Kneecap, the rave-rap trio from West Belfast, have established themselves as a provocative and dynamic presence within the music scene, winning a devoted fanbase who see them as rebellious champions against the status quo. For others, however, their sharp political messaging is polarising, sparking concerns about their influence and intentions.
Following in the tradition of confrontational hip-hop acts like NWA and Run The Jewels, Kneecap have consistently positioned themselves as outspoken advocates for marginalised voices.
Their rapid-fire lyrics in both English and Irish range from exuberant depictions of nightlife to explicit calls for Northern Ireland’s independence from British rule.
On stage and in their recent film, Kneecap have delivered high-octane performances that have electrified audiences at Glastonbury, earned Bafta recognition, and fuelled what has been termed an “Irish language revolution“.
With their growing prominence, criticism of the group’s political rhetoric has become more pronounced.
At Coachella in California earlier this month, the band drew widespread controversy after condemning Israel’s actions in Gaza as “US-funded genocide,” resulting in accusations of antisemitism and claims they sympathise with terrorists.
British authorities are now reviewing footage from previous performances that featured contentious statements.
In one video, the group purportedly call for violence against Conservative MPs. In another, a member shouts support for groups banned in the UK. Expressing support for such organisations is a criminal offence under British law.
The band has since issued a statement asserting they have “never supported Hamas or Hezbollah.”
Kneecap also insisted footage suggesting they expressed violent sentiments against Tories was “taken out of context” and apologised for the distress caused to the families of Jo Cox and Sir David Amess, both victims of MP killings.
However, Brendan Cox, the widower of Jo Cox, dismissed their response as insufficient, while Downing Street described the statement as “half-hearted” and “completely unacceptable”.
Debate surrounding the band reached Parliament this week, with Shadow Home Secretary Chris Philp condemning their remarks as “evil.”
While Kneecap have often courted controversy, the current backlash represents a significant challenge to their continued career, as festivals and venues face mounting calls to cancel their shows.
Understanding Kneecap’s journey helps provide context for recent events.
Established in 2017 by Mo Chara (Liam Óg Ó hAnnaidh), Móglaí Bap (Naoise Ó Cairealláin), and DJ Próvaí (JJ Ó Dochartaigh), their early work was rooted in activism.
Their genesis can be traced to an incident involving Móglaí and a friend spray-painting slogans ahead of an Irish Language Act march. A confrontation with police ensued, leading to their first single, C.E.A.R.T.A, inspired by the events.
Speaking to the Irish Times, Mo Chara said its release was initially unplanned, but the track received early airplay until complaints about its references prompted its removal.
The group’s subsequent output included the mixtape 3CAG, along with singles H.O.O.D and MAM, the latter a tribute to Móglaí’s mother.
These early releases highlighted the group’s agile blend of satire, emotional depth, and the unique experiences of post-Good Friday Agreement youth.
Interviewed by the BBC in 2023, Kneecap cited inspiration from US acts like Dead Prez, NWA, and Wu-Tang Clan.
“Rebel music in Ireland has all the same sort of ideas as hip-hop in America. A community that’s oppressed, using songs to revolt in some way,” explained Mo Chara.
Notably, their use of Irish language in contemporary rap settings reclaims cultural space from more traditional musical forms.
“The only way Irish history and mythology were preserved was orally. That’s why integrating it into our music matters,” Móglaí Bap told Crack magazine last year.
Kneecap’s songwriting is frequently laced with Republican undertones—reflected even in their name, which nods to a violent method of punishment during the Troubles.
This provocative stance has brought its consequences. In 2020, DJ Próvaí lost his teaching position after a video showed him baring “Brits out” painted on his body during a performance.
In 2022, a mural commissioned by the band—depicting a burning police vehicle—drew criticism from politicians across Northern Ireland.
Alliance Party leader Naomi Long commented, “We must ask ourselves what messages we send out about the kind of future we want.”
The group themselves have described their use of Republican imagery as partly satirical, critiquing dogma with irony.
“Republicanism is so vast, and on a spectrum,” Móglaí Bap told the New York Times. “We like to toy with it and embrace the irony.”
Though their embrace of drug culture has clashed with traditional Republican values, Kneecap have been clear in their advocacy for Irish unity.
“The British government has failed us for 100 years,” Mo Chara told Vulture. “You’ve had enough time and it’s failed.”
The group’s profile soared in 2024 with the release of a semi-fictional film chronicling their ascent, featuring the band alongside Michael Fassbender. The film earned the Sundance Audience Award, drew critical acclaim for its “punky defiance” and “unruly energy“, and secured six Bafta nominations.
Shortly after came their debut album “Fine Art,” a concept work immersing listeners in a wild Belfast night, balancing satire of the industry with references to Northern Ireland’s mental health crisis.
Kneecap’s confrontational approach stands in stark contrast to an increasingly apolitical music landscape, ensuring their actions and statements remain in the spotlight.
Pro-Palestinian slogans have routinely featured in their performances since the latest Israel-Gaza conflict, but the scale of reaction at Coachella marked a turning point.
While Kneecap were not the only act to voice support for Palestine at the festival, their use of language—including a visual message targeting Israel—was widely seen as transgressive by various observers.
The organisers of Israel’s Nova Music Festival, which was targeted in a deadly Hamas attack, said Kneecap’s message “deeply hurt” their community and invited the group to visit an exhibit commemorating the victims—not as criticism, but in the spirit of dialogue.
Other responses were more forceful, with The Creative Community For Peace and Sharon Osbourne urging US authorities to rescind the band’s visas.
Manager Daniel Lambert defended Kneecap’s position, citing health authorities’ figures on casualties in Gaza and describing the backlash as “moral hysteria.”
“If someone’s hurt by the truth, that’s for them to navigate,” he told RTÉ1. “It’s crucial to speak truth, and thankfully the band are willing to do so—even at professional risk.”
The consequences have been severe for the group.
Since the controversy at Coachella, Kneecap have received death threats, lost US representation, and face potential visa implications on the eve of a sold-out tour.
Discovery of further video evidence showing inflammatory remarks has prompted counter-terror policing and political calls for festival cancellations.
In Scotland, First Minister John Swinney urged the TRNSMT festival to remove Kneecap from its lineup, saying their comments had “crossed a line”.
The Eden Project venue has withdrawn their upcoming event, while Glastonbury and others face mounting pressure over planned performances.
Home Office minister Dan Jarvis this week highlighted the ongoing police investigation and called on Glastonbury’s organisers to scrutinise their decisions regarding Kneecap’s participation.
Ironically, the scrutiny has only amplified the band’s profile, taking them from relative obscurity to international visibility.
Kneecap’s album has now charted in Italy, Brazil and Germany for the first time.
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