage with the tracks when we play them night after night, to know that I’m singing about something worth singing about. It’s not reflective; it’s us singing about something we want to change and the friction that it causes. As long as there continues to be that friction, we’ll continue to be inspired by it.”

This anger that permeates the Irish experience is deeply rooted. During British rule of the country, use of the Irish language dwindled, with English favoured in schools and everyday life, leading to the situation where the use of the language can be taken as an overtly political act in Britain, no matter how innocuous. Despite this, there’s been a recent revival in the language’s use, with it now taught in schools and championed as an important part of Irish heritage.

All of these feelings and realities blend together on ‘Skinty Fia’, but that’s not to say there was any conscious narrative laid out before Fontaines sat down to write the album. Even though the pandemic gave the band a breathing room they’d never had before, it was still more of a plunge than a thought-out project.

“We’re responding to a call,” says Grian. “This album hasn’t been a squeeze to get out; it bled from us by necessity. It’s inspired by moving country and being faced with all these different versions of Irishness which we’d never considered before. It was us donning the cloth of our culture. That feeling was a moment in time - I don’t know what the next chapter in our lives is, so I can’t say what our next album will sound like.

“I do think we would always have done that, though,” says Carlos. “From the moment the first album was done, we knew the next one would be different, and the same after the second. By the time we’d written ‘Dogrel’, we’d left ‘Boys in the Better Land’ and ‘Liberty Belle’ behind. We were never gonna let ourselves get boxed in. That was part of the reason why we put ‘Dublin City Sky’; on the first record, which was a total trad [traditional Irish music] ballad. Maybe another band would’ve just tried to make ten bangers, but I don’t think that was of any interest to us.”

This constant search for newness is present throughout ‘Skinty Fia’. Whether it’s the understated menace of ‘Big Shot’, the gentle romance of ‘I Love You’ or ‘Skinty Fia’ itself, which boasts an almost industrial feel, it’s clear that the band are always seeking to push themselves. Even songs that skirt closer to a ‘traditional’ Fontaines sound show an ever-growing lyrical maturity and deftly avoid treading the same boards as previous outings. ‘Bloomsday’ is one such track, named after the annual celebration of Irish author and poet James Joyce.

“Bloomsday is this pilgrimage that fans do every year,” explains Grian. “But it was sort of founded by Brendan Behan, Patrick Kavanagh, and Flann O’Brien [all Irish poets, playwrights, and authors]. There’s footage of them at the first Bloomsday, in black and white and sort of sped up like all those old films are. They’re just enjoying themselves, and I saw us in that, walking in the so-called footsteps of these great men. But there’s a melancholy in there too, because I wrote it partly to let go of my old idea of Ireland. I was clinging to this youthful dream of Dublin, and I needed to get off of that treadmill of romanticism. It felt like celebrating the last birthday you’ll ever have.”