Richard's answer already points out the possibility of a harmonic sequence. I just want to elaborate on that a bit.
As you pointed out roots by descending fifth are the well known circle of fifths progression. As a two chord gesture it starts like this...
...if you sequence that down a step, you get the beginning of the circle, but also notice that each iteration, each bar starts with a root position chord...
...one way you can think of the sequence of roots by descending fifths is simply a descending line of root position chords alternating with first inversion chords. The main point being to recognize the larger scale motion which is simply a descending line.
You can apply the same idea, but use an ascending line.
The starting unit could be a descending fifth...
...or a descending fourth...
...it doesn't matter. Either one can be used sequentially in either an ascending or descending line.
If we choose the descending fourth and then use it with an ascending line we get...
I highlighted the root position chords. In
D minor you can see we get...
Dm: III IV V
...a very strong drive to the dominant in
D minor which could very obviously continue in
I mention this point about the root position chords moving by step to try to demystify root progression by descending fifth of descending fourth. There are a lot of ways you can put together sequential harmony, but a lot of it can just be viewed as ascending or descending by step through important scale degrees. Also, a lot of pop music uses chord changes by step which looks like bad voice leading by classical standards. Being aware of the step-wise natural of harmonic sequences helps bridge the gap between the two styles.
OK, back to the song.
Take the six chords of this sequence, but elaborate progressions up to a structural level.
The intro uses the first four chords and repeats them. It begins the ascent, but the repetition delays the eventual goal of
D minor. It builds anticipation, good for an intro.
After the intro we get to
D minor. But rather than the straight forward
A chords it's enlarged to a whole verse section using
Dm C Dm and
F G. It doesn't use the dominant. You could say the verse is a big elaboration of the tonic
When it gets to the chorus/refrain we finally get the dominant to tonic harmony. When he sings gutter ballet it uses chords
Bb A Dm which on a large scale fulfills the sixth chord - the
A major chord - of the basic harmonic sequence.