FENIAN

Notorious hip-hop trio KNEECAP return with their highly-anticipated sophomore studio album. Debuting at number one in the Irish charts, the lads deliver another serving of unapologetically political, confrontational truths.

Republican Hoods

KNEECAP are a band that are unashamedly making headlines for all the right reasons. the Belfast-based trio comprises of rappers Mo Chara and Móglaí Bap alongside DJ Próvaí. Their origins can be traced back to the unequal rights still on display in the North of Ireland. Loosely retold in their fantastic biopic, Móglaí Bap and a friend were arrested following an act of vandalism. Spray-painting a wall with “Cearta”, the Irish word for “rights”, they refused to engage with the police in English, opting instead to communicate in their native Irish. This led to inspiring the trio’s debut single, “C.E.A.R.T.A“ in 2017.

The group released their first mixtape 3CAG in 2018, inspiring a massive cult following. Further singles like “Get Your Brits Out“ and “H.O.O.D“ attracted attention on both sides of the political spectrum, and the media frenzy only grew. The heaviest criticism around this time came courtesy of former DUP leader and professional victim Arlene Foster, whose caricature appeared on the trio’s “Farewell To The Union Tour” posters. 2024 saw the release of the trio’s long-awaited debut studio album, Fine Art. It elevated the group from self-produced noisemakers to a driving force in the music industry.

The trio made a name for themselves with their political stances, which has garnered huge levels of support and condemnation simultaneously. Approaching issues from a class perspective, their championing of Irish language rights has provided a fresh breath of air to the ongoing struggle. Outside of Ireland, their support for Palestine and condemnation of Israeli occupation provided huge publicity for the band. Inevitably, many powerful figures engaged in a smear campaign against the trio. They issued calls for their US visas to be revoked following their Coachella performance, and unsuccessful terrorism charges against Mo Chara.

Seo Fenian gluaiseacht

Opening with simple synth chords and distant vocals calling from beyond, “Éire go Deo“ serves as an invigorating piece about the Irish language. The spoken word content, entirely in Irish, details the importance and perseverance of the right to speak one’s own language. It not only acknowledges the strength in this movement, but the need to continue with this struggle for equal rights across the community.

The foreboding tone continues into “Smugglers & Scholars“ before launching into a bass-heavy hip-hop beat. Mo Chara defiantly introduces themselves with a warning, “Mhúscail sibh an fathach” (you woke up the giant). The song refers to the revolutionary uprisings in Ireland. The title playfully pays homage to “the land of saints and scholars”. The resounding chorus of “Getting guns with American dollars” especially portrays this, referring to the NORAID funding of the Provisional IRA.

The dark atmosphere continues into “Carnival“, which opens with a reference to Mo Chara’s trial at the Westminster Magistrate’s Court. Lyrically painting the British justice system as a circus, it points to the long history of Irish people unlawfully arrested. Móglaí Bap brings up the case of Gerry Conlon, one of the Guildford Four, who was wrongfully arrested for 15 years on a terrorism charge. The chorus is delivered as a playful jingle, which makes a mockery of the injustice of it all.

Sean-scéal agus meirg air

A hard-hitting beat opens “Palestine“, with Mo Chara using figures from Irish mythology to compare the shared struggle of the Irish and Palestinian people. Guest rapper Fawzi provides a poignant verse in Arabic, detailing the macabre future that may befall the Middle East. Much like the Yalta Conference or Balfour Declaration, there exists a possibility of Europeans dividing up land that is not theirs. Once again.

The lead single “Liars Tale“ is one of my favourites on the album, and something covered on its release. It is a direct attack on the narcissistic British government, with no punches pulled. From “Fuck Keir Starmer / Netanyahu’s bitch and genocide armer” to “Ag sú bod America” (sucking America’s dick), the attitude towards the UK Prime Minister is visceral and aggressive. For every right too.

The synthpop beat of the title track “FENIAN“ comes courtesy of Casiokids. It is spacey and glitchy in all the right ways. Móglaí Bap narrates a story of meeting a young British man and educating him on the plight of the Irish people under British rule. Naturally, the young man switches allegiances and becomes part of the chanting spelling of the word “Fenian”.

“Big Bad Mo“ opens in a different direction, with a brighter melody accompanying the dark dance beat. The track is essentially a boastful tribute to themselves, and I can’t get enough of it. The lads are proud of who they are and their background, relishing in the negative publicity they receive. Acting as a middle finger towards the negative press, they taunt “As soon as you’re outraged we’ve won“.

Jimmy Saville agus HP Sauce

“Headcase“ blasts open with a drum’n’bass beat with the lads matching the intensity. The song sees a return to the older KNEECAP style of tracks, with lyrics detailing the delinquent life of some working-class youth. Delivered with roguish delight, the chorus is roared with such ferocity that I can only imagine the carnage of seeing this song played live.

Opening with a sarcastic out-of-tune rendition of the British national anthem comes the hilarious “An Ra“. To a dark dance-filled instrumental, the duo send their tongue-in-cheek condolences to the UK. Referring to the British colonial rule of Ireland, their appreciation comes with “You civilised us savages anois tá muid go breá“. Painted as a homage, they reflect on the British Empire’s achievements, thanking them for “BBC paedo rings, Bloody Sunday, class!”

“Cold at the Top“ quite simply details the loneliness felt by the lads following their success. While this narration may be fiction, Mo Chara portrays his feelings of disconnect in his local clique due to the band’s “notions”. The drug-filled lyrical content may reveal a different meaning, especially with the recurring hook of “Ocras ar do shrón I’ve got something for that“.

Another trashy, hard beat provides the background for “Occupied 6“. Providing a historical narrative of The Troubles, Mo Chara and Móglaí Bap spit nothing but harsh truths of reality. The war crimes from the British have not been forgotten, as reminded in the lyrics “International laws they were abusing / MI5 death squads collusion“. The tone is unwavering, with the lads reminding the world of the reality they grew up with.

Aimsím an saol cruaidh

A slightly more rock-inspired beat creates a different vibe on “Gael Phonics“. Much like “Incognito“, the song is a somewhat educational piece on the slang terms used in Belfast Irish. From “Sceithire is a tout” to “Éistigí yas cunts means ya may listen up“, the lyrical content act as brilliant engagement to learning cúpla focal. Rife with drug terminology, it adds to the modern use of the language in a relatable way.

Another drug-fuelled song comes in “Cocaine Hill“, which is supported by another mellow guitar melody. Naturally, the song is a narration about a cocaine-induced night. Radie Peat of Lankum delivers the chorus in a manner that sounds like a Gorillaz tune.

The album closes with the utterly brilliant “Irish Goodbye“ which is catchy beyond belief. The song is an emotional one however, which acts as a tribute to Móglaí Bap’s mother, who died from suicide. Lyrically it’s devastating, and really tugs at the heartstrings. Opening with “Nuair a mhothaigh mé do lámh, mhothaigh mé do ghrá” (When I felt your hand, I felt your love), the emotional impact is present from the offset. Wishing for a proper goodbye, Móglaí Bap uses the song as a love letter to his mother. Kae Tempest provides an emotional spoken word piece in the latter half, which broke me completely. It’s simply beautiful, and took me completely by surprise.

Final Thoughts

In many ways, this album is not what I expected from the trio. My love for their debut studio album Fine Art cannot be understated. But I think I expected something different from KNEECAP here. Something better.

It also cannot be ignored that the lead-up to this album was surrounded by ongoing controversies. From their US visas being revoked to the idiotic terrorism charges brought against Mo Chara, it feels like the trio did not have the time to put their energy into this album. Which makes it feel a bit flat in a disappointing way. The absence of DJ Próvaí is also felt in many respects, as he did not move with the band to London due to family commitments.

What I can positively comment on here is the production on this thing is fantastic. Dan Carey‘s accolades speak for themselves, and of course Móglaí Bap and Mo Chara are brilliant in what they do. The political commentaries are also second to none. While many acts shy away from bold or controversial statements about ongoing injustice in the world, KNEECAP will always speak up for what they believe is right. While I had hoped the album would be more than what it is, I cannot criticise the group for what seems like a rushed release. As we know, the money-hungry record companies are to blame.

For KNEECAP, it’s never a dull day and I’m excited to see what comes next.