Kneecap, a west belfast rave-rap trio, has recently outen illay control with their step lyrics and habitty performative. The collective tackles many of their tracks in Irish, adding to their refreshing artistry. They are in turn feeding off a growing underground scene of other such “as Gaeilge” rap acts. Their specific combination of hedonistic themes and political discourse has garnered both acclaim and derision. This kind of reaction begs the larger question of what art is supposed to do in tackling social issues.
The group consists of three members: Móglaí, Mo Chara, and DJ Próvaí. Most memorable, DJ Próvaí tends to perform with a balaclava mask on, amplifying the group’s mysterious stage presence. In 2020, the pandemic led to him losing his job as a teacher. His school subsequently dismissed him after they viewed footage of an end-of-term prom concert at which he had written “Brits out” on his backside. This incident exemplifies the provocative nature of Kneecap’s performances, which frequently challenge British rule in Northern Ireland through both music and visual expression.
Kneecap exploded into public consciousness in 2018 with their mixtape 3CAG. The title is a play on words and a slang reference to the drug MDMA. Since then, they’ve teamed up on a string of catchy genre-defying singles like H.O.O.D and MAM. The latter is a poignant ode to Móglaí’s mother, who tragically took her own life. Their debut album, Fine Art, is a concept record that immerses listeners in a fictional night out at a pub called The Rutz in Belfast. The album’s lyrics cover a spectrum of topics from drug-fueled parties to their aspirations for Northern Ireland’s independence.
The collective drew considerable media attention when their song was initially included on the playlist of Irish national broadcaster RTÉ. Almost immediately, the song was pulled once listeners started reporting the drug references. This event is a key example of the ongoing battle between artistic creativity and public decency.
“If somebody’s hurt by the truth, that’s something for them to be hurt by.” – Daniel Lambert, Kneecap’s manager
Kneecap’s manager defended the group’s right to express themselves, emphasizing the importance of speaking truthfully in a society still grappling with its past. Arguing the toughness and defiance of Kneecap, Lambert fawned that “their bravery and belief is an inspiration.”
“They have the bravery and the conviction, given where they’ve come from in a post-conflict society, to stand up for what’s right.”
The censorship campaign against Kneecap has now vastly outstripped that localized outrage. As they prepare for their forthcoming sold-out tour, the intrepid collective finds themselves at a major crossroads. They got death threats and they lost their U.S.-based booking agents as well. This turn of events highlights the dangerous stakes artists endure when tackling controversial political issues.
While Kneecap’s story has made waves in their local area, they have reaped international acclaim and attention. Following their stellar performance at Coachella, their album shot to No. 1 on the iTunes charts in Italy, Brazil, and Germany. This unprecedented exposure has only increased their influence in addition to spreading the word about their provocative message.
“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.” – Mo Chara, Kneecap
Kneecap’s lyrics immediately connect with their fans, who interpret their work as a representation of contemporary Irish identity. Mo Chara described their music as a way to add a more traditional voice to the rich narrative of complaints that spans centuries against the British government.
“The British government has failed us for 100 years. It’s not like this is a trial run. You’ve had enough time and it’s failed.” – Mo Chara
Though they are receiving backlash and intense questioning from schools to police stations, this hasn’t stopped Kneecap from continuing their work. As stated by Alliance leader Naomi Long, it’s important for communities to think about what they’re communicating about the values of our society.
“Loathe to give the band more publicity, but as a community we need to start asking ourselves what messages we’re sending out about the kind of future we want.” – Naomi Long
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