The Belfast rapper, whose real name is Liam Óg Ó hAnnaidh, has been embroiled in a legal war with the British Government since the incident on the 21st of November 2024. As staunch supporters of Palestine during their conflict with Israel, the band has frequently spoken out against the British Government’s actions or lack thereof, with previous acts of declaring support for Middle-Eastern political groups being recorded. During a Kneecap concert at London’s O2 Forum Kentish Town, he was witnessed waving a flag associated with Lebanese Islamist group Hezbollah, which he claims was thrown onto the stage by a crowd member. Endorsement or support of Hezbollah is illegal due to the government proscribing them as a terrorist faction, with the punishment if found guilty carrying six months imprisonment and a fine.

The Metropolitan Police were made aware of a video of the incident in April last year, and Mo Chara was charged under the Terrorism Act 2006 on the 22nd of May 2025. After the first hearing at Westminster Magistrates Court in June, the group’s actions and scheduled performance at the year’s Glastonbury Festival were publicly scrutinised by Prime Minister Sir Keir Starmer, himself a former Director of Public Prosecutions.

Following another hearing in August, the verdict was handed down on the 26th of December, with Chief Magistrate Paul Goldspring finding that the charges against Mo Chara were unlawful. Due to internal issues with the CPS’s process, the formal charging on the 22nd of May was one day over the six-month window since the initial perceived crime on the 21st of November 2024. In a social media post, Kneecap’s manager Daniel Lambert said “Liam Óg is a free man. We said we would fight them and win. We did (Twice). Kneecap has NO charges OR convictions in ANY country, EVER.”

In October, the CPS lodged an appeal against the courts, seemingly hell-bent on making an example of the group. Kneecap described this as “political policing”, and noted that the press had been alerted to the news before any of their legal team. This appeal was quashed today by judges at the High Court in London, validating the Chief Magistrate’s assertions on the charges and their timing. In the document published digitally by Lord Justice Edis and Mr Justice Linden, they clarified that the CPS’s claim falling outside the six-month window had nullified the charges.

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Mo Chara and Kneecap have celebrated the news with several social media posts this afternoon, taking aim at the government – both their involvement in Northern Irish affairs and their silence on Palestine. Writing on Instagram, they say “The worlds biggest terrorists are the leaders of the British state. Free Palestine. Free the 6 counties.” The tussle with the British state clearly hasn’t deterred them from political activism. Just this week, the act announced their support of the Nuestra América Convoy, a relief effort to provide supplies to Cuba during their trade embargo at the hands of Donald Trump’s US Government.

2026 will also be a big year for music for Kneecap, with their third album ‘Fenian’ set for release on the 24th of April. So far they have shown furious singles ‘Liars Tale” and ‘Smugglers & Scholars’. In addition to a big headline show at London’s Crystal Palace Park on the 27th of June, they are also embarking on an extensive summer tour of European festivals over 2026. You can catch them at Boomtown as well as Reading and Leeds festivals this August with ticket links on their website.

Perhaps the most controversial and fascinating musical act of the decade, Ireland’s Kneecap have become a political wrecking ball aimed right at the establishment. The British government have tried to charge their members as terrorists for their protests to the war in Gaza, countries including Canada and Hungary have banned them from traveling there, and yet the defiant hip hop trio only come back stronger with new single ‘Liars Tale’ arriving today, and new album ‘FENIAN’ now on the horizon.

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A post shared by KNEECAP (@kneecap32)

Kneecap were formed in Northern Ireland’s capital Belfast in 2017, with politics and protests the centrepiece of their aggressive hip hop sound. Their past albums are 2018’s ‘3CAG’ and 2024’s ‘Fine Art’, which landed at number 2 on the Irish Albums chart and number one on UK R&B Albums rating. Members Mo Chara, Móglai Bap and DJ Próvai, known for his iconic balaclava, rap about social matters on each riotous song, such as anti-British authority sentiment in the after-effects of The Troubles, issues affecting Irish culture, or preservation of their country’s language and values.

This has drawn the ire of media outlets and politicians since their inception. Their debut single ‘C.E.A.R.T.A’ was banned from Irish radio in 2017, Democratic Unionist Party (DUP) Member Christopher Stafford condemned their “Brits Out” chants in 2019, and in 2024 they had a run-in with now-Conservative Party leader Kemi Badenoch. They were awarded a grant of £14,250 by the Music Export Growth Scheme, which Badenoch, who was Business Secretary at the time rejected, claiming the money should not be awarded to “people that oppose the United Kingdom itself.” Following a discrimination case with the British government, they won the trial and donated the grant to two projects supporting both Protestant and Catholic youth in Northern Ireland.

Their notoriety peaked following two incidents where they supported the people of Palestine during the ongoing conflict with Israel. The first of which was a performance in London in November 2023, where the band were on the hook for comments including “The only good Tory is a dead Tory. Kill your local MP.” and “up Hamas, up Hezbollah”. The second incident, involving Mo Chara waving a Hezbollah flag at a London show in 2024, led to the police charging him under the 2006 Terrorism Act, as supporting either Hamas or Hezbollah is illegal in the UK. The charges, called for by Prime Minister and former head of the Crown Prosecution Services Sir Keir Starmer, were dropped in September last year due to a missed deadline in proceedings.

This persecution has fueled the fire for the new era of Kneecap, with a post today revealing new album ‘FENIAN’ and the inspiration behind it. On the title, they say it is “Inspired by, and proudly named ‘Fenian’, who were warriors in Irish folklore, and later a derogatory term for the Irish”, alluding to its use by the English as a slur for Irish nationalism. In addressing the legal issues, the statement says “We had all the motivation we needed… This isn’t a swift reaction, but a considered response to those that tried to silence us. And failed.”

The music video for ‘Liars Tale’ contains foul language and graphic imagery.

Lead single ‘Liars Tale’ was announced earlier this week, making its debut on BBC Radio One this evening. The track is an incendiary rager, swinging between English and Irish in their signature style to launch a savage attack at British politics past and present. Its X-rated lyrics are packed with expletives and scathing barbs aimed at English states-people, while the accompanying music video revels in metaphors of the band incarcerated behind fences and an Irish warrior screaming battle cries.

The song presumably sets the tone for the album and indeed the future for Kneecap. They will not be stifled or silenced, and as they put it “the Paddies are back” and here to stay. ‘Fenian’ arrives on the 24th of April, released by Heavenly Records. Pre-orders are available in physical and digital formats, as well as pre-saving on streaming apps here.

The biopic, simply titled ‘Kneecap’, gives a fictionalised take on the group’s journey while keeping themes raw and authentic. Set in West Belfast’s Gaeltacht Quarter around 2019, the film explores their early struggles, their fight to promote the Irish language, and the challenges of making politically charged music in a divided society. Adding to its realism, Kneecap members Mo Chara, Móglaí Bap, and DJ Próvaí play themselves. The film also boasts a strong supporting cast, including Michael Fassbender, Josie Walker, and Simone Kirby, giving it even more star power. 

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The film made its debut at the Sundance Film Festival in January 2024, where it became the first-ever Irish-language film to be shown at the festival. It quickly gained attention for its fresh storytelling and high-energy portrayal of youth culture, ultimately becoming Ireland’s official submission for the International Feature Film category at the Oscars. It also earned a Best International Feature shortlist nomination and even recognition for Best Original Song for ‘Sick in the Head’. 

Kneecap has been shaking up the music scene since forming in 2017. The group is made up of Mo Chara (Liam Óg Ó hAnnaidh), Móglaí Bap (Naoise Ó Cairealláin), and DJ Próvaí (J.J. Ó Dochartaigh) who blend Irish and English lyrics with sharp-witted social commentary. Their first single, ‘C.E.A.R.T.A.’ meaning “rights” in Gaelic, was released in 2017 and quickly made waves for its bold message and unapologetic energy. Their 2018 debut album ‘3CAG’ cemented their reputation as one of the most exciting acts to come out of Ireland, fusing traditional Irish influences with gritty hip-hop beats. 

Beyond music, Kneecap has become known for stirring conversations around language, identity, and politics. Their lyrics often take aim at government policies, social inequality, and the history of conflict in Northern Ireland. Their humour and sharp satire make their message more accessible, but they never shy away from controversy, pushing boundaries in both music and activism making them utterly unique. 

Speaking at the BAFTAs, director Rich Peppiatt dedicated the win to “everyone who should have their homeland respected,” a sentiment that perfectly captures the film’s deeper themes. This win not only cements Kneecap’s impact on culture but also highlights the growing recognition of Irish-language cinema on an international stage.     

@bafta
And the BAFTA for Outstanding Debut goes to… Rich Peppiatt for Kneecap  #EEBAFTAs #BAFTAFilmAwards #Kneecap
♬ original sound – BAFTA

With this BAFTA win under their belt, Kneecap’s future looks brighter than ever. The success of their film has opened doors for new creative ventures and as they continue to push boundaries and challenge expectations, 2025 is shaping up to be a landmark year for the group. 

Gallagher, who performed at the venue more than 20 times, first graced its stage in June 1971 and returned regularly until February 1988. His willingness to play in Belfast during the height of the Troubles earned him a unique place in the hearts of locals. According to fan site Shadowplays, Gallagher’s concerts at the Ulster Hall brought together Protestants and Catholics, offering “a few brief hours of respite” where the music took precedence over the surrounding conflict.

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A post shared by Rory Gallagher (@rorygallagherofficial)

Gallagher already had a commemorative plaque outside the venue, but the new statue, overseen by the Rory Gallagher Statue Project Trust, provides a more visible tribute to the guitarist. Barry McGivern, frontman of Ireland’s longest-running Rory Gallagher tribute band, and Donal Gallagher, Rory’s brother and longtime agent, were among the trust’s members.  

Speaking at the unveiling, fellow trustee Frank Girvan said: “It has been many years in the making, and we are incredibly grateful for the support we’ve received from fans, fellow musicians and all those who continue to show their commitment to keeping Rory’s legacy alive.”

 

 

 

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A post shared by Waterfront Hall & Ulster Hall (@waterfront_ulster_hall)

The statue was created by Bronze Art Ireland, a company renowned for its fine art castings and work on high-profile TV shows such as Vikings and Game of Thrones. The statue’s pose is based on a photograph from a 1972 Melody Maker cover, taken during one of Gallagher’s celebrated performances at the Ulster Hall.

Sorry.. Don’t like this at all. I appreciate the fact that he’s honoured, but come on! The likeness is zilch, and the guitar he loved more than any other wasn’t a Tele. C’mon guys do your homework.

(@dlight2112) January 4, 2025

Hundreds of fans attended the ceremony, joined by members of Gallagher’s family, including his brother Donal and nephews Daniel and Eoin Gallagher. However, some fans expressed disappointment with the statue’s design, pointing out that the guitar depicted is a Fender Telecaster, rather than Gallagher’s more iconic Fender Stratocaster. One social media user wrote: “I appreciate the honour, but the likeness is zilch, and they’ve chosen the wrong guitar.”  

The unveiling was not without logistical hiccups either. Some fans criticised the event on Reddit, citing poor sound and the ceremony starting earlier than advertised, leaving late arrivals unable to witness the unveiling. “This unveiling was a disgrace,” one attendee wrote.

Comment byu/NutzPup from discussion innorthernireland

Despite these criticisms, the statue has been widely welcomed as a fitting tribute to a musician whose influence extended far beyond Belfast. Artists such as Johnny Marr, Phil Lynott, and The Edge have cited Gallagher as an inspiration. Even Jimi Hendrix reportedly once answered the question of who the greatest guitarist in the world was by saying, “I don’t know, ask Rory Gallagher.”

Gallagher’s impact is further commemorated in Dublin, where a replica of his Fender Stratocaster adorns a corner in Temple Bar, alongside a sign in Gaelic and English honouring the musician. He is also honoured with a statue in his hometown of Ballyshannon.

The unveiling coincided with U2 frontman Bono receiving a Presidential Medal of Freedom in the United States for his humanitarian work. Both moments highlight the global impact of two Irish musicians, not only for their artistry but for their broader cultural contributions.

Gallagher’s music continues to inspire fans worldwide, regularly included on lists of the greatest guitar players of all time, and the statue outside Ulster Hall stands as a testament to the unifying power of his performances—both then and now.

Yesterday, the BBC turned off comments on a video of CMAT’s Big Weekend performance last Sunday as there had been numerous comments body shaming the 28 year old. The video depicted the Irish chart topper ripping off her jacket and revealing a tighter outfit underneath.

The pop star did not shy away from confronting her haters on X, formerly Twitter. She wrote, “yesterday the BBC had to turn comments off a video of me performing at the Big Weekend because so many people were calling me fat in the comments”, followed by her light hearted statement: “I didn’t realise it was ILLEGAL to have a HUGE ASS !!!! I am GUILTY as CHARGED”, showing that she is not going to let the distasteful comments affect her.

However, according to her X post, this is not the first criticism she has received over her weight, as her infamous BRIT awards outfit went viral in South American, and she says “now people are calling me fat in Spanish”. The outfit was spoken about across social media for days after the event, shaking the perception of ‘acceptable’ attire, as it exposed the top of her buttock, in line with the exact amount of breast that is typically exposed in dresses.

The BBC is no stranger to this situation, as last year the guideline that discourages users from posting about artist’s they are not fans of, was violated again after Billy NoMates’, real name Tor Maries, Glastonbury performance. The “insane” levels of abuse resulted in Tor Maries requesting the video posted by BBC 6 Music, to be deleted. The guideline also includes a strict no-tolerance of hateful comments about gender, disability, race, sexuality, and religion.

Kneecap have claimed the UK government blocked the grant, or the British Phonographic Industry (BPI) funding award, worth £15,000 in a bid to “silence” them. The BPI has said it was “disappointed” with the decision made by the government in not approving the grant, despite funding under the Music Export Growth Scheme being recommended by an independent panel.

A letter from Phoenix Law seeking a judicial review of the decision made by Badenoch claims the action is “state-sponsored censorship“, adding that the decision contravenes the 1998 Good Friday Agreement. The law firm also states that the decision violates the Windsor framework, a post-Brexit trade deal that sets out Northern Ireland’s rights in regards to the UK and the EU.

Our team has assembled https://t.co/JhzjuQctZB

— KNEECAP (@KNEECAPCEOL) February 9, 2024

A spokesperson for Kemi Badenoch has said, “We fully support freedom of speech, but it’s hardly surprising that we don’t want to hand out UK tax money to people that oppose the United Kingdom itself.”

Kneecap, posting on X, has said in a statement, “We’ve been blocked from receiving significant music funding because a Tory Minister doesn’t like our art. F*ck the Tories.”

The leader of the Social Democratic and Labour Party, an Irish nationalist party in Northern Ireland, Colum Eastwood, has called the decision by Badenoch to overturn the decision to grant the funding “highly irregular”.

He has said, “It would be unacceptable if the British Government had instituted a policy of defunding groups because they support Irish Unity, Scottish Independence, Welsh Independence or any other change to the constitutional status quo. Worse, in the context of Northern Ireland it may represent a breach of the British Government’s obligations under the treaty signed after the Good Friday Agreement which includes a commitment to exercise power on the basis of parity of esteem between communities in the North.”

He added, “Art is meant to be challenging. You don’t have to agree with an artist or group to understand the importance of funding creators who challenge the status quo and the establishment. I have submitted a number of Parliamentary Questions to establish what has happened here. If there has been a change of funding policy to make that more difficult then Kemi Badenoch needs to come clean about it.”

Kneecap, formed in 2017, frequently visit the topic of Irish nationalism in their music and sing in both Irish and English. They have released one album, 3CAG (2018), and plan on touring North America next month.

Listen to “Get Your Brits Out” below:

His wife, Victoria Mary Clarke, has since posted a heartfelt statement on Instagram, writing, “I don’t know how to say this so I am just going to say it. Shane who will always be the light that I hold before me and the measure of my dreams and the love of my life and the most beautiful soul and beautiful angel and the sun and the moon and the start and end of everything that I hold dear has gone to be with Jesus and Mary and his beautiful mother Therese. I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures. There’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world. Thank you thank you thank you thank you for your presence in this world you made it so very bright and you gave so much joy to so many people with your heart and soul and your music. You will live in my heart forever. Rave on in the garden all wet with rain that you loved so much. You meant the world to me.”

An ever-charismatic and endearing figure, MacGowan and his renowned snarl came to represent many things during his 65 years on Earth; the nonchalant fusion of punk and poetry, Irish nationalism and pride, and, to a great many, Christmas music. “Fairytale Of New York“, indeed, remains a true December classic; will we see it take number one spot this Christmas? Above all though, MacGowan always remained true to himself, his culture, heritage and nation, and his nonconforming spirit.

Listen to “Fairytale Of New York” below:

Born in Kent to Irish immigrant parents in 1957 and growing up in various cities in the Southeast of England, MacGowan’s punk nature was evident from the start. He was allegedly expelled from secondary school for possession of narcotics and soon became enamoured with the early punk scene, experiencing his first bout of fame as he was pictured in a newspaper after being injured at a Clash gig. So inspired was MacGowan by the Pistols and the Clash he decided to join Shanne Bradley’s punk band, the Nipple Erectors.

Come 1982 and he had formed his own band, initially named Pogue Mahone (an anglicisation of the Irish phrase póg mo thóin, meaning ‘kiss my arse’). Shortened later to the Pogues, MacGowan employed his Irish identity to explore in his lyrics Irish nationalism, Irish history and the Irish diaspora in England. The Pogues’ first album, Red Roses for Me, came in 1984, followed by Rum, Sodomy & the Lash in 1985 and their most commercially successful record If I Should Fall from Grace with God in 1988.

Listen to “Dirty Old Town” below:

Notable singles from his time with the Pogues include covers of traditional Irish folk songs “Dirty Old Town” and “Irish Rover“, along with “Fairytale of New York” featuring Kirsty MacColl and “Dark Streets of London“. After leaving the band in 1991 he formed another group, Shane MacGowan and the Popes, releasing two full length LPs before re-joining the Pogues in 2001.

Listen to “Irish Rover” below:

Taking to Instagram, the Fontaines revealed the official artwork alongside the caption:

“We’ve got a new version of Skinty Fia coming out called Skinty Fia Go Deo, which translates to ‘Skinty Fia Forever’. The name memorialises a moment in time for us and brings together live sessions, covers and reworks from the Skinty Fia era.”

So far, however, fans have been deprived of a specific release date. Check out the post below:

Skinty Fia, Fontaines D.C.’s third studio album, was universally praised by critics upon its release last year. The LP became the group’s first number-one album in both Ireland and the UK and earned them a win at the 2023 Brit Awards, as well as a nomination for Album of the Year at the 2022 Choice Music Prizes.

Check out lead single “Jackie Down The Line” here:

Since Skinty Fia’s release, frontman Grian Chatten has embarked on a solo career, treating fans to a debut album in Chaos For The Fly. The project, which has been out since late June, marks a subtle departure from the electric guitar-based sound the Fontaines have cultivated over the years, favouring crooning vocals and acoustic finger-picking over driving bass-lines and snappy drums.

Listen to “Last Time Every Time Forever” from Chaos For The Fly: 

Meanwhile, a tireless Chatten has confirmed he and the band have been plotting their next move, and already have some rough ideas for their next record. Furthermore, he has admitted to becoming “increasingly bored and unsatisfied with writing for just a bassline and a drum kit”, and has even suggested that the future of Fontaines D.C. may see the band moving away from using guitars completely. 

“Whenever I have an idea for a tune, it doesn’t necessarily exist in a world of guitars and drums, even though those are the tools that we have to express ourselves with,” Chatten explained, going on to cite 808s & Heartbreak by Kanye West and ATliens-era OutKast as music that he currently finds himself coming back to the most.

Pre-order Skinty Fia Go Deo here.

NOW ON SALE!!
Extra UK dates…https://t.co/f4c8lw20aI
Our entire spring tour sold out very fast so book now to avoid disappointment.
See you all soon x
pic.twitter.com/AOgHFsN830

— LANKUM (@LankumDublin) June 7, 2023

The Dublin based group will return to the UK following their last visit last month in Manchester, which in turn followed the release of the band’s most recent album, False Lankum, an LP that was released on March 24th via Rough Trade Records.

Our new album FALSE LANKUM is out today.
Massive love and thanks to all of you for the support over the last few years, and to everyone involved in the making of this album.
We're immensely proud of it.
See you along the road somewhere!
❤️x pic.twitter.com/GWT9Oxupqj

— LANKUM (@LankumDublin) March 24, 2023

The group originated as a duo, consisting of brothers Ian and Darragh Lynch, and from their shared surname came the group’s original name, Lynched. The duo released their first album, Where Did We Go Wrong?!, in 2003, before being joined by Radie Peat and Cormac MacDiarmada, forming the quartet that have since released four albums and will tour the UK this winter.

The group, still known as Lynched but now a quartet, released their second album, Cold Old Fire, in 2014 to positive acclaim. By 2016 the group had decided to change their name in a bid to rid associations with the practice of lynching, landing on Lankum, from John Reilly’s folk ballad “False Lankum”, instead.

Lankum then joined Rough Trade Records, and subsequently released their third album, Between the Earth and Sky, in 2017 to widespread critical acclaim. The album was nominated for the RTÉ Choice Music Prize Album of the Year, but the group had to wait until 2019 to claim the prize, as their fourth album, The Livelong Day, stole the show.

Listen to “Willow Garden“, a track off of Lankum’s third album, Between the Earth and Sky, below:

False Lankum is therefore the group’s fifth studio album, and fourth as a quartet, and will no doubt be doing most of the heavy lifting when the Dublin group visit the UK later this year.

Watch the music video for “Go Dig My Grave“, the lead single off of False Lankum, below:

The dates for the string of shows are as follows:

07/12/2023 – Rescue Rooms – Nottingham
09/12 – Hangar 34 – Liverpool
10/12 – Irish Centre – Leeds
12/12 – Chalk – Brighton
13/12 – Roundhouse – London
26/01/2024 – Albert Hall – Manchester
27/01 – Boiler Shop – Newcastle
01/02 – Beacon – Bristol
03/02 – Barrowlands – Glasgow

Order Lankum’s latest album, False Lankum, here.