Tom Dunne: Fontaines and Rosalia reveal the power of a well-chosen duet
The new album from Fontaines DC includes a collaboration with Rosalia.
I’ll say this quickly and move on: The Fontaines DC’S new album, is the most anticipated new Irish album release since We’ve had the meteoric rise, we’ve two sell-out of Slane in the bag. Next stop: The Classic Album. No pressure then.
The Classic Album is the one everyone can relate to, even fans who up to this were only vaguely aware of Fontaines DC. It requires three stone-wall classic tracks, ideally a or a , and no fillers. It should broaden the FDC fanbase to the point where some older fans ditch them.
The new single, with Rosalia, is a brave step forward. In the long-established tradition of duets, it combines acts from different musical landscapes. It also pitches the Fontaines in with one of the coolest talents on earth. U2 have a song about her on their new album. The Fontaines have the girl herself. Round one to FDC.
But buyer beware: the duets world is not for the faint hearted. For every Les Hazlewood / Nancy Sinatra classic, there is an or worse, a Mick Jagger & David Bowie It’s a fine line between Universal Classic and Eurovision Slop.
So, a quick guide:
The duet others duets call “The Boss.” Let’s be honest, no one knows what is going on here. Who the hell is Phaedra? Is this a song from an Ennio Morricone western? And what on earth is a velvet morning when its at home? The answers are irrelevant. Something heavy and brilliant is going on here. Look but do not touch indeed!
How could anyone as nice as Kylie have ever fallen for the plainly evil Nick Cave? Yes he has an allure, all bad boys do, but going down to the river with him? Kylie have you learnt nothing? It is a world of doomed heroines, bad choices and unavoidable destiny. Magic!
A lot going on here. The contrast between Shane’s wonderfully ragged voice, his, as always, perfectly observed lyrics, his genius song writing nous, and the unspeakably beautiful voice of Sinéad O’Connor is a gift for the ages. It captures the innocence, the longing and the absolute fire of relationships that are as life affirming as they are dangerous.
I won’t linger on this; you will soon be hearing it 20 times a day. But if is youthful passion is it’s grown-up consequence. That love in the cold light of later dawns, when the promissory notes and IOU’s have been called in. And yet in the ashes, a spark.
I’d be nervous, regardless of my stature, of ever inviting Thom Yorke to guest. You don’t recall much of most songs after he does his bit. Most notable here are with PJ Harvey, and with but I suspect there are more. These are great songs until he arrives. Then they become moments of godlike genius.
Also performed by Willie Nelson and Sinéad O’Connor at a point where he seemed to be the only person on earth willing to put a supportive arm around Sinéad at her time of greatest need. This is a killer song: The frailty of the male vocal and then the gentle reassurance of the female voice. Swoon.
Has to be one you aren’t quite familiar with. I’m not a great fan of Mr Bishop but the moment in this song from 1976 when Chaka comes in is one of the most superb, uplifting, gorgeous moments in music. It does concern the theme of daughters growing up and away, which is not an easy one for me, so approach with caution if you are similarly affected.
Other notable talents in the duet world: Marvin Gaye and Tammi Terrell, Kenny and Dolly, Johnny and June Carter Cash, Damien Rice and Lisa Hannigan, Mick Flannery and Susan O’Neill, Robert Plant and Alison Krauss.
Conclusion? Male voice: good. Male and female voices: pure heaven.
